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Culture
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Weirdness
Zombies
7 min read

Why do films portray Christians as crazy?

Exploring why films often portray the god-fearing as ‘always so god-damn weird’, psychologist Roger Bretherton recalls a first divine experience.

Roger is Associate Professor of Psychology, at the University of Lincoln. He is a UK accredited Clinical Psychologist.

A crazed-looking man walks away from a burning backdrop.
Scott Shepard plays the crazed preacher in The Last of Us.
HBO.

We knew we were in trouble when he started quoting the Bible. If there is one rule we should all follow in a zombie apocalypse it is not to trust the isolated community of believers huddled around a Bible-quoting preacher. You know the plotline. The one that never occurs in Star Trek: the crew of the USS Enterprise land on a paradise-like planet only to discover that everything is exactly as it seems. No. The rules of genre television must be upheld. If it seems too good to be true, it probably is. 

This was the strong suspicion my eldest child and I immediately leapt to while watching season one, episode eight of HBO’s The Last of Us. If you haven’t seen it, it’s a zombie apocalypse drama, a bit like The Walking Dead, but with more giraffes and fewer zombies. Is it a virus? Is it radiation? No, it is a fungus that has zombified the masses. Starting with a few isolated infections here and there it rapidly mushroomed (I guess) to turn the placid citizens of the world into manic flesh-eaters. All I’m saying is keep applying the anti-fungal toenail cream, it may be the only thing standing between us and the collapse of civilisation as we know it.  

So, when episode eight opened with a previously unknown character quoting the Bible to a fearful flock hiding in a diner, we knew things weren’t going to turn out well. The signs were all there. He was almost definitely a paedophile, possibly a murderer, and very likely a cannibal. As it turned out we’d hit a perfect straight: three for three. He was all of them. I probably should have issued a spoiler warning for that one, but to be honest if you didn’t see it coming The Last of Us probably isn’t for you. You’d probably be happier watching something more sedate. Silent Witness anyone?  

Needless to say, the episode provoked no small amount of theological commentary in our household, mainly querying why it is that anyone exhibiting even a modicum of Christian belief in shows like this, almost always turns out to be completely unhinged. Why do the righteous always have something wrong with them? Why are the god-fearing always so god-damn weird?  

Pray and take the pills 

Just to be clear, I’m not a murderer, nor a paedophile, nor a cannibal (and I have no plans), but somehow the prejudice that Christians must be crazy has come to influence how I view my own spiritual history. I have inadvertently imbibed the simple naturalistic logic that if I am a Christian then there is something wrong with me. Some part of me shakes hands with Freud and retrospectively attributes my conversion to neurosis, a coping strategy, a crutch. The assumption that the only reason I would believe something so unusual, so out of step with the people I spend most of my time with, is that I am weird. Quietly, without realising it that is how I have come to view it - I need God because I am weak. 

Of course, religion can and often is used as a coping strategy. Leading psychologists of religion, like Kenneth Pargament, have made entire careers out of studying this phenomenon. For several decades, he and his collaborators have demonstrated pretty conclusively that people use religion and spirituality as potent sources of coping with the pain of life. From this perspective, religious conversion can be viewed as a transformation of significance. When the things we previously relied on to give us a sense of meaning and stability fail us, when our adjustment to life falls apart and cannot be put back together, we give up trying to conserve what was previously meaningful and instead take a transformative leap toward a new view of what matters to us. When the going gets tough, the tough get going. When the going gets too tough, some people turn to Jesus.  

But there are many ways we can use religion to cope, and over the years Pargament and his collaborators have identified a few of them. Some people defer everything to God, they cope by thinking God will do everything for them, they plead for Him to intervene. Others are self-reliant, they may believe in God, but they don’t expect much from Him; for them prayer is more like therapeutic meditation than anything medically effective. Others cope in a collaborative way. They don’t leave it all to God, nor do they think everything centres on them. They take responsibility for their lives, but view God as a companion, a collaborator, a conversation partner through all the vicissitudes of life.  

It probably comes as no surprise that in studies of religious people dealing with chronic illness, these styles of coping significantly predict prognosis over time. There are many ways it can help us, and some of them are more admirable and effective than others. Those who leave it all to God usually do worse, those who think it’s all down to them do better, and those who pray and take the pills do best. Coping with a painful and bewildering world is undoubtedly one of the benefits of religious belief. It’s one of the things it does for us, but it is not what religion is at core. It may be a function of belief but not its essence.  

That first intimation of divine presence... It was the teaser trailer of a movie I was yet to see. A tiny taster from an infinite menu. 

As a twelve-year old boy, lurking at the back of an old Methodist church, waiting in silence for the possibility of something sacred to be unconcealed, I was not the kind of child anyone at school would ever admire: lonely, bullied, ignored. Relegated to the corner of the playground reserved for the outcasts and untouchables, the overly sensitive gay kid, the boorish tractor enthusiast, and the Dungeons and Dragons players. When I revisit the moment of my first truly transcendent and mystical experience of God, it’s tempting to write it off as an imaginative invention designed to anaesthetise the pain of social exclusion. I needed it to be true, so I made it up.  

Yet there is more to it than that. That first intimation of divine presence was the beginning of a lifelong quest to experience more. It was the teaser trailer of a movie I was yet to see. A tiny taster from an infinite menu. And in the years that followed I pursued it. To begin with, that strange sense of presence was elusive. I couldn’t generate it under my own steam but ran across it every few months, in a small group, a church service, a prayer meeting, a piece of music. Over time the frequency increased, as I learned patterns of prayer and spiritual practice. Eventually, decades later, it stabilised into an almost daily occurrence. I discovered the western mystical tradition, a historical lineage that made sense of what I was sensing, and to which I could belong. I made myself at home with Augustine of Hippo, Julian of Norwich, Ignatius of Loyola, Teresa of Avila, John of the Cross, Thomas Merton. My new extended family was large and varied. They became my friends and spiritual guides. I had a history. 

When I think of the creatives I know, the artists, writers, actors, and musicians I have spent time with, I notice that for many of them their art is a response to the tragedy of life. But I rarely judge their work on the loneliness and pain that drives their compulsion to create. All too often it is the aching that lingers just under the surface of their work that makes it poignant and affecting. It is not just the beauty of what they create that moves me to tears, it’s the heartbreak out of which it is composed.  

My spiritual journey seems somewhat similar, a creative enterprise launched and sustained by a new insight into the nature of the world. Faith is more like a new way of seeing, than a new set of propositions to believe. If I’d been happy and fitted seamlessly into the fabric of social life, I doubt I’d have been open to the experience or able to recognise it when it occurred. But just as we might hesitate to reduce an artist’s work to little more than psychological self-help, I find myself increasingly reluctant to view my spiritual history as just an expression of my own neurosis. There is another way to tell the story, one that emphasises not so much the problems that drove me to God, but the presence that drew me to Him. There is more to the story than my own neediness and, in the final analysis, when the zombie apocalypse comes, at least I have retained sufficient sanity to avoid the guy with the Bible. 

Explainer
Art
Culture
Identity
5 min read

Controversial art: can the critic love their neighbour?

What to do when confronted with contentious culture.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

Two people run though a darkened art gallery towards a body lying amongst photography paraphanalia
Audrey Tautou and Tom Hanks, The Da Vinci Code.
Sony Pictures.

In the wake of the controversy over the Olympic opening ceremony, based as it was on a fundamental misunderstanding on the part of Christians as to what was being portrayed, you may be perplexed or confused by the different ways Christians respond to controversial art or media portrayals that are perceived to be an attack on core Christian beliefs. If that is you, here are some thoughts as to why it is that Christians react in a range of different ways.  

Our responses are always underpinned by depth of relationship with and commitment to Jesus, the one who has turned our lives upside down and filled us with his Spirit. Our sense of what it is that Jesus has done for us and what it is that relationship with Jesus means to us is the determinative factor affecting our response when we perceive the One we love and who loves us to have been maligned or mocked. 

For some, we feel a need to stand with or defend Jesus whenever we perceive that he is under attack, and we have seen that instinctive response apparent in reactions to the Olympic opening ceremony. However, instinctive emotive responses run the risk of pre-empting more reasoned or reflective responses. That has certainly been the case here, as what many Christians perceived to have been a parody of the Last Supper was not actually that at all. Instead, the sequence was a portrayal of the feast of Dionysius, so had nothing to do with the Last Supper at all.  

Christians, as here, are often too quick to make allegations of blasphemy without actually understanding what is being portrayed. I have, unfortunately, seen many similar examples within my lifetime. In the 1970’s and 80’s films like Monty Python’s Life of Brian and Martin Scorsese’s The Last Temptation of Christ resulted in thousands of Christians demonstrating outside cinemas, while Christian organisations, like the National Viewer’s and Listener’s Association headed by Mary Whitehouse, lobbied for those films to be banned.  

God does not need human beings in order to be defended, particularly from perceived mockery. 

However, interestingly, the release of The Da Vinci Code in 2006, although it dealt with similarly controversial material for Christians, did not result in mass protests. Instead, through seeker events, bible studies, websites and booklets, churches encouraged discussion of the issues raised by the film while clearly contesting the claims made about Christ and the Church. 

The protests against such films often did not tally with the content of the films themselves and displayed a lack of understanding of them, their stories and meaning. As Richard Burridge, a former Dean of King’s College London, has said of Life of Brian, “those who called for the satire to be banned after its release in 1979 were ‘embarrassingly’ ill-informed and missed a major opportunity to promote the Christian message”. Life of Brian portrayed the followers of religions as unthinking and gullible and the response of Christians to that film reinforced that stereotype.  

As a result, the Church had to learn again that the way to counter criticism is not to try to ban or censor it but to engage with it, understand it and accurately counter it. The Da Vinci Code events, bible studies, websites and the like that the Church used to counter the claims made in The Da Vinci Code featured reasoned arguments based on a real understanding of the issues raised, making use of genuine historical findings and opinion to counter those claims. These created a conversation with the wider community that was far more constructive than the kind of knee-jerk reactions we have seen to the opening ceremony of the Olympic Games. 

Some of these knee-jerk reactions derive from a sense, in the West, that the dominant place Christianity used to have in society has been eroded leading some to think that our values and beliefs are under threat. This reveals an underlying insecurity which it is surprising to find in those who believe that God is all-powerful and in control of human history. God does not need human beings in order to be defended, particularly from perceived mockery.  

Indeed, the reverse is the case, as, in Jesus, God deliberately entered human history to experience human life in all its facets, including real mockery and suffering, to show that such experiences are not defining and can be transcended through love and sacrifice. Such a God does not require those who follow to become defensive themselves when the path of mockery is actually the path to resurrection and renewal.    

Cultural comment is as much about love for neighbour as any other aspect of Christian life. 

So, what might a more constructive and productive response to controversies entail? Taking time to reflect and to understand what it is we are experiencing would be a much better place to start. The Olympic opening ceremony was a celebration of French culture, which highlighted images from the Louvre in particular. Leonardo da Vinci’s ‘Last Supper’ is in Italy and does not include a blue Dionysius. With some reflection and investigation, that would quickly have become apparent. Similarly, the scene to which Christians objected in The Last Temptation of Christ was just what it said on the tin, the last temptation Jesus faced. It was a temptation that he rejected, and the film was all the more powerful as a depiction of the incarnation as a result. 

Then, we can see that what the Christ who embraced human life through the incarnation calls us to is a charitable hermeneutic (how we interpret), when it comes to receiving, understanding and commenting on the culture around us. Cultural comment is as much about love for neighbour as any other aspect of Christian life. Our charitable hermeneutic was summed up for us by St Paul when he wrote of going through life looking for “whatever is true, whatever is honourable, whatever is just, whatever is pure, whatever is pleasing, whatever is commendable”. Sister Wendy Beckett, the cultural commentator who most recently has best exemplified this charitable hermeneutic achieving huge popularity as a result, wrote of “a beautiful secret … that makes all things luminous … a precious gift in this confused and violent world”.  

With the beautiful secret of a charitable hermeneutic, we might, perhaps, look again at the Olympic opening ceremony and appreciate the intent of Thomas Jolly, the artistic director behind the ceremony, when he said that religious subversion had never been his intention: “We wanted to talk about diversity. Diversity means being together. We wanted to include everyone, as simple as that.”