Article
America
Conspiracy theory
Culture
Politics
5 min read

Will America succumb to the undertow?

A returning expat asks if an exhausted majority is, in fact, asleep.

Jared Stacy holds a Theological Ethics PhD from the University of Aberdeen. His research focuses conspiracy theory, politics, and evangelicalism.

A sleeping voter sits and snoozes next to voting booth.
'Which One?'
Nick Jones/Norman Rockwell/Midjourney.ai.

Dietrich Bonhoeffer famously made a decision to return to Germany before the outbreak of the Second World War. The year was 1938, and he was visiting America for a second time. Instead of taking a theology teaching position in New York that would’ve kept him above the fray of a deteriorating social world in Germany, Bonhoeffer’s sense of spiritual responsibility drove him to solidarity with the German situation.  

I’ve thought about Bonhoeffer a lot these last few months as our family is making a transition back to the States during an election year. Not because I’d ever directly compare our move with Bonhoeffer’s. But because I’m anticipating the “shock” of returning to a deteriorating social world. Unlike him, our decision to return is far more modest and expedient. Still, we’re often asked by our friends here in Scotland, “why go back?” 

My immediate answer is straightforward and entirely different than Bonhoeffer: we did what we came here to do. Our visas are up; I’m defending my PhD this month. But behind these questions of expediency, I do feel the weight of an existential question, one directed towards myself as much as it is towards America. 

And that question is “who is going back?” Because after three years, America has changed to us as we’ve changed ourselves.  

The persecution confronting white Christians in America is the soft persecution of opulence diffused in the ordinary.

With that change comes new choices and new questions that didn’t confront us years ago. Returning to America has us asking questions like, how do you talk to your school-aged kids about active shooter drills in their new school? How will we navigate the racialized social scripts that pervade not just American communities, but also American churches? How will we re-enter a job market that ties production to basic health care? 

We’re bracing for the shock of going back to America. It will be more difficult than leaving ever was. Not just because we’ve changed, but also that the American situation has grown more extreme while paradoxically denying that change.  

We’ve discovered that if American Christians are persecuted at all, it’s not from President Biden’s “corrupt regime” seeking to jail Trump or secure power through another “rigged election.” No, the persecution confronting white Christians in America is the soft persecution of opulence diffused in the ordinary. 

As an expat returning to America, I wonder if this exhausted majority is, in fact, asleep. 

Perspective changes everything. The outsider’s view of America careening towards a crisis of democracy and a social fabric rent at the seams isn’t felt as much by those who live within its social world, whose experience of the mundane obscures the poly-crisis pressing our social fabric at the seams. How did we get here? 

Researchers discovered an interesting demographic cohort in American life, you might have heard of it. It’s called the “exhausted majority.” It refers to an ideological diverse cohort at the center of American life that has all but disengaged politically. Researchers began to talk about this “exhausted majority” in 2018, before the pandemic, before a less-than-peaceful transfer of democratic power. The hope was, then, that this “exhausted majority” might be mobilized to fend off polarization and extremism. As an expat returning to America, I wonder if this exhausted majority is, in fact, asleep. 

What has become of this exhausted majority? In the wake of 2020, America underwent significant backlash and retrenchment. This affected churches, too. Friends who are pastors tell me churches in their communities have “re-sorted” along partisan lines. One pastor suggested the election might not divide churches this time, as much as partisan-determined churches might contribute to social division. Polarization has worked its way from the outer edges of American life to the very center. It does this work silently, mediated by our reliance on algorithms, a life conformed to and captured by digital architecture. 

There’s an element of surprise here, at least for us as we return. Because what we experienced as the collapse of our social world in white evangelicalism—a world that we no longer are at home in— I’ve found is still very much active, very much automated—like survival reflexes—still providing an artificial coherence and plausible deniability amidst a deteriorating social situation. 

This retrenchment and backlash creates a dangerous condition: an undertow. For so many, life goes on as normal on the surface, while democratic institutions are pulled apart beneath. America is caught in a rip current, but asleep on the surface. This undertow partly explains, at least to me, why all the talk of “the crisis of democracy” doesn’t register with many Americans.  

A recent survey found that more than half of Americans haven’t heard the term “Christian Nationalism”—in spite of a flurry of academic and popular discourses on the term, often at the center of “crisis of democracy” rhetoric. 

The fact is, Rome wasn’t built in a day, and it didn’t fall in a day, either. The Senate handing over power to Caesar one day didn’t do much to alter the mundane early morning routine of bread makers in Rome the next day. Tyranny dawns, but the ordinary continues. The routine of the mundane and ordinary, of bread and circuses, makes talk of a democratic collapse seem just another political game, a distraction from all the amusement that Neil Postman observed might be our death. 

As we return to America, reflecting on who we’ve become and the responsibility of faith, I’ve found myself considering the difference between being fated and being holy.  

Fate confronts us as necessity. The holy confronts us as something other. And this “other”—at least for Bonhoeffer—was the freedom of God. And I can think of no better prayer for the church in America in the coming years to maintain in ourselves the crucial distinction between fatedness and holiness. To not confuse the expediency of partisan games with the responsibility made visible in the light of the central claim of Christian faith in the body of Jesus Christ. The Crucified One, not the fate of Western Civilization, determines what it is to be the ekklesia, the “called out” community, both free and responsible, never fated. 

Review
Belief
Culture
Film & TV
4 min read

Heretic: Hugh Grant’s brilliance wrestles this tranquilized take on holy horror

If not original, a dissection of belief needs to be sincere and agile.
A man looks scarily upwards.
Hugh Grant prepares to eviscerate the script.

Halloween night: the perfect setting for a horror film. Religious horror: the perfect horror sub-genre. The supernatural invading the natural, darkness swallowing the light, tension and suspense assaulting the placidity we all crave, and doubt gnawing away at faith. All these reversals of the order we try to live in are on offer in Heretic. This is a ghoulish and ghastly offering from writer/directors Scott Beck and Bryan Woods, who are no strangers to the genre. In Heretic they bring the best that horror cinema has to offer: simplicity.  

The plot and script are lean enough to effortlessly perform the twists and contortions needed to keep the viewer off-guard and on the edge of their seat. The script is tight, with some wonderful opportunities to soliloquise and dialogue that is deliciously awkward and painful. The camera work is almost cruel in its relentlessness. This is not a film of jump scares. Here the camera lingers, and lingers…and lingers. Tight close ups on frightened faces and sinister smiles. Slow pans round a room, promising a sudden shock of relief that never comes – only more anxiety.  

The camera refuses to make the experience easy, but insists on letting the atmosphere and semiotics drive the audience to the point of tears. Such a focused and aggressive camera needs performers who won’t shy away but will grab it and wrestle with it! Thankfully, the performances are superb across the board. It's basically a three-hander, carried by Sophie East, Chloe Thatcher, and the indominable Hugh Grant (more about him later).  

East and Thatcher play two young Mormon missionaries – Sister Paxton and Sister Barnes - who spend their days walking the streets of a small American town in the mountains. In between dispiriting attempts to communicate their faith with an apathetic and even derisive public, they wile away the hours discussing their faith, their hopes and dreams, the perception of Mormonism in the popular culture, and the marketing of ‘magnum condoms’. Sister Paxton is earnest and zealous, desperate to prove herself as a missionary by converting at least one person. Sister Barnes is a little more reserved, almost cynical. There is less fervour, a hint of weariness, even the lurking sense of doubt? 

The two young ladies end an exhausting day with a visit to an isolated mountain-top cottage where they believe the seemingly kindly and bumbling English gent, Mr. Reed, is a prospective convert. Who else bumbles like Hugh Grant? It’s a joy to watch. What they hope will be a pleasant chat about their faith slowly descends into a horrifying and twisted psychological torture session, where the concepts of faith, doubt, religion, prophesy, and institutional thinking are all examined.  

I dare not say much more. This is a film which hides its twists well and uses the mundanities of blueberry pie and Monopoly to chillingly hilarious effect.  

However… 

Having heaped praise upon praise, I must admit that I left the cinema feeling slightly disappointed. I love horror cinema. I love religion – so much so that I’ve made it my day job. I love them in combination that appears pretty frequently, from the giddy heights of The Exorcist to the drudgery that is The Exorcist: Believer. This means that most of the themes that can be explored have been explored. Originality is nearly impossible, and not really necessary – but exploring the themes with sincerity and agility would be nice. The script might be acrobatic, but the thematic exposition is about as plodding as a tranquilised elephant with a limp. 

It is bad. 

Again, I don’t want to give the twists and turns away, but quite quickly a dissonance between the brilliance of the dialogue and the turgidity of the theme appears, and it doesn’t…go…away! What is faith and what is doubt? Good. What is belief and what is disbelief? Good. No. Scrap that. ‘RELIGION IS ALL JUST MAN MADE!’ Okay, we could explore that. ‘NO. JESUS IS BASICALLY HORUS.’ Right, but let’s tease out the nuance. ‘NO! RELIGION IS JUST A SYSTEM OF CONTROL!’  

Mr Reed suddenly morphs into the most tiresome bore. A cross between the theological illiteracy of Dawkins and the pathological obsession with power of Foucault. It is possible that this is part of the point – that this was intended to be a witty and incisive invective against institutionalism (especially institutionalised misogyny), and the ladies do land some philosophical counterpunches which expose the emptiness of Mr Reed’s rantings – but it just wasn’t done subtly or adeptly enough. What promises to be a thematic exposition of the nature of belief turns into a fairly lumbering and ponderous lecture on how belief full-stop is a ‘system of control’. We get it. We’ve been hearing this for centuries, and at a new fever pitch since the early noughties. Again…originality isn’t essential if the same old theme is explored well. I just didn’t feel it was. I felt it was a chore. 

Yet (another twist coming!), Mr Reed is still compelling. However boring the thematic content, I was never bored. Hugh Grant is superlative as the sinister, fanatical, hateful, charming, charismatic, hilarious Mr Reed. He delivers lines filled with acid yet dipped in honey. He smiles that singular smile as both wolf and lamb at once. His eyes twinkle with light that is both warm and yet dead and cold. He delivers laugh out loud speeches with absolute relish. The theme might be being butchered, but when the butcher is Hugh Grant you sort of forgive it all.  

I would advise you see this film. It's excellent on every technical level and an almost perfect tension builder. It's not perfect, and those who are genuinely interested in the theme are likely to roll their eyes as the early promise of interesting study devolves into something sub-Sam Harris. But ignore that and just enjoy the twists and turns. Ignore it and focus on Hugh Grant. He’s never been better. 

 

**** Stars.