Blogosphere, Popular Culture and Ideas

Tipping points and blogging by the numbers

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I have been blogging at soundingsjohnbarker (https://soundingsjohnbarker.wordpress.com/) for about a year and a half now. Recently I reached some kind of magical tipping point where I no longer have to write anything, at least for the foreseeable future, to garner more than 100 readers a day on average. It’s got so easy, I missed marking the few days it took to go from 49,000 readers to 50,000 readers because I hadn’t been looking at my stats much (the bane of every self-respecting blogger, or so it seems anyway) because I hadn’t written anything new since Feb. 16.

Not that it really matters much. Even if they were inclined to disclose such proprietary information, which they’re not for the most part, I’m not mathematically enough gifted to really understand how various Google and Facebook algorithms work, so I can’t explain why this is so.

I do know this: About 75 per cent of the daily views right now on the almost 200 posts I’ve written since September 2014 come from my home or landing page on the blog, with a handful of stories, or blog posts, if you will, garnering views of at least one or two readers somewhere in the world every day.

I’m delighted to say “Red Barn, Big Barney and the Barnbuster” (https://soundingsjohnbarker.wordpress.com/2014/09/13/red-barn-big-barney-and-the-barnbuster/) one of my early posts from Sept. 13, 2014 joined that rarefied company of posts recently. On an ordinary day, readers in about a dozen or more countries around the globe read what I have written here. The makeup of the countries changes somewhat but the overall number of 12 or slightly more on a daily basis, has been the same almost from the beginning. It doesn’t go up or down much.

It seems that the majority of the stories being read right now, where a reader goes to a specific story rather than my homepage, come disproportionally from my earlier work, say between September 2014 and last May. Is that because I wrote better stuff back then? Possibly. But I think it more likely has a lot to do with the mysteries of Google search and how things cycle around the World Wide Web (WWW) on the Internet. I expect perhaps that in six months from now, some of the stories I’ve penned more recently will find their stride.

Along the way, I’ve learned a few tricks, of course. Write local if you want some big numbers on a given day. While I do from time to time, if some local issue or story interests me in an unusual way, I stay away from that kind of writing for the most part. For one thing, those kind of stories, I find, have little staying power, with three or four rare local exceptions (an unsolved murder story; a story about Dr. Alan Rich’s retirement last year and local lawyer Alain Huberdeau’s appointment to the provincial court bench; and several Vale stories come to mind). But most of them are one or two day wonders. It’s the more eccentric pieces on other places and even times that have a deeper and wider audience in the long run. Fortunately, I prefer to write on more eclectic things these days without any particular regard for geography or subject matter if the topic strikes my interest. Thompson city council may well make decisions that affect me in myriad ways, not the least of which is in the pocketbook as a local taxpayer, but even that can’t remove the glaze from my eyes long enough to write much about local municipal politics, although our water bills are tempting me to make an exception. But reading newspaper accounts of such goings on is usually painful enough. Mind you, I realize what strikes my fancy to write about when I don’t write local, is not for everyone, and I have no doubt that I’ve created some eye glazing of my own especially when I write on eschatology or some other arcane to some of my local readers religious topic.

The other thing I’ve learned is a bit about the value of tags and search engine optimization. And what I’ve learned, I must confess, is not exactly high culture or high-minded for that matter. Sex sells. Sizzle sells. Self-referential sells. Surprise!

My leading search engine terms today are: “hot tub high school; Lauren German hot tub school; MKO audit; Red Barn restaurant; LBJ sworn in” and “hot tub high school movie.” If you detect a theme, it is actually from a more recent story Jan. 29 headlined, “Fox TV’s Lucifer Morningstar and normalizing evil: Does the devil get any cuddlier?” (https://soundingsjohnbarker.wordpress.com/2016/01/29/fox-tvs-lucifer-morningstar-and-normalizing-evil-does-the-devil-get-any-cuddlier/) where I wrote, “Multiple references by Morningstar to Dancer about her briefly being a B-list actress, best known for her topless scenes in a movie called Hot Tub High School, before she became a cop, like her dad, are not accompanied by flashbacks, although Neil Genzlinger in his New York Times review, described the devil in Lucifer as having the “sexist, salacious mind-set of a 14-year-old boy” when it comes to Chloe.”

Perhaps destined to join the ranks of stories read daily in a few months?

You can also follow me on Twitter at: https://twitter.com/jwbarker22

 

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Popular Culture and Ideas

Fox TV’s Lucifer Morningstar and normalizing evil: Does the devil get any cuddlier?

 

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Whenever you start out a piece with “against my better judgment” you might as well follow it up with the corollary “what were you thinking?”

Such was the case a couple of days ago, I confess, when I watched the Jan. 25 premiere of Fox TV’s Lucifer. I can’t even cop a plea to being lured in the midst of spontaneous channel-switching. I was on campus working but set my personal video recorder (PVR) to make sure I could check it out, since I had first written about it here in a piece last June 9 headlined, “The Devil, Prince of this World, is not surprisingly about to get his pop culture due on Fox Television as Lucifer Morningstar, recently retired as Lord of Hell and running a piano bar in Los Angeles, the City of Angels”( https://soundingsjohnbarker.wordpress.com/2015/06/09/the-devil-prince-of-this-world-is-not-surprisingly-about-to-get-his-pop-culture-due-on-fox-television-as-lucifer-morningstar-recently-retired-as-lord-of-hell-and-running-a-piano-bar-in-los-angeles/)

Spoiler alert if you haven’t seen the show yet. This isn’t The Exorcist, the 1973 film directed by William Friedkin and adapted and produced by William Peter Blatty from his 1971 novel of the same name. In 2016, Welsh-born actor Tom Ellis is no badass devil. He’s an amateur wannabe crime fighter helping the L.A.P.D. Really.

The basic outline for Lucifer goes something like this in the new DC Comics-based high-concept (according to Fox TV anyway) series genre. Lucifer Morningstar “bored and unhappy as the Lord of Hell, resigns his throne and abandons his kingdom for the gorgeous, shimmering insanity of Los Angeles, where he opens an exclusive piano bar called Lux.”

Admittedly the production of Lucifer is slick enough. That said, watching a three-minute trailer on YouTube (https://www.youtube.com/watch?v=X4bF_quwNtw), I couldn’t help laughing near the end of the trailer when Lucifer, played by Tom Ellis, baffled, asks the female L.A.P.D. homicide detective, Chloe Decker (played by Lauren German) who unlike almost all the other women who are charmed by him, while she isn’t, “Did my father send you?”

It’s actually funnier to hear in the trailer than in the premiere. Perhaps because by the time the line is uttered you have decided Lucifer works better as a trailer than a TV series. Can there be a trailer without a show or movie? If so, I’d nominate Lucifer for it.

The chemistry between Chloe Decker and Lucifer Morningstar in the premiere is somewhat less than sizzling, given her penchant not to be charmed by him, although there is some hint she’s warming up to him by the end of the show. Multiple references by Morningstar to Decker about her briefly being a B-list actress, best known for her topless scenes in a movie called Hot Tub High School, before she became a cop, like her dad, are not accompanied by flashbacks, although Neil Genzlinger in his New York Times review, described the devil in Lucifer as having the “sexist, salacious mind-set of a 14-year-old boy” when it comes to Chloe.

Of course, that was pretty much the nicest thing Genzlinger had to say about Lucifer, opening his piece with, “Even Satanists will be reaching for the remote when …

“The Devil deserves better than …

“Oh, heck, Fox’s Lucifer is so terrible that it doesn’t even warrant the effort of a clever opening line.

We Catholics get a refresher course every Easter in the dangers of glamorizing evil through the renewal of our baptismal promises when the priest asks us, “Do you renounce Satan and all his works, and all his empty show; do you renounce the glamour of evil, and refuse to be mastered by sin; do you renounce Satan, the author and prince of sin?”

I’m not so sure Lucifer quite rises to the level of glamour and is a danger to be worried about. Then again, perhaps that’s what the Enemy wants me to believe. Who knows? Perhaps the Satan of Fox TV’s Lucifer is more to be feared for the normality (or banality) he projects than when he was portrayed as evil incarnate in The Exorcist some 43 years ago.

Tom Ellis told Variety news editor Laura Prudom earlier this month:  “I come from a very religious household, growing up; my father’s a pastor, my uncle’s a pastor and my sister’s a pastor, and they’re all thrilled that I got this job and they’re able to understand what this show is, I suppose, which is a satire using the character of the devil to tell a redemption story. And that’s ultimately what this is – it’s not trying to offend anyone or throw up any big theological debate, it’s just a piece of entertainment, basically. If there’s anything at the heart of it that’s didactic or there’s a message there, then it’s maybe that people should have a little look at themselves and take responsibility for their own actions rather than put it on other people or other things, other beings.

“In the same way that Bruce Almighty had Morgan Freeman in a white suit playing God, that’s the tone in which we enter this sort of theology. It’s not out there to offend people. And if people do get offended by it, there’s lots of other things on.”

The day after its Jan. 25 premiere, Variety senior editor Rick Kissell wrote: “At 9 p.m., Lucifer opened with a hot 2.4/7 in 18-49 and 7.2 million viewers overall, placing first in its time period in 18-49 and standing as the night’s No. 2 show in the demo. It matches Rosewood as the highest-rated of eight Fox series launches this season (more than doubling Minority Report in the same hour last fall), and is the top-rated premiere on any network since the debut of CBS drama Supergirl last October. In a good sign, Lucifer held just about all of its audience from its first half-hour (2.5 in 18-49) to its second (2.4).

In The Lion, The Witch, And The Wardrobe, the novel for children published in October 1950, C.S. Lewis, one of the leading Christian apologists of the 20th century wrote, “There is no neutral ground in the universe. Every square inch, every split second, is claimed by God and counterclaimed by Satan.”

Spiritual warfare was what Lewis was talking about almost six and a half decades ago, just as the Epistle of Saint Paul to the Ephesians almost 2,000 years earlier had said, “For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.

You can also follow me on Twitter at: https://twitter.com/jwbarker22

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Catholicism, Pope Francis

Pope Francis in Bolivia: Crucifix, Communism and Controversy

sicklehammerPope Francis, since his election as supreme pontiff of the Roman Catholic Church in March 2013, has always kept both his supporters and critics alike guessing by his flying-by-the-seat-of-the-pants pastoral style. While doctrinally the Catholic theology he teaches is consistent with what occupants of the Cathedra Petri have taught, well, all the way back to St. Peter, his pastoral style as the shepherd of the flock of one billion-plus Catholics worldwide, is one-of-a-kind.

Pope Francis, of course, rocketed into the media stratosphere on July 28, 2013, little more than four months after being elected pope, when returning on his first foreign papal trip from Rio de Janeiro on the Alitalia flight to Rome July 28, at the end of his seven days in Brazil, wandered back to the press compartment in the rear of the plane and took questions from 21 reporters travelling aboard the papal aircraft for 81 minutes with nothing off the record. Francis stood for the entire time, answering in Italian and Spanish without notes and never refusing to take a question. The Pope’s answer to the last question became the worldwide take-away quote: “If a gay person is in eager search of God, who am I to judge them?” While Pope Francis’ answer shot around the world – for the most part without benefit of being prefaced by the question or contextually situated – it didn’t break any new Catholic theological ground or offer up a new heresy. What it did represent was a change in tone.

He also has a penchant for giving interviews to prominent atheist journalists, talking about and with atheists, picking up the phone to cold-call folks he wants to talk to, and meeting with Protestant evangelicals, with a special fondness it seems for Pentecostals and other charismatics.

And Pope Francis also misses going out for pizza. In an interview earlier this year, to mark the second anniversary of his election to the papacy March 13, with Valentina Alazraki, the veteran Vatican correspondent for Mexico’s Noticieros Televisa at Casa Santa Marta, the Vatican hotel where he has lived since his election as pope, he said the only thing he really misses about his old life pre-March 13, 2013 is the ability “to go out to a pizzeria and eat a pizza,” adding that even as Cardinal Jorge Mario Bergoglio in Buenos Aires he was free to roam the streets, particularly to visit parishes.

Almost half the population of Buenos Aires can rightfully claim  Italian heritage, so it is little surprise the Argentinian capital is so well-known for its Napoletana pizza. “The only thing I would like is to go out one day, without being recognized, and go to a pizzeria for a pizza,” Pope Francis said, comparing his life now to how it was when he was Archbishop of Buenos Aires. “In Buenos Aires I was a rover. I moved between parishes and certainly this habit has changed. It has been hard work to change. But you get used to it,”  Pope Francis told Alazraki.

But #coolpope also talks about the devil and dystopia. A lot. In his Monday homily at a mass at Casa Santa Marta on  Nov. 18, 2013, Pope Francis, made reference to the 1907 apocalyptic and dystopian novel Lord of the World by Robert Hugh Benson, son of the Archbishop of Canterbury Edward White Benson and himself a former Anglican clergyman, who converted to Roman Catholicism in 1903 and was ordained a priest in 1904, in which he writes of an imagined future where, in the words of Father Robert Barron, rector of University of Saint Mary of the Lake, also known as Mundelein Seminary, in Chicago, “Europe and America are dominated by a rationalist regime bent on making life as technologically convenient and politically harmonious as possible.” Sound familiar?

Of course for all those who think Pope Francis is #coolpope, there are no shortage of those who think he is Petrus Romanus (Peter the Roman). In that eschatological end times vision of unfolding history,  U.S. President Barack Obama often cast as the “Antichrist” and Pope Francis the “False Prophet.” This is the kind of thing you are not likely to hear discussed in polite company, except maybe in a dismissive fashion or to be held up to scorn and ridicule. Yet millions of people around the world believe in just such a scenario.

Within hours of Pope-emeritus Benedict XVI announcing his resignation Feb. 11, 2013, becoming the first pope to resign in almost 600 years (the last having been Pope Gregory XII, who resigned at the request of the Council of Constance on July 4, 1415 to help end the Great Western Schism) some folks were talking excitedly about “Petrus Romanus” (Peter the Roman) who would be history’s last pope, according to the Prophecy of St. Malachy or Prophecy of the Popes from 1139.

The fact Pope Francis was formerly Cardinal Jorge Mario Bergoglio, archbishop of Buenos Aires in Argentina, and the name Peter appears nowhere in his former or current appellations, hasn’t much fazed Petrus Romanus true believers, who happily point out the first Pope to take the name Francis did so after St. Francis of Assisi, an Italian whose original name was Giovanni di Pietro di Bernardone, but nicknamed Francesco (“the Frenchman”) by his father. Pietro in Italian translates to Peter in English. Is this “Francesco di Pietro (Peter) di Bernardone, literally, ‘Peter the Roman,’” as Tom Horn and Cris Putnam, co-authors of the 2012 book Petrus Romanus: The Final Pope is Here, have argued? While their research was prodigious, in a sense, the result falls pretty far short of anything approaching coherent scholarship in any true academic sense. The strategy much of the time seems to be to dig up what you can and if you throw enough of these scattered historical documents against the wall of the “Romanists” something will stick.

You don’t have to be anti-Catholic, pro-Catholic, neutral or even much of a scholar to know the historical record has lots of less than flattering documents when it comes to the Catholic Church, many of them quite authentic. Marshaling such disparate sources into a coherent and convincing argument to support something approaching a thesis is something else again. Horn and Putnam are also stuck with the problem of time. Inconveniently for them, Pope-emeritus Benedict XVI  resigned in February 2013 – just after their book was published – rather than slightly earlier in 2012 – before Petrus Romanus was printed – which would have fit on their timeline a bit better. The longer out in time Pope Francis’ pontificate runs, the farther removed it is from their graphic images of Rome burning.

While Horn and Putnam are careful not to fall into the trap personally of being “date setters,” which can cause one’s reputation to evaporate quite literally in a second if you’re wrong, they’re not above conveniently quoting other writers to make those kind of points at times, such as the ersatz Ronald L. Conte Jr., a self-described “Roman Catholic lay theologian and Bible translator” who publishes something called Catholic Planet. Conte, as Horn and Putnam noted in 2012, predicted that by “July 2013, Rome is destroyed when it is struck by a nuclear missile.” Conte also predicted, again parroted by Horn and Putnam, that after Pope-emeritus Benedict XVI, the next pope would be Nigerian Cardinal Francis Arinze and that he would take the name Pius XIII. Wrong and wrong again. As prognosticators on the papacy, Horn and Putnam are no better than Conte. Their 2012 Top 10 list in Petrus Romanus to succeed Pope-emeritus Benedict XVI included Arinze; followed by Italian Cardinal Tarcisio Bertone, who was dumped as secretary of state by Pope Francis in October 2013, seven months after he took office.

Rounding out their list in descending order for “Final Pope” were Ghanaian Cardinal Peter Turkson; Italian Cardinal Angelo Scola; Italian Cardinal Gianfranco Ravasi; Argentinian Cardinal Leonardo Sandri; Italian cardinal Ennio Antonelli; French Cardinal Jean-Louis Pierre Tauran; Austrian Cardinal Christoph Schönborn; and Canadian Cardinal Marc Ouellet.  While they did have an Argentinian cardinal on their list, unfortunately for Horn and Putnam it wasn’t Cardinal Jorge Mario Bergoglio.

Maelmhaedhoc O’Morgair, born in Armagh in 1094, later to be known as St. Malachy, was canonized as a Roman Catholic saint on July 6, 1199 by Pope Clement III, and was the former archbishop of the Irish Archdiocese of Armagh and Diocese of Connor, and while in Rome in 1139 reportedly experienced what is considered by the Catholic Church to be an unapproved private revelation – if the incident even happened – in the form of an apparition of the 112 popes following Pope Celestine II, who died March 8, 1144. Malachy was said to have recorded his Prophecy of St. Malachy or Prophecy of the Popes (and antipopes) as a sequence of 112 cryptic Latin oracles or mottoes ending with the 112th and final Pope, Petrus Romanus, who in Malachy’s vision, is said to be on the Throne of the Apostle as history’s 112th and last pope. “In the final persecution of the Holy Roman Church, there will sit, Peter the Roman, who will pasture his sheep in many tribulations, and when these things are finished, the city of seven hills will be destroyed, and the dreadful judge will judge his people. The End.”

Malachy’s manuscript was supposedly deposited in what is now known as the Archivum Secretum Apostolicum Vaticanum before he returned to Ireland as the papal legate. And there the manuscript is said to have sat, forgotten and gathering dust until re-discovered more than 400 years later by Arnold Wion, a Benedictine monk, who published them in 1595 as Lignum Vitae (Tree of Life). Or not. Given the very accurate description of popes up to 1590 and lack of accuracy after that year, “modern scholars have unanimously noted, in the 37 subsequent mottoes, a radical departure from the unfailing precision and appropriateness of the previous 74, and they are agreed that the Prophecy of Malachy is a counterfeit,” wrote John J. Driscoll in the Roman Catholic theological scholarship journal American Ecclesiastical Review in June 1944.

Historians generally conclude that the alleged prophecies are a fabrication written shortly before they were published, perhaps in a failed bid to see Italian Cardinal Girolamo Simoncelli elected Pope during the second conclave of Oct. 8, 1590 to Dec. 5, 1590 where Pope Gregory XIV was eventually elected as the successor of Pope Urban VII.

Pope Francis was in Bolivia yesterday, as part of his second papal trip to South America. A crucifix sculpted in the shape of a carved wooden hammer and sickle, combining Catholic and communist symbols, was presented to him during an official gift-exchange ceremony in La Paz by Bolivian President Evo Morales and lit up the blogosphere among Catholic commentators and reignited the Petrus Romanus crowd on the other end of the continuum. Morales also draped a medallion around over the pope’s neck that bore the hammer and sickle.

“No esta bien eso,” Pope Francis is said to have responded in Spanish to Morales, which translates to “that’s not right.” However, both Vatican and Bolivian officials played down the incident, saying no offence was intended.

Vatican spokesman Father Federico Lombardi, himself a Jesuit, said later Pope Francis didn’t know the history behind the crucifix and that he was surprised to receive it. The crucifix was a replica of a similar crucifix based on a design by Luis Espinal, a Jesuit priest tortured and killed by Bolivia’s right-wing militia paramilitary death squads in 1980 to whom Pope Francis paid tribute to earlier in this trip, stopping to deliver a prayer at the site of his assassination, in remembrance of “a brother of ours, the victim of those who did not want him to fight for freedom in Bolivia.”

Bolivia’s communications minister, Marianela Paco, told Bolivian radio: “The sickle evokes the peasant, the hammer the carpenter, representing humble workers, God’s people,” adding there was “no other” motive behind the gift.

Pope Francis may have thought Morales’ overtly linking the crucifix to communism an inappropriate over-the-top grandstanding  gesture, but within hours of the crucifix incident, “Pope Francis Declares Lucifer as God,” a three-minute and 15-second YouTube video (https://www.youtube.com/watch?v=dcpVrtv2t-M) , published July 4 by “Souldier4Christ” was showing up on my Facebook news feed with the controversial crucifix story. The introduction of the short video spells declaration as “decleration,” happened as “happend,” exactly as “exaclty” and Corinthians as “Corinthains.” All in the first 2:15. Spelling apparently is not Soldier’s forte. Call me old fashioned, but I’m not inclined to put much store in the theology or Latin translation of those who can’t spell much less think clearly. Thanks, anyway Facebook.

Mind you, none other than Blessed Pope Paul VI himself delivered his now famous “Smoke of Satan” homily on June 29, 1972 on the ninth anniversary of his coronation, which remains perhaps the most famous and most-argued about in terms of meaning sermons the Holy Father delivered during his 15-year-plus pontificate, while the enigmatic Malachi Martin, a Jesuit priest and best-selling author suggested the Enthronement of the Fallen Archangel Lucifer occurred exactly nine years to the day earlier – on the day Blessed Pope Paul VI was coronated ­­on June 29, 1963 – on the Solemnity of Saints Peter and Paul, as the Availing Time arrived. But however controversial and debatable Blessed Pope Paul VI and Father Martin’s musings on Lucifer and the Vatican were and remain, no one is likely to suggest they were anything but clear thinkers who could spell correctly and that spiritual warfare is always a very real and clear and present danger for the Church.

As the Anglican writer C.S. Lewis, one of the leading Christian apologists of the 20th century, wrote in The Lion, The Witch, And The Wardrobe, the novel for children published in October 1950,“There is no neutral ground in the universe. Every square inch, every split second, is claimed by God and counterclaimed by Satan.” Catholic writer Robert Hugh Benson, author of the 1907 apocalyptic and dystopian novel Lord of the World, (https://soundingsjohnbarker.wordpress.com/2014/09/04/spiritual-warfare/) , who has been quoted approvingly by Pope Francis, would have agreed with Lewis.

Pope Francis is now in Paraguay, the third and final country on his second tour of Latin America since becoming Pope, which ends on Monday. The eight-day tour began in Ecuador July 5.

You can also follow me on Twitter at: https://twitter.com/jwbarker22

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Christianity, Movies, Popular Culture and Ideas

The Devil, Prince of this World, is not surprisingly about to get his pop culture due on Fox Television as Lucifer Morningstar, recently retired as Lord of Hell and running a piano bar in Los Angeles, the City of Angels

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Some movie film buffs are attracted to 1940’s and 1950’s Hollywood film noir, the stylish but low-key black-and-white German expressionist influenced flicks that emphasize cynicism and sex as motivations for murder and other deadly sins (not necessarily in that order). Think Howard Hawks’ The Big Sleep in 1946, with Lauren Bacall and Humphrey Bogart, based on Raymond Chandler’s 1939 novel of the same name. Or perhaps the 1950 classic, D.O.A., starring Edmond O’Brien and Pamela Britton.

Both are fine films, as are many others of the genre. But I wouldn’t say I am quite an aficionado of film noir. Rather, I appreciate it on its artistic merits.

The same is true for TV series science fiction or sci-fi. While I am a sucker for a good story with elements of time travel or parallel universes (“The City on the Edge of Forever,” the second to last episode of the first season of Star Trek, first broadcast on Thursday, April 6, 1967, which was awarded the 1968 Hugo Award for Best Dramatic Presentation, remains in a league of its own in my mind), I’m not  quite a diehard Trekkie, although I think the original series, which ran on NBC Television for three seasons from 1966 to 1969 is superb, albeit cheesy. But cheesy is OK. Popular culture is made up of a rich cornucopia of cheesy television and movies that almost require a mandatory bowl of Cheetos® to consume such classics as the black-and-white a double-bill of The Brain That Wouldn’t Die, also known as The Head That Wouldn’t Die, a 1959 science-fiction-horror film, directed by Joseph Green (made for $62,000 but not released until 1962), and Plan 9 from Outer Space, the 1959 American science-fiction thriller film, written and directed by Ed Wood on a $60,000 budget, and dubbed by some critics as the worst movie ever made.

While it took me a while to warm up to it, I also came to like Star Trek: The Next Generation, which aired from 1987 to 1994. I’ve also seen most, although probably not all, of the movies from the seemingly endless Star Trek-spawned movie franchise.

Three additional Star Trek spin-offs, Star Trek: Deep Space Nine, Star Trek: Voyager, and Star Trek: Enterprise; well, I could probably count on the fingers of one hand how many episodes of the combined series I’ve ever watched, although knowing Star Trek: Enterprise, which aired originally between 2001 and 2005 and was titled simply as Enterprise for its first two seasons, features Scott Bakula of Quantum Leap fame as Capt. Jonathan Archer, and there is a recurring plot device based on the Temporal Cold War, in which a mysterious entity from the 27th century uses the Cabal, a group of genetically upgraded Suliban, to manipulate the timeline and change past events, I probably will have to give in and start watching its 98 episodes at some point.

Then there is the Christian movie genre. We discover things where we discover them. While I had seen The Rapture, a rather odd but interesting movie starring Mimi Rogers and David Duchovny, later of The X-Files and Californication fame, on VHS videotape cassette in Durham, North Carolina shortly after it was released in 1991, for me, my first real introduction into what I would call the Christian movie genre took place a decade later in Yellowknife, of all places (when I lived in Yellowknife a standard observation was that there were more bars than churches, although that’s hardly unique to Yk).

I remember seeing A Walk to Remember, an American coming-of-age teen romantic drama, when it was released in 2002 downtown at the Capitol Theatre on 52 Street, starring Shane West and Mandy Moore as Landon Carter and Jamie Sullivan, based on the 1999 novel of the same name by the Catholic romance fiction writer Nicholas Sparks. That would be the Nicholas Sparks whose earlier 1996 book, The Notebook, was released as a movie of the same name in 2004, two years after A Walk to Remember came to film screens. I can’t recall exactly how I came to find myself in the Capitol Theatre to watch A Walk to Remember. I don’t recall any of my colleagues going with me, although more than one expressed incredulity the next day when they asked me and I said I enjoyed the movie. I saw it again a couple of years ago for the first time on DVD, and I still enjoyed it.

I won’t spoil the plot for you; the summary is on the Internet and easy enough to find and the ideas, to be honest, are not exactly original. Cheesy? You bet. Pass the Cheetos®. But I’m happy to say the movie was made for about $11 million and has taken in about $47.5 million at the box office. Not a particularly big budget film and far from record box office, but OK.

I wrote a piece here in soundingsjohnbarker (https://soundingsjohnbarker.wordpress.com/2014/09/15/flying-largely-under-the-mainstream-cinematic-radar-christian-movie-genre-is-hot/) last Sept. 15 headlined, “Flying largely under the mainstream cinematic radar: Christian movie genre is ‘hot’” where I mentioned just a few of last year’s Christian movie offerings, including The Giver, starring three-time Academy award winner Meryl Streep and Jeff Bridges, which is set in a fictional post-war 2048 where the community has decided to get rid of colors and, as a consequence, different races and feelings. All citizens have had the memories from before erased from their minds.

I also talked a bit about Heaven Is for Real, directed by Randall Wallace and written by Christopher Parker, based on Pastor Todd Burpo and Lynn Vincent’s 2010 book of the same name, and starring Greg Kinnear, Kelly Reilly, Jacob Vargas and Nancy Sorel, which tells the story of  three-year-old Imperial, Nebraska, native Colton Burpo, the son of Pastor Burpo, and what he says he experienced heaven during emergency surgery; and When the Game Stands Tall, starring Jim Caviezel, best known for portraying Jesus in Mel Gibson’s blockbuster 2004 film The Passion of the Christ, now playing Catholic De La Salle High School Spartans’ football coach Bob Ladouceur (with Laura Dern as his wife, Bev Ladouceur), and telling the story of the record-setting 151-game 1992–2003 winning streak by De La Salle of Concord, California, just east of San Francisco. The movie is an adaptation of the 2003 book of the same name by Neil Hayes, then a columnist with the Contra Costa Times.  The movie was filmed in Louisiana.

As well, I mentioned Tim Chey’s movie, Final: The Rapture, released in 2013 in theatres, but on DVD just last November, starring Jah Shams, Mary Grace, Carman, Masashi Nagadoi and Dave Edwards. While there have been generally cheesy church-sponsored, Halloween “Hell Houses” videos in the past, Final: The Rapture is an unusual sub-genre of Christian horror movie or Christian disaster movie. The movie’s poster promise, “When the Rapture strikes … all of hell will break loose.”

Chey said his purpose is “to scare the living daylights out of nonbelievers … If it means I have to make a horror film to make it realistic to win people to Christ, then so be it.”

Online Maranatha News of Toronto calls Final: The Rapture “the scariest Christian movie ever.”

Final: The Rapture depicts the apocalyptic chaos that ensues for four nonbelievers – an African-American, an Asian, a Hispanic and a Caucasian man living in Los Angeles, Tokyo, Buenos Aires and on a South Pacific island, after the Rapture occurs. “In Los Angeles, Colin Nelson desperately attempts to flee to Bora Bora. Keenly aware that he’s in the Tribulation period, his only hope is in a mysterious man. In Tokyo, a journalist, Masashi, tries to unravel the disappearance of millions of people as the government closes in on him. In Buenos Aires, Marie searches for her final relative as time runs out. And on a deserted island in the South Pacific, Tom Wiseman, an avowed atheist, attempts to be rescued after his plane goes down.”

The film was shot in six countries over five months for about $7 million, Final: The Rapture, raised the necessary production money across a spectrum of investors, ranging from faith-based to hedge funds.

Just in passing, I wrote about God’s Not Dead with Kevin Sorbo; Noah with Russell Crowe; Son of God, produced by evangelical Mark Burnett from Survivor, and his Catholic wife, Roma Downey (whose A.D.: The Bible Continues miniseries based on the early church, as described in the first 10 chapters of the Acts of the Apostles is airing on NBC currently); and the “new” Left Behind movie about the Rapture by Paul Lalonde and Stoney Lake Entertainment, with Nicolas Cage starring as Rayford Steele, and Civil Twilight’s song “Letters from the Sky” being used in the trailer, released in North American theatres last October.

The interesting thing is if I was to revisit the genre today nine months later for a comprehensive update, I’d be saying the Christian movie genre is not just hot, it is on fire, churning out television miniseries and movies at a pace that would be better suited to a book than a blog post.

Mind you, the devil, Prince of this World, is not surprisingly about to get his due as well. Such is the nature of the supernatural and spiritual warfare.

A new DC Comics-based Fox TV high-concept genre series Lucifer where Lucifer Morningstar “bored and unhappy as the Lord of Hell, resigns his throne and abandons his kingdom for the gorgeous, shimmering insanity of Los Angeles, where he opens an exclusive piano bar called Lux” is set to air on Fox next year.

It gives new meaning to the dangers of glamorizing evil, something we Catholics get a refresher course in every Easter through the renewal of our baptismal promises where the priest asks us, “Do you renounce Satan and all his works, and all his empty show; do you renounce the glamour of evil, and refuse to be mastered by sin; do you renounce Satan, the author and prince of sin?”

The production of Lucifer is incredibly slick and well done. That said, watching a three-minute trailer on YouTube (https://www.youtube.com/watch?v=X4bF_quwNtw), I couldn’t help laughing near the end of the trailer when Lucifer, played by Tom Ellis, baffled, asks the female L.A.P.D. homicide detective, Chloe Dancer (played by Lauren German) who unlike almost all the other women who are charmed by him, while she isn’t, “Did my father send you?”

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Christian Cinema

Tim Chey and the Christian cinema ‘cheese’ factor

suingcheydavid

There was much consternation among Tim Chey and his Christian movie fans recently when all of the major Hollywood  movie studios took a pass on releasing his $50-million epic, David and Goliath, shot last year in Morocco and produced by RiverRain Productions.

The usual suspects, including the secular media, were trotted out for a whipping, and Chey and his supporters decided to go ahead and release the film on their own in 31 cities on Good Friday, April 3, while they tried to raise more money to get the film shown on more screens in more cities through Indiegogo, a San Francisco crowdfunding company. The movie earned about $161,000 at the box office over the Easter weekend. When the Indiegogo campaign closed March 12, they had only managed to crowdfund three per cent of their $777,000 USD goal, with 499 donors contributing $19,653 USD. According to the filmmakers, GodVine reported “The Hollywood studios have rejected David and Goliath for being too Bible-based and religious. One studio executive said, ‘You mention God in almost every scene.'”

Godvine
went onto quote Chey as reportedly saying, “We were constantly being ridiculed by the secular media.” Contrast that with the upbeat tone Chey took in a Beverly Hills, California-based Ripple Effect Communications media advisory on April 21, 2014, just weeks before shooting was set to get under way for David and Goliath in Morocco.  “Chey, who just finishing location scouting in Morocco, is jubilant,” according to Carol Edwards’ media advisory for Ripple Effect Communications. “We’re going to have thousands of extras, A-list special effects, and it will exceed the epic-look of ‘Noah,’ Chey was quoted as saying. “The $50 million dollar film comes at a perfect time. Hollywood is embracing faith-based films as of late and the audiences are growing at a record pace according to reports.”

What a difference a year can make.

Martin Stillion, reviewing David and Goliath in Peter T. Chattaway’s “Filmchat” on the religion blog Patheos April 5, wrote that Chey “undertook a mendacious, self-pitying marketing campaign to position the film as the ultimate underdog, “rejected by Hollywood for being too ‘God-centered’ – a claim based on an alleged remark from one of those potential distributors.

“This may seem a little puzzling. Why wouldn’t distributors be interested? After all, David and Goliath comes along at a time when a lot of attention is being paid to both “faith-based” films (God’s Not Dead, Old Fashioned, Do You Believe?) and Bible epics (Noah, Exodus: Gods and Kings, Son of God), and several of those films have done well financially. So Chey’s film, a faith-based Bible epic that retells one of the most archetypal biblical stories, is in the right place at the right time.

“But it forgot to bring the right stuff.

“I could give you a dozen reasons that distributors wouldn’t want to touch this film, and none of them have anything to do with its being ‘God-centered.’ They have to do with its being a very, very bad movie. I know that’s a common criticism of faith-based films, but seriously, this one makes God’s Not Dead look like Blade Runner.”

Chey has directed 10 feature films, including the $20 million Carry Me Home with Cuba Gooding, Jr., Suing the Devil with Malcolm McDowell, Genius Club with Stephen Baldwin and Final: The Rapture, starring Jah Shams, Mary Grace, Carman, Masashi Nagadoi and Dave Edwards, which depicts the apocalyptic chaos that ensues for four nonbelievers – an African-American, an Asian, a Hispanic and a white man living in Los Angeles, Tokyo, Buenos Aires and on a South Pacific island, after the Rapture occurs.

Trotting out the secular media – or even other Christians – as a whipping boy is not exactly a new theme for Chey. In an April 25, 2014  Christian Post story by Stoyan Zaimov, headlined  “CP Exclusive: ‘David and Goliath’ Director Assures Big-Budget Movie Will Be ‘Biblically Correct in Every Way,’ Chey is quoted as saying, “We were constantly being ridiculed by the secular media, our films were being sabotaged by online piracy, and fellow jealous Christians were mocking us saying the acting was bad, script was horrible, etc., etc.

“Thousands of people were coming to Christ so why did I let that bother me? I don’t know. The Lord showed me clearly it was a spiritual attack. I repented and began to trust the Lord again. Within two months, we raised millions of dollars and made the $20 million dollar Carry Me Home on the early life of John Newton, writer of Amazing Grace and now David and Goliath.”

Bad scripts and bad acting are hardly new criticisms when it comes to the Christian movie genre. Nor are they ones without merit. As I observed in a blog post last Sept. 15 headlined “Flying largely under the mainstream cinematic radar: Christian movie genre is ‘hot’” the “big knock against the Christian movie genre for more secular moviegoers  aside from the fact the films are Christian  has long been heavy-handed theological scripts, clunky acting and cheesy sets, with mainly bad films, which, to be charitable, do little more than preach to the choir, there hasn’t been, aside from the occasional blockbuster, much for broader audiences to judge such films on if they were done, well, well. You know, decent scripts, good actors, high production values, that sort of thing.” You can read the piece here at: https://soundingsjohnbarker.wordpress.com/2014/09/15/flying-largely-under-the-mainstream-cinematic-radar-christian-movie-genre-is-hot/

The story of Chey’s conversion from atheist to born-again believer has been oft told in many places, but the shorthand goes something like this. Chey was born and raised in Los Angeles and  “once threw his mother’s Bible in the trash and hectored his Christian friends,” noted Matt Soergel in a generally flattering piece in the Florida Times-Union when Suing the Devil was released in 2011. Chey was educated at Harvard University, University of Southern California (USC) School of Cinematic Arts in Los Angeles and Boston University School of Law. He practiced law for three years, but “realized I just didn’t have a heart for law,” he told interviewer Nathan Jones of The Christ in Prophecy Journal of David Reagan’s Princeton, Texas-based Lamb & Lion Ministries in a Jan. 20, 2014 broadcast interview. “I was an artist, caught up in something that really meant nothing to me,” he told Soergel of the Florida Times-Union.

His first film, which he wrote and directed was, Fakin’ Da Funk, a 1997 comedy starring Pam Grier and Dante Basco about a Chinese son adopted by black parents who relocates to South Central Los Angeles. A second story involves Mai-Ling, an exchange student played by Margaret Cho, who by another twist, gets sent to the wrong ‘hood.'”

The film was nominated for the Golden Starfish Award at the 1997 Hamptons International Film Festival and won the Audience Award at the 1997 Urbanworld Film Festival.

In 2001, Chey was in his mid-30s, single, and in the Philippines scouting locations for his next movie. After a busy night boozing at strip clubs,” Soergel wrote in his May 23, 2011 piece for the Florida Times-Union, he picked up the Gideon Bible in his hotel room and began reading: “”I got down on my knees and accepted Jesus Christ right there,” Chey said.

He was back in the Philippines in 2002 in Manila, Pasig City, Bataan, Manila Bay, and Antipolo to direct Gone, his first Christian-themed film, a post-apocalyptic thriller based on his screenplay, starring Dirk Been and Joel Klug star as tenacious lawyers who are sent to Manila to defend a multinational corporation, but instead, meet their fate in the Last Days after the Rapture.

Suing the Devil, released in August 2011, was his fifth Christian-themed movie and set in Australia, where he obtained much of the financing for it. It’s about a young law student who files an $8- trillion dollar civil lawsuit against Satan for all the misery he’s caused humanity. Corbin Bernsen, played divorce lawyer Arnie Becker on TV’s L.A. Law, which ran from for eight seasons on NBC from 1986 to 1994, and is a long-time evangelical Christian, plays a TV news host.

To law student Luke O’Brien’s (played by Bart Bronson) surprise, a loquacious Satan – in the form of Malcolm McDowell, star of the 1971 film A Clockwork Orange – shows up to defend himself.

Describing McDowell to Soergel, Chey said, “He’s a seeker. We had great talks. We talked a lot about God, a lot about life. He’s a spiritual person.”

In a June 2010 interview, about 14 months before Suing the Devil was released, McDowell had this to say about the movie: “From my point of view – I play the Devil – [the film] is about a loser that can’t get his act together or his life together and blames everybody else for his loser-ness. He’s a big loser, and so he, of course, blames the Devil and he goes to court to sue the Devil. And I answer the summons. And so it’s really a comedy in a courtroom.

“You know, I’m not into the religious connotations of what good and evil are. In fact the Devil I played is not really evil. I mean, the Devil really is charming, seductive. I mean, it’s like Nazism … charming, seductive, all these things. It’s just the underbelly of angst … but it was really actually a terrific script and I had a ball.”

How that fits in with Chey’s observations 11 months later in the Florida Times-Union, I leave for you to decide.

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Journalism

John McCandlish Phillips

John McCandlish Phillips1John McCandlish Phillips

John McCandlish Phillips, who died in 2013 at the age of 85, lived in relative obscurity in New York City, where he was affiliated with the Manhattan-based New Testament Missionary Fellowship, a small evangelical Pentecostal congregation of perhaps three-dozen members; it is a church he helped co-found in 1962.

From time to time, as part of their evangelization effort, Phillips could be heard proselytizing for Christianity in Central Park or the Columbia University campus, near his home. Phillips also spent part of his time managing Thomas E. Lowe, Ltd., a small religious publishing house that buys remaindered religious books and reprints a few others, selling them to Christian bookstores.

John McCandlish Phillips, with his plain-sounding declarative writing voice, also happens to have been perhaps the single best writer who ever tapped the typewriter keys as a reporter at the New York Times. That is until he retired after 21 years at the age of 46 in December 1973. He had joined the paper as a night copy boy in 1952.

Just how good was McCandlish Phillips, the byline he would eventually write under after first writing as John M. Phillips, although colleagues knew him as John in the newsroom, as a reporter and writer? According to Timesmen, he was without peer. Fellow New York Times writer and noted author Gay Talese described Phillips as the “Ted Williams of the young reporters” after the legendary baseball slugger. “He was a natural. There was only one guy I thought I was not the equal of, and that was McCandlish Phillips.” His stories often focused on forgotten people and he was best known as a feature writer with a flair for style.

A lanky 6’6” tall, Phillips, known also as “Long John,” kept a Bible on his desk. Arthur Gelb, a former managing editor at the New York Times, described him as “the most original stylist I’d ever edited.”

Abe Rosenthal, Times city editor in the early 1960s and later executive editor, said of Phillips: “He was an original. He had a very telling eye. He had a quiet merriment. His writing wasn’t heavy.”

When an editor wanted to chronicle the last piece of cheesecake sold at Lindy’s, the famed Times Square eatery in early 1969, Phillips got the nod. “What kind of a day is today?” wrote Phillips. “It’s the kind of a day that if you wanted a slice of cheesecake at Lindy’s, you couldn’t get it.” He once described Wisconsin as the state that “bobs on a sea of curdled milk.”

Covering New York City’s famed St. Patrick’s Day parade in as a general assignment reporter in 1961, Phillips wrote,“The sun was high to their backs and the wind was fast in their faces and 100,000 sons and daughters of Ireland, and those who would hold with them, matched strides with their shadows for 52 blocks. It seemed they marched from Midtown to exhaustion.”

Or consider these two sentences from a routine story: “Two kinds of people wait in the Port Authority Bus Terminal near Times Square. Some are waiting for buses. Others are waiting for death.”

A competitor, Pete Hamill, then a columnist for the New York Post, said of Phillips: “He used the senses. He looked. He listened. He smelled. He touched. There was a texture to his writing that was sensual.”

The New Yorker magazine described Phillips as “legendary,” “brilliant,” “much talented,” and “more interested in the truth and texture of a story than in scoring a scoop.”

An anomaly in almost every way, unlike most reporters, Phillips was not a particularly great story idea generator. He was rather the go-to-guy or the literary gun-for-hire when an editor had a bright idea for an assignment and he wanted it executed with grace.

Phillips’ most memorable story was written in 1965, on Daniel Burros, the 28-year-old leader of the state Ku Klux Klan. It ran on Page 1 on Sunday, Oct. 31, 1965, under the headline “State Klan Leader Hides Secret of Jewish Origin.” It profiled the Grand Dragon of the New York State Ku Klux Klan, a chief organizer of the national Klan and a former national secretary of the American Nazi Party. It also went on to document that Burros was also a Jew – a former Hebrew school student who had been bar mitzvahed at 13. Burros committed suicide, shooting himself the day the article was published.

In the 1950s and 1960s, newsrooms were loud and chaotic places, with phones incessantly ringing and typewriter keys clanging, that didn’t resemble the quiet and orderly cubicle-divided insurance offices most do today. To say many of the characters that inhabited them as reporters and editors were rough around the edges, in their rumpled white shirts and flask of whiskey in the bottom desk drawer, would have been more simple observation than stereotype.

Phillips didn’t drink, smoke or gamble. And just as he felt called by God to unexpectedly get off the train at Penn Station in New York City en route from Baltimore to Boston, as a master sergeant being discharged from the army at the end of his service in 1952, and apply for a job, still in uniform, at the New York Times, with his only journalism experience having been brief stints at Boston Sport-Light and the weekly Brookline Citizen in Massachusetts after graduating from high school in 1947 so, too, he felt called to leave daily newspaper journalism behind in 1973.

By that time, he had written his first book, The Bible, the Supernatural, and the Jews in 1970, published by Bethany House Publishers in Minneapolis. Unlike his newspaper writing, the prose is for the most part turgid and largely impenetrable, interspersed with huge blocs of Biblical quotations that destroy what little flow there is to the text. I can testify to this personally having taken about 16 months to plough through it. That’s not to say the book’s thesis – the Devil, or the “Enemy” as we Catholics like to say – was plotting in the late 1960s and early 1970s to get the younger generation interested in the supernatural and mysticism of eastern religions, such as Hinduism and Buddhism, in order to lead them down the “path of spiritual ruination” is uninteresting.

Phillips denounced drugs, promiscuity, protest, long hair, short skirts, free love and the Sixties’ counterculture in general in a way that seems particularly and perhaps unavoidably historically dated today – sort of like looking at pictures of protests on U.S. colleges campuses, as one might see them now, through the prism of an old sepia photograph.

In fairness to Phillips writing in 1970, the events were contemporaneous with the times and not historical artifacts as they are 44 years later in 2014.

Phillips didn’t quite disappear completely from daily journalism. For the next eight years after leaving the New York Times in 1973, his byline appeared occasionally as a freelancer. In more recent years, he had had three opinion pieces published in the Washington Post on topics ranging from media ethics to what he saw as the excessive complexity of the U.S. tax system. In 2005 he took on two columnists at his old journalism alma mater, the New York Times, namely Maureen Dowd and Frank Rich, for heaping “fear and loathing” on evangelicals and traditional Catholics. “I have been looking at myself, and millions of my brethren, … in a ghastly arcade mirror lately,” he wrote.

The World Journalism Institute, founded in 1999 after discussions between Joel Belz, Marvin Olasky, Nick Eicher and Robert Case, and located on the campus of The King’s College in New York City, established a McCandlish Phillips Chair of Journalism. The institute published Phillips monograph, Faith in the Daily News Chase in 2001.

He also wrote two other books, The Spirit World: A Christian newsman investigates the hidden powers of the supernatural, and his 1974 collection, City Notebook: A Reporter’s Portrait of a Vanishing New York, which was published by Liveright.

But for the most, John McCandlish Phillips, by all accounts, did not miss being a daily newspaper journalist during the second half of his life, even if he was the most gifted newspaper writer of his generation. John McCandlish Phillips died April 9, 2013.

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