Article
Christmas culture
Culture
Hinduism
Time
4 min read

Why good wishes resonate across cultures

Hmm… and where did you get that idea from?

Rahil is a former Hindu monk, and author of Found By Love. He is a Tutor and Speaker at the Oxford Centre for Christian Apologetics.

Scrabble letters read 'Happy New Year' against a red starry background.

Country house gallery Compton Verney is currently hosting a delightful exhibition by British Indian artist Chila Kumari. It’s a colorful collision of worlds: neon-bright Hindu deities paired with ice cream trucks and cakes—a nostalgic nod to her father’s business during her early years in North England. Chila has captured the balance of her East-West upbringing beautifully. 

But what really stopped me in my tracks was the theme of the exhibition: “Love and Truth.” Hmm, I thought. Isn’t that a very Christian theme? Hinduism, as intricate and philosophical as it is, doesn’t traditionally frame life around “truth” or “love” the way Christianity does. And yet, it’s possible that my Hindu friends and family subconsciously desire or even pursue these ideals without fully realizing it. 

Surely, on January 1st, my lovely Hindu relatives will send me cheerful WhatsApp messages: “Happy New Year! Hope it’s a good one!” Naturally, I’ll reply with warm wishes of my own. But a thought will linger: haven’t they already celebrated their New Year? 

The Hindu calendar, Vikram Samvat, is lunar and runs 52 years ahead of the Gregorian calendar. For most Hindus, the New Year is ushered in during Diwali, celebrated with food, lights, and fireworks. Sikhs, too, celebrate their New Year in March according to the Nanakshahi calendar. And yet, when January 1st rolls around, I’ll find myself in a sea of “hope” and “joy” messages from friends and relatives of different faiths. 

Here’s where the question emerges: where did this idea of hope and joy come from? They aren’t central concepts in Hinduism, Sikhism, Jainism, or even Buddhism—not in the way Christians understand them. A friend once told me that biblical hope is “the joyful anticipation of something good.” Author Clare Gilbert described it as being “optimistic even when the heart is broken.” Similarly, Christian joy is not tied to external circumstances. It’s a steady, enduring truth that can coexist with suffering. 

And yet, these words—hope and joy—are shared freely by people whose traditions don’t teach them explicitly. Why? I’m not asking anyone to stop, of course! It’s beautiful to see these blessings exchanged. But it does make me wonder: why wish someone something that isn’t foundational in your own worldview? Could it be that these words point to a deeper, unspoken longing? 

Consider this: New Delhi-based journalist Garima Garg offers a fascinating anecdote in her foreword to Anthony Stone’s, Hindu Astrology: Myths, Symbols and Reality. Dr. Stone, a Christian with a PhD in theoretical physics from Oxford, went on to study Sanskrit and astrology in India. In her foreword, Garg recalls how, on the day Queen Elizabeth II died, a “comet-like orb” streaked across the sky. 

Skeptics, she writes, might dismiss this as space debris or SpaceX satellites. But for believers in astrology, timing matters. A celestial event, aligned with a moment of historical significance, sparks excitement and anticipation. It’s a moment of watchful waiting, a belief that something extraordinary is happening—or is about to happen. 

Sound familiar? That feeling of anticipation, of longing for something good, mirrors what Christians call hope. It’s not tethered to what we can see but rests on the unseen. Even in astrology, in its focus on aligning stars and planets, there’s an echo of this universal yearning—a desire for the extraordinary to touch the ordinary, for the unseen to become visible. 

This brings me back to the heart of my reflection. Hope and joy, as the Bible presents them, are not mere words but living truths. Hope is a confident expectation of good because of God’s promises. Joy is the assurance of His presence, even in pain. Could it be that cultures and faiths that don’t explicitly teach these concepts are still reaching for them? Could the universal desire for something extraordinary be pointing to Christ? 

I wonder if this is why themes like “Love and Truth” resonate so deeply, even in a Hindu-inspired art exhibition. They’re not just abstract ideas; they’re foundational to the human heart.  

To be clear, I’m not criticizing anyone for sharing hope or joy. Quite the opposite—I think it’s wonderful. What I am asking is whether this sharing hints at something unspoken. Could these lovely cultures and faiths, in their pursuit of meaning, be reaching for the very hope and joy that Christ offers? 

After all, Christianity teaches that God has 'set eternity in the human heart'. If that’s true, then it makes sense that people of all cultures would yearn for love, truth, hope, and joy, even if they don’t fully understand why. These aren’t just Christian concepts—they’re universal signposts pointing us toward God. 

So next time someone wishes me a “joyous New Year” or sends a message of hope, I’ll smile and reply with warmth. But I’ll also ponder, quietly: where did that idea come from? Perhaps, without realizing it, they’re expressing the deepest longing of the human heart—a longing that Christ can fulfill. 

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Review
Culture
Film & TV
Monsters
4 min read

How to do the Devil’s work in modern America

The Bondsman ‘literal evil’ fits so easily into today.

Giles Gough is a writer and creative who host's the 'God in Film’ podcast.

A bondsman looks to a colleague.
Kevin Bacon and Jolene Purdy star.
Amazon Studios.

The Bondsman looks like the kind of story we’ve seen many times before, but look closer and you’ll see some fascinating insights.  

The show dropped on Amazon Prime last Thursday, starring Kevin Bacon as murdered bounty hunter Hub Halloran, who is resurrected by the Devil to hunt demons that have escaped from the prison of Hell. Hub learns how his own sins got his soul condemned, which pushes him to seek a second chance at life, love, and bizarrely enough, country music. 

After being murdered in an all-too visual pre-credits sequence, Hub is resurrected, and after seeing some supernatural horrors he can’t explain, Hub is quickly sent chasing down those demons with the help (and often hinderance) of his mother played by Beth Grant. They receive instructions on which demons to capture via fax. The demons are suitably unsettling, with their red pinprick-of-light eyes and gravity defying leaps. As scary as they are, they are also helpful enough to get themselves killed with conventional weapons and burst into flames as soon as they die, saving Hub the inconvenience of having to dispose of the bodies.  

In the first few episodes, it would be easy to dismiss The Bondsman as schlocky genre fiction. Kevin Bacon easily leans into the laconic, foul-mouthed cynic, more comfortable with ultra-violence than discussing his emotions. The Southern Gothic is an aesthetic we’ve seen in more Amazon Prime shows than we care to remember at this point, and the gore is at the level you would expect from horror experts; Blumhouse, and the setting of rural Georgia, is reminiscent of The Walking Dead. You could be forgiven for leaving this show at the pilot and not returning to it. But if you can make it through the formulaic first few episodes (which are mercifully short, 35 minutes at the longest) your patience is likely to be rewarded.  

For any viewers familiar with Angel or Constantine, the idea of a hero who fights evil but is still damned to hell for their past actions, is well worn territory. But if we look at Hub’s ‘co-ordinator’ Midge (Jolene Purdy) we get a small insight into the banality of evil. Midge is coerced into selling her soul to the devil in order to save her dying infant son. This highlights how often people are drawn into corruption because they were forced to pick the lesser of two impossible evils. As Midge’s own ‘co-ordinator’ tells her: “The fastest path to hell: selling your soul to help someone you love”. Midge’s son is ‘miraculously’ healed, so long as she continues to meet her quota of convincing people to sell their souls. It seems the devil has a better health plan than corporate America. 

Those subtle jabs at corporate America make the show quietly subversive. The devil’s minions here appear as the ‘Pot O’ Gold’ company, a slimy operation that preys on the weak and perpetuates misery in order to benefit a faceless boss. What’s interesting is how ‘literal evil’ fits so easily into the model of a capitalist corporation. Whilst many US politicians may decry the evils of socialism, it seems that as far as evil in America in The Bondsman is concerned, the call is coming from inside the house.  

It's true that God is largely absent from this story. In the same way that competent, protective parents are absent from children’s novels. If he was present, that would undercut a lot of the narrative tension. Despite this, it’s interesting how even in a world where characters reference and believe in the existence of God, virtually none of the characters think to pray or ask for his help. It brings to mind the C.S. Lewis quote about how “the doors of hell are locked on the inside". 

This might possibly be the show’s greatest contribution. What we can see from The Bondsman is God in the inverse, a negative image. Instead of the hope of an eternal life, they’re faced with the numbing despair of lasting torment. Hub and Midge are sent out on missions by a faceless, uncaring ‘boss’ rather than a loving intimate father, forced into being corporate co-workers rather than found family. Once it moves past the adolescent gore-for-gore’s sake of the first few episodes, it seems The Bondsman might have a fantasy world worth exploring. 

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