Explainer

Creed

1 May 2024

4 min read

Those unexpected angel stories

Shedding a strange light on a disenchanted world.

Graham Tomlin

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

An almost abstract image with overlays of colour over a group of people standing.

Jr Korpa on Unsplash.

Unlike Robbie Williams, who sings about them, sometimes I preach about angels. When I do something always happens – people start telling me their own angel stories.

There was the one a soldier friend told me. During an army climbing expedition to Mount Kenya, one of his team had fallen to his death from a sheer rock face. Caught up in the drama of the moment, my friend found himself stuck on a ledge, unable to move up or down, paralyzed by fear and frustration. Suddenly, in an inaccessible part of the world, where they had seen no-one for days, on a mountain where they were the only registered group present, a climber appeared out of nowhere, moved onto the ledge where he was standing, tied a rope into his harness, lowered him down the rockface to safety before disappearing up the face never to be seen again.

Or the story of a pastor who got into trouble in an airport. A stranger walked by and asked if he could help, and remarkably fixed a seemingly intractable problem. The grateful passenger took a selfie of himself and the stranger, but when he looked at the phone later on, there was a picture of himself, grinning into the camera, with his arms around… nothing.

Why do so many stubbornly believe in angelic beings, when a materialist view of the world laughs scornfully at the idea as a bit of pre-modern superstition?

These are not just modern stories. In the second century, a young man called Justin from Asia Minor was working his way through the various schools of Greek philosophy. One day, he was walking along the beach at Ephesus, wondering, as young people have always done, about the meaning of life in general and his own life in particular, when a mysterious old man came alongside and joined him in conversation. As they walked together, the old man spoke about the philosophers and how none of them were quite able to answer the deepest mysteries of life. He advised Justin to read the Old Testament prophets, before disappearing into the distance. Justin did so, became a Christian and went on to become one of the greatest early theologians of the Church and one of its early martyrs for the faith – hence the name he is remembered by today - Justin Martyr.

Was it an angel? Or a real, yet mysterious old man? Are angels real? And if so, what is the point of them? Surveys tell us that 30 per cent of British people believe in angels. In the USA that figure rises to 70 per cent. Why do so many stubbornly believe in angelic beings, when a materialist view of the world laughs scornfully at the idea as a bit of pre-modern superstition? After all, the cynic might say all these stories can be explained - these were just ordinary people who turned up unexpectedly.

The encounter opened the eyes of the person in the story to another realm, a world unseen yet just as real as the seen.

The word angelos in Greek simply means messenger – and it can mean either a human or an angelic one. In the Bible, angels don’t usually appear with glowing white clothing and wings sprouting from their shoulder blades. When they come to people with a message, they often appear in the guise of ordinary people. In fact, it’s often hard to tell whether you have been visited by an angel or just another human.

The point, therefore, is not so much about the angels, but about the message that they bring. They tend to turn up when there is something particularly important to announce, something like the birth of Jesus, when an angel appears to the young Mary to tell her the news that she will give birth to the Son of God, her, and then quite a few of them turn up to sing to the shepherds, an indication that something big was happening.

In each of the stories above, the encounter opened the eyes of the person in the story to another realm, a world unseen yet just as real as the seen. An inexplicable encounter with what just might have been an angel has the capacity to open our eyes to the fact that the world is bigger than we often assume – that as Hamlet says to his dull, practically minded friend: “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.”

The Nicene Creed, the classic summary of Christian faith, speaks of God as the ‘Creator of all things seen and unseen’. We are all used to what we can see, yet some of us only have space in our world for things that can be seen, touched or measured. Yet there are surely those unseen realities – things we cannot see or measure, like love, compassion, holiness, miracles, God and - yes – angels.

A random sermon on angels elicits hushed stories that people feel almost embarrassed to speak. Such mysterious experiences are far more common than we realise, as Dan Kim points out elsewhere on this site. Yet these experiences are not an end in themselves but are perhaps a way of God getting our attention when we refuse to listen to more ordinary approaches. These experiences open our eyes to a dimension of reality that is as real, if not as visible as the one we deal with every day – and become a gateway to a journey of discovery of an unseen world alongside the seen, that sheds a strange but welcoming new light onto a disenchanted world.

Review

Culture

Film & TV

7 August 2024

9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James Lawrence

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.

'A desert of criticism and a wasteland of cynicism.'

Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time.

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed. 

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips.

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film.

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too.

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine).

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story.

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time.

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends.

I had such a strange set of emotions as I watched this part of the story unfold.

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.”

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story.

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago.

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world.

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death.

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted.

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.