Bus to the Stars: Reading sci-fi in the 1970s down the highway

While I don’t read as much science fiction today as I once did, recalling what I did read more than 40 years ago reminded me today how much of it at the time was read on intercity buses.

As a kid, while I enjoyed reading some science fiction, I was also fond of other genres, including Greek mythology (I remember taking a mighty tome home on the subject from my school library and reading it from start to finish one Sunday in Oshawa, where I learned a bit about the Hippoi Athanatoi).

Time travel was just one topic within one genre of my reading interests back then. I have become a fan in more recent years of perhaps more post-apocalyptic dystopian sci-fi, such as New York City writer Emily St. John Mandel’s 2014 post-apocalyptic Station Eleven, centered around the fictional but not so implausible in the-world-after-SARS (severe acute respiratory syndrome) in 2003 and the H1N1 influenza pandemic of 2009 “Georgia Flu,” a flu pandemic so lethal and named after the former Soviet republic that, within weeks, most of the world’s population has been killed. Station Eleven, which was a finalist for a National Book Award and the PEN/Faulkner Award, won the 2015 Arthur C. Clarke Award for best science fiction novel of the year for the British Columbia-born writer. It all begins when the character of 51-year-old Arthur Leander has a fatal heart attack while on stage performing the role of King Lear at Toronto’s Elgin Theatre.

As the novel picks up some 20 years later, “there is no more Toronto,” Sigrid Nunezsept noted in the Sept. 12, 2104 New York Times book review “Shakespeare for Survivors.” In fact, “There is no Canada, no United States. All countries and borders have vanished. There remain only scattered small towns.”

Airplanes are permanently grounded and used as cold storage facilities. There are no hospitals or clinics.

But there is the “Travelling Symphony” made up of “20 or so musicians and actors in horse-drawn wagons who roam from town to town in an area around the shores of Lakes Huron and Michigan,” Nunezsept writes. “At each stop the Symphony entertains the public with concerts and theatrical performances – mostly Shakespeare because, as the troupe has learned, this is what audiences prefer.”

There are limits, however, to my fandom for post-apocalyptic dystopian science fiction in popular culture, whether it is in a visual or written context. When Black Mirror was first aired on Netflix, I found it dark but cleverly well written. Now, I find virtually everything on Netflix dystopian, and not all of it well written. For that matter, I find much of CNN and even The Guardian real-life dystopian. Thanks for that Donald John Trump and the global COVID-19 pandemic rapidly closing in on the three-year mark.

I read Lucifer’s Hammer by Jerry Pournrelle and Larry Niven in a paperback edition much like the one shown here is shortly after it was published in 1977, while I was a student at Trent University on a late fall three-hour one-way trip on an old Voyageur Colonial Bus down Highway 7 and back from Peterborough to Ottawa and back to Peterborough weekend trip. It was nominated for the Hugo Award for Best Novel in 1978.

Wikipedia summarizes the plot this way:

“When wealthy amateur astronomer Tim Hamner co-discovers a new comet, named Hamner-Brown for its discoverers, documentary producer Harvey Randall persuades Hamner to have his soap company sponsor a television documentary series on the comet. Political lobbying by California Senator Arthur Jellison eventually gets a joint Apollo-Soyuz (docking with Skylab B) mission approved to study the comet, dubbed “The Hammer” by the media, which is expected to pass close to the Earth.

‘The scientific community assures the public that a collision with Earth is extremely unlikely, but the comet’s nucleus breaks apart and the pieces strike parts of Europe, Africa, the Gulf of Mexico, and the Pacific and Atlantic Oceans. These result in volcano eruptions, earthquakes and tsunamis, destroying major coastal cities around the world, killing billions and initiating a new ice because of the massive quantities of water and debris flung into the atmosphere.

‘Immediately after the strike, China, anticipating that the Soviet Union become too cold for its people and must therefore invade its neighbor, launches a preemptive nuclear attack on its neighbor. The Soviets retaliate with their own nuclear missiles, reassuring the United States that it is not the target.”

So, a 1977 plot, not so far from today’s real-life headlines.

After 10 months flying in space, NASA’s Double Asteroid Redirection Test (DART) – the world’s first planetary defense technology demonstration – successfully impacted its asteroid target less than a month ago on Sept. 26, the agency’s first attempt to move an asteroid in space.

Mission control at the Johns Hopkins Applied Physics Laboratory (APL) in Laurel, Maryland, announced the successful impact at 7:14 p.m. EDT.

“As a part of NASA’s overall planetary defense strategy, DART’s impact with the asteroid Dimorphos demonstrates a viable mitigation technique for protecting the planet from an Earth-bound asteroid or comet, if one were discovered,” the agency said.

Pournelle, who died in 2017, was born in Shreveport in Caddo Parish, Louisiana. He was a polymath: a scientist in the area of operations research and human factors research, science fiction writer, essayist, journalist, and one of the first bloggers. While Pournelle was great at writing or co-writing page-turners like Lucifer’s Hammer, he is also known as the first writer to sit and compose at a typewriter connected to a television screen, forerunner of today’s desktop computer, to compose, edit, and revise there, and then to send copy to his publisher. Jerry was an early adopter.

Sometimes science and science fiction mingle easily enough in my mind.

Looking at images from the James Webb Space Telescope capturing highly detailed snapshots of the iconic Pillars of Creation within the Eagle Nebula, about 6,500 light-years from Earth, which show a vista of three looming towers made of interstellar dust and gas that’s speckled with newly formed stars, is remarkable, but the name Pillars of Creation immediately took me back in my mind to a another intercity bus ride; this one a Greyhound bus ride out of Blaine, Washington in the United States’ Pacific Northwest in the Summer of 1979, where I was reading Arthur C. Clarke’s brilliant 1953 science fiction novel Childhood’s End where Rashaverak, an Overlord, refers to “Sideneus 4 and the Pillars of the Dawn.”

Aside from reading Childhood’s End on that bus trip, I remember having to changes buses in Spokane, Washington and being awoke in the middle of the night, with my body draped rather uncomfortably across several very hard plastic seats on the second floor of the bus terminal, as Washington State troopers made a gunpoint arrest of a man opening a rental locker on the mezzanine below.

While I’m not sure how much of Ursula K. Le Guin’s 1971 science fiction novel The Lathe of Heaven was read on a bus (perhaps some of it was on the old Trent Express run from downtown Peterborough to Trent’s Nassau Campus), the book left a big impression on me in the late 1970s.

I still remember reading, “Dr. William Haber’s office did not have a view of Mount Hood. It was an interior Efficiency Suite on the sixty-third floor of Willamette East Tower in Portland, Oregon and didn’t have a view of anything. But on one of the windowless walls was a big photographic mural of Mount Hood, and at this Dr. Haber gazed while intercommunicating with his receptionist.

“That doesn’t last long. Mount Hood is the very first thing that we see transformed by George’s power: it gets changed into a horse. And that’s just the first of its transformations.

“Later, when he’s become more powerful and famous, Haber gets a beautiful view of Mount Hood through a fancy window instead of just a picture. When the alien invasion begins, Mt. Hood wakes up and spouts fire that burns the surrounding forest. It’s not until George stops Dr. Haber’s dream that the mountain goes to sleep again.”

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Demagoguery and demonization pass for discourse and civility vanishes from the public stage (2)

Compared to many other subjects I write about, I don’t write about Donald Trump very often. I don’t follow him on Twitter. I don’t watch Fox News (I cancelled my Shaw Cable TV more than three ago, back in July 2017, writing two months later on Sept. 5, 2017, “Two months post-cable television (and therefore post CNN and Donald Trump) and $150 to the good (me, not Shaw).”

Not being a complete media recluse, however, as there is still the internet, I do know The Donald – a.k.a. President Donald Trump – accepted the Republican Party’s re-nomination for president last night at the party’s national convention, promising to “rekindle new faith in our values” and rebuild the economy once more following the COVID-19 pandemic. He also said, being gathered on the massive South Lawn at the White House, known as the “People’s House,” they cannot help but marvel at the “great American story.” This is a common and recurring theme in American history. Earlier this month, I completed my eleventh Hillsdale College online course, titled “The Great American Story: A Land of Hope,” taught by Wilfred M. McClay, the G.T. and Libby Blankenship Chair in the History of Liberty at the University of Oklahoma, and co-director of the Center for Reflective Citizenship at the University of Tennessee at Chattanooga.

A little more than four years ago, as President Donald Trump was then running for president as Citizen Donald Trump, a man best known to many Americans in 2016 as the host for the first 14 seasons of The Apprentice, the American reality television program created by British-born American television producer Mark Burnett (of Survivor fame) that judged the business skills of a group of contestants, I wrote my first significant blog post about Trump on July 17, 2016 in a piece headlined, “Demagoguery and demonization pass for discourse and civility vanishes from the public stage” (https://soundingsjohnbarker.wordpress.com/2016/07/17/demagoguery-and-demonization-pass-for-discourse-and-civility-vanishes-from-the-public-stage/). The Apprentice, which I didn’t canvass at the time, was produced at Trump Tower in New York City between 2004 and 2015. Episodes ended with Trump eliminating one contestant from the competition, with the words “You’re fired!”

Interestingly, while the headline, “Demagoguery and demonization pass for discourse and civility vanishes from the public stage” may appear to be contemporaneous with Trump and Trumpland today, and certainly could be, it wasn’t written that way exactly:

“Consider the headlines for Sunday, July 17, 2016: CBS News is reporting in a July 16 its headline “W.Va. lawmaker: Hillary Clinton should be ‘hung’ on National Mall.” The story goes onto say, “A member of the West Virginia House of Delegates is causing a stir after tweeting that Hillary Clinton should be ‘hung on the Mall in Washington, DC.

“‘CBS affiliate WOWK-TV reports that Michael Folk, a Republican legislator who is also a United Airlines pilot, posted a tweet Friday night saying: ‘Hillary Clinton, you should be tried for treason, murder, and crimes against the US Constitution… then hung on the Mall in Washington, DC.

“Meanwhile, Charles P. Pierce has a July 14 piece in Esquire magazine, headlined, “This Isn’t Funny Anymore. American Democracy Is at Stake.” The subhead reads: “Anyone who supports Donald Trump is a traitor to the American idea.” Pierce writes at the top of the story that not “until Wednesday did we hear clearly the echoes of shiny black boots on German cobblestones.”

“Really?

“Is this the best we can do in terms of civics and public discourse in 21^st century America? Call anyone we disagree with a traitor and perhaps for extra outrage allude to Hitlerism and Nazism? Is demagoguery the only currency we traffic in for what passes as ideas?

“We stand at a dangerous international moment in history when an intersection of events conspire to resurrect Fascism on a scale not seen since the 1930s.”

In retrospect, I think both the headline and story have held up well over four years. I also wrote at the time:

“If Donald Trump wins the presidency in November, the world won’t end. I may not much like a Trump presidency, but the Supreme Court and Congress will not be dissolved [although Trump will probably make several nominations for upcoming vacancies on the bench that will make me wish the court had been dissolved. But that’s OK; Republican life appointments to the highest court in the United States often prove over time to be stubbornly independent, demonstrating you couldn’t have asked more from a Democratic appointee. It’s kinda complicated.]

“Trump’s also unlikely to push the hot-war nuclear button, should he find himself ensconced in the Oval Office next January.  Want to know what was really dangerous? The dance Democratic President John F. Kennedy, the living Legend of King Arthur and Camelot, had with Soviet premier Nikita Khrushchev during the Cuban Missile Crisis of October 1962. That was the almost the end of the world as you knew it. Right then and there. Not Donald Trump hyperbole.

“There are plenty of examples in recent American history before where the crème de la crème cluck their tongues in displeasure at the electoral wisdom of the hoi polloi [think Brexit for the current British equivalent.] So what? Minnesota didn’t wind up seceding to Northwestern Ontario and amalgamating Duluth with Kenora when pro wrestler Jesse Ventura was elected and served as governor of Minnesota from January 1999 to January 2003.

“California survived when Arnold Schwarzenegger, the Austrian-born American professional bodybuilder and movie actor wound up getting himself elected to serve two terms as governor of California from November 2003 until January 2011.

“And speaking of California, an earlier Republican governor, Ronald Reagan, also a movie actor, went on from the statehouse to the White House, elected to two terms as president between January 1981 and January 1988. Each time – when Reagan, Ventura and Schwarzenegger were elected – Henny Penny cried out the sky was going to fall. It didn’t.

“I was living in Somerville, Massachusetts in November 1980 when Ronald Reagan was elected president.

“I had been working as supervisor for Cambridge Survey Research where I oversaw telephone call center employees for Democratic National Committee (DNC) pollster Pat Caddell’s firm in Cambridge, Massachusetts during the 1980 Jimmy Carter-Ronald Reagan presidential election campaign.

“We lost the election. Big time. I well remember going to work a few days after, late in the afternoon, riding above ground aboard a subway car on the Red Line “T.” The November sky was a foreboding steel-gray, with leaves all fallen now from the trees. And there it was, as we headed into Harvard Yard, giant spray –painted graffiti on a cenotaph proclaiming “Ray-Gun” had been elected.

“As it turned out, Reagan did have a fondness for his Strategic Defense Initiative (SDI), nicknamed Star Wars. But the dreamed-for global missile shield didn’t come to fruition. Instead, Reagan, along with Mikhail Gorbachev, general secretary of the Communist Party of the Soviet Union, managed to end the Cold War with perestroika [restructuring] and glasnost [openness] becoming part of the everyday vocabulary of Americans by the late 1980s, rolling from their tongues as if they had been saying the two Russian words forever.

“Demagoguery, while deeply disappointing as it is being manifested by Trump and his supporters, is neither new nor fatal to American politics. It is also not surprising when people feel that politics is a rigged game they can’t possible win at under the normal rules of the political elites.”

I admit over the last four years, I have reflected many times on the line, “”If Donald Trump wins the presidency in November, the world won’t end,” and wondered if I was being too optimistic because there have been days and nights with Trump when well, Trump, is Trump. And that can indeed be a scary thing.

My friend Bernie Lunzer from back in my Newspaper Guild union days from 1997 to 2001 perhaps put it best yesterday, writing, “Central frustration – we won’t change Trumpists by laughing at them or telling them they’re stupid. I share those feelings but they don’t help. They are motivated by other things. Maybe we can’t change them because their base motivation is racism? So then they are simply enemies? We still need to do something other than acting smarter and sanctimonious. I don’t have answers. But do take this election as serious.”

This reminds me indirectly of an article Thomas Frank penned for The Guardian and published on Nov. 6, 2016 – just two days before the last presidential election (https://www.theguardian.com/commentisfree/2016/nov/06/republicans-and-democrats-fail-blue-collar-america) headlined, “The Republicans and Democrats failed blue-collar America. The left behind are now having their say.” Frank, a political analyst, historian, journalist and columnist, is also the founding editor of The Baffler magazine, and author of the 2004 book, What’s the Matter with Kansas? as well as Listen, Liberal: Or, What Ever Happened to the Party of the People? published in 2016.

Do better.

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Misplaced patriotism and public health propaganda are no disinfectants for a pandemic

John M. Barry’s 2004 book The Great Influenza: The Story of the Deadliest Pandemic in History, chronicles the 1918-19 Spanish Flu pandemic. It is a compelling read, and placenames such as Haskell, Kansas, an isolated and sparsely populated county in the southwest corner of the state, remain etched in my mind.

Barry also serves as an adjunct member of faculty at the Tulane University School of Public Health and Tropical Medicine in New Orleans.

But what really struck me was the very, very rapid breakdown in public order, Barry chronicles, despite official protestations to the contrary.

Nurses, who were right on the front lines, and truly, truly heroic in the earliest stages of the pandemic, in many cases soon just stopped coming to work. Many, of course, were too sick to, gravely ill or dying themselves, but many who were still well stopped coming to work out of fear of becoming infected themselves, and perhaps also infecting their loved ones. The same happened across many different public offices. Can any of us really know what we would have done faced with similar circumstances? I think not.

Government in many cases, and particularly at the municipal level, pretty much ceased to function – and that happened very, very quickly. State and provincial governments weren’t much better in many cases, and federal governments were, to be very charitable, slow off the mark. The international institutions we have now, for the most didn’t exist in 1918.

Philadelphia is one of Barry’s chilling examples that has stayed with me. Things were so bad there in the fall of 1918, when the Spanish Flu pandemic arrived in the city, that a group of volunteer women, holding no official titles or offices, who lived on Philadelphia’s “Main Line,” home of the city’s old money and prestige, essentially took over the key functions of the city government and co-ordinated Philadelphia’s response to the pandemic.

In essence, the Ladies Auxiliary, albeit a very well off, and a very well connected one, saved the day in Philadelphia in 1918, but it was a very close thing indeed.

But how did things get so bad in Philadelphia in the fall of 1918?

On Sept. 28, 1918, despite sound advice and warnings to the contrary, Philadelphia public health director Wilmer Krusen insisted on allowing a Fourth Liberty Loan Drive parade, with some 200,000 people jamming Broad Street, “cheering wildly as the line of marchers stretched for two miles.” It was after all the patriotic thing to do in the final Allied push to defeat the Central Powers and win the First World War.

“Within 72 hours of the parade, every bed in Philadelphia’s 31 hospitals was filled,” Kenneth C. Davis wrote in Smithsonian magazine in September 2018. “In the week ending October 5, some 2,600 people in Philadelphia had died from the flu or its complications. A week later, that number rose to more than 4,500. Allison C. Meier in an article for Quartz last November noted that historian James Higgins, writing in Pennsylvania Legacies, observed that by the first week of October 2018, roughly five weeks into the outbreak, “Philadelphia’s mortality rate accelerated in a climb unmatched by any city in the nation –perhaps by any major city in the world.”

We really are not very particularly good at learning the lessons of history. Or when we think we have, we often draw the wrong lessons. Misplaced patriotism. Public health propaganda. These are no disinfectants for a pandemic.

The original name of the new coronavirus was provisionally known as Novel Coronavirus 2019-nCoV, before the World Health Organization (WHO) adopted the name COVID-19.  The Coronavirus Study Group (CSG) of the International Committee on Taxonomy of Viruses, which is the entity within the International Union of Microbiological Societies, founded in 1927 as the International Society for Microbiology, and responsible for developing the official classification of viruses and taxa naming (taxonomy) of the Coronaviridae family, proposed the naming convention SARS-CoV-2 for COVID-19. The World Health Organization, perhaps finding the recommended name a tad too resonant politically to SARS from the not-so-distant past, opted instead for the official name COVID-19.

The revised World Health Organization’s case fatality rate earlier this week of 3.4 per cent from 2 per cent for COVID-19 on March 3 is a 70 per cent fatality increase.

“I think the 3.4 per cent is really a false number,” U.S. President Donald Trump told Sean Hannity, one of his favourite conservative Fox News hosts, in a phone interview broadcast live March 4.

In the early 1980s, I watched with surprise and unexpected admiration as C. Everett Koop, an evangelical Christian, who served as surgeon general under U.S. Republican president Ronald Reagan from 1982 to 1989, and was well known for wearing his uniform as a vice admiral of the United States Public Health Service Commissioned Corps, had the singular political courage to speak the truth about the science of AIDS as our knowledge increased. According to the Washington Post, “Koop was the only surgeon general to become a household name.”

Who will be the next C. Everett Koop, with the courage to speak truth to power, afflicting the comfortable, while comforting the afflicted? Someone Ike the late Dr. Li Wenliang, the whistle-blower ophthalmologist who sounded the alarm after contracting the virus while working at Wuhan Central Hospital.

There have been some exemplary public health responses to the COVID-19 public health emergency of international concern, such as those of Dr. Bonnie Henry, British Columbia’s, provincial health officer, whom André Picard, the health columnist at The Globe and Mail, earlier today described as setting “the standard for public health communication. Too often, public officials are dispassionate and robotic. Using clear language and showing genuine emotion makes your message more relatable and impactful.”

And then there have been the less than exemplary public health responses – or perhaps more accurately – lack of response.

When is a pandemic not a pandemic? When the World Health Organization (WHO) has Dr. Tedros Adhanom Ghebreyesus as its director-general apparently.

“I think it’s pretty clear we’re in a pandemic and I don’t know why WHO is resisting that,” said Michael Osterholm, director of the Center for Infectious Disease Research and Policy at the University of Minnesota.

Devi Sridhar, a professor of global public health at the University of Edinburgh who co-chaired a review of WHO’s response to the 2014-16 Ebola outbreak in West Africa, said a pandemic declaration is long overdue.

While none of this is easy when we don’t yet have a clear idea of the transmissibility and virulence of COVID-19, it is equally true the absence of true, timely public health information and honest decision-making, we risk further fostering a not insignificant climate of international government and institutional distrust, leading to social media platforms being lit up with stories such as the ones suggesting that the novel coronavirus is a genetically engineered biological weapon with a protein sequence included elements of HIV, the virus that causes AIDS – either a Chinese one that had escaped from a laboratory in Wuhan or an American one inflicted on Wuhan, or that COVID-19 is perhaps some kind of so-called “false flag” operation to distract us from someone or something else.

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Your best life: Life in Christian cinema is often a game of Friday night high school football

 

The problem with sports being a metaphor for life is not that the claim is inaccurate: sports truly is a metaphor for life. The problem is the terrain of what constitutes a metaphor for life is a vast landscape. Within sports, virtually everything can and is described as being a metaphor for life.

When it comes to comparing values and ideals taken from sports and applied cinematically to life, I have a fondness for golf and high school and college football movies. While I don’t play golf (at least not yet) I did play a bit of high school football some many decades ago.

There’s strong evidence that sport strongly reinforces certain personal characteristics such as responsibility, courage, teamwork, mental focus, persistence, humility, commitment and self-discipline.

While there are all kinds of things that can rightly divide secular moviemaking from films made by Christian genre movie producers, high school football is the game field they both play, often scoring box office touchdowns on. Perhaps in no small part because Friday night high school football is in some ways best thought of as a secular religion south of the Mason Dixon Line. High school football teams usually play between eight and 10 games in a season, starting after Labor Day. If teams have successful league seasons, they advance to regional or state playoff tournaments. Some schools in Texas play as many as 15 games if they advance to the state championship game. Most high school teams play in a regional league, although some travel 50 to 100 miles to play opponents.

Among my favourite golf movies are Tin Cup from 1996, starring Kevin Costner and Rene Russo; The Legend of Bagger Vance, with Will Smith, Matt Damon and Charlize Theron, released in 2000; and Seven Days in Utopia, released in 2011, starring Robert Duvall and Lucas Black, based on the book Golf’s Sacred Journey: Seven Days at the Links of Utopia by Dr. David Lamar Cook, a psychologist who lives in the Hill Country of Texas, where the book and movie are set.

As for American high school football movies, Ranker, the social consumer web platform launched in August 2009, designed around collaborative linked datasets, individual list-making and voting, which attracts 20 million unique visitors per month, in fact, has a category simply called “The Best High School Football Movies.”

Ranked number one is Friday Night Lights the 2004 film directed by Peter Berg, which documents the coach and players of the 1988 season Permian High School Panthers football team in Odessa, Texas and their run for the state championship, based on the 1990 book, Friday Night Lights: A Town, a Team, and a Dream by H. G. Bissinger. The film won the Best Sports Movie ESPY Award.

Number two on Ranker’s list is Remember the Titans, made in 2000, and based on the true story of African-American coach Herman Boone, portrayed by Denzel Washington as he tries to introduce a racially diverse team at recently but voluntarily integrated T. C. Williams High School in Alexandria, Virginia in 1971. It was produced by Jerry Bruckheimer.

In 2006, Alex and Stephen Kendrick, who are both associate pastors on the staff of Sherwood Baptist Church in Albany, made Facing the Giants, their second Sherwood Pictures movie, about high school football and resilient faith. While the movie is admired and often still shown 11 years after it was made at Christian church movie nights, secular cinema critics have been less effusive in their praise.  Still, two scenes stand out for me, and are widely available on YouTube. The first is lineman and Shiloh Eagles team captain Brock Kelley’s 100-plus yard blindfolded “Death Crawl” (https://www.youtube.com/watch?v=-sUKoKQlEC4) with his 160-pound teammate Jeremy Johnson on his back, and soccer kicker turned placekicker David Childers’ 51-yard game-winning field goal in the Eagle’s 24-23 victory over the Richmond Giants (https://www.youtube.com/watch?v=4uCj5_a3nbw).

When the Game Stands Tall was released in 2014. It stars Jim Caviezel, best known for portraying Jesus in Mel Gibson’s blockbuster 2004 film The Passion of the Christ, here 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 what comes after the record-setting 151-game 1992–2003 winning streak by De La Salle, a Catholic boys’ high school in 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.

Released a year later in 2015 is Woodlawn is also a true story and in some ways a faith-based version of Remember the Titans, although Woodlawn is set slightly later (two years) and is situated in at Woodlawn High School in Birmingham, Alabama in 1973, a decade after Birmingham had Bull Connor as commissioner of public safety in 1961 when the civil rights “Freedom Riders” bused to the South, and where on Sept. 15, 1963 a bomb exploded before Sunday morning services at the 16th Street Baptist Church, with a predominantly black congregation that served as a meeting place for civil rights leaders. Four young girls were killed and many other people injured.

Woodlawn opens with a prologue set three years earlier on Sept. 12, 1970 where legendary University of Alabama football coach Paul “Bear” Bryant, the Crimson Tide’s iconic fedora-wearing legend, well played by Jon Voight, tries to ease tensions by inviting John McKay and his University of Southern California (USC) Trojans team to play at Legion Field in Birmingham, marking the first time a fully integrated team had come to play Alabama in the South. The Crimson Tide had one black player at the time. The game was a 42-21 Trojans rout.

Cut to three years later, when Woodlawn High School becomes integrated, with football coach Tandy Gerelds, played by Nic Bishop, welcoming the arrival of such talented black players as Tony Nathan, played by Caleb Castille.

Hank Erwin, played by Sean Astin, just sort of shows up at Woodlawn High School, introducing himself as a “sports chaplain” and asking to address the team. Tandy Gerelds reluctantly agrees. In his impassioned speech Hank asks the players to “choose Jesus” and, much to the coach’s amazement, most of the players agree, including Tony Nathan, who would go onto become a tailback for Alabama and later the Miami Dolphins. Erwin’s sons, Birmingham brothers Jon and Andrew Erwin, directed Woodlawn.

To understand the somewhat enigmatic self-proclaimed sports chaplain Hank Erwin, it is helpful to know something of the “Jesus movement,” which began on the west coast of the United States in the late 1960s and early 1970s, spreading primarily throughout North America, Europe, and Central America. Members of the movement were often called “Jesus people,” or “Jesus freaks.”

Its predecessor, the charismatic movement, had already been in full swing for about a decade. It involved mainline Protestants and Roman Catholics who testified to supernatural experiences similar to those recorded in the Acts of the Apostles, especially speaking in tongues. Both these movements were calling the church back to what they called early Christianity and recovery of the gifts of the Spirit.

TIME magazine had a 1966 cover asking “Is God Dead?” They had another cover story in 1971 on “The Jesus Revolution.” And just one year later, in June 1972, more than 80,000 high school and college students gathered in the Cotton Bowl Stadium in Dallas for Explo ’72, organized by Campus Crusade for Christ (now known as Cru) to celebrate the person of Christ and mobilize youth to take the Good News to friends and family when they returned to their hometowns. Bill Bright, founder of Campus Crusade for Christ, led the initiative and Billy Graham, now 98, and the most important Christian crusade and revival evangelist of the latter half of the 2oth century, preached at it. And Hank Erwin was there for it.

The dramatic tension on and off the field is elevated by events such as Nathan refusing to shake Alabama governor George Wallace’s hand during an awards dinner, citing Wallace’s opposition to school integration, and Tandy getting in trouble with the local school board because of the team’s religious activities, including Hank Erwin getting the microphone plug pulled while delivering the Lord’s Prayer before the history-making 1973 game that attracted 42,000 spectators (another 20,000 were turned away), only to have the thousands of spectators spontaneously recite it for him.

Peter J. Leithart, a teaching elder in the Presbyterian Church in America, who lives in Birmingham, Alabama, and is president of the Theopolis Institute, wrote in a review in September 2015, after an advance screening of the film in Birmingham, in the Catholic journal First Things that “the acting is good, especially Jon Voight as Bear Bryant, Nic Bishop as Woodlawn’s coach, Tandy Gerelds, and Caleb Castille who plays Nathan in his first film. Technically, evangelical films have come a long way.”

Caleb Castille was originally hired as a stunt double for the British actor who was picked to play Tony Nathan, but visa complications left the Erwins scrambling to find a last-minute replacement. Only then did they discover Caleb’s audition tape.

Caleb Castille won two national championship rings with the University of Alabama before he sensed God was calling him out of football to pursue an acting career instead. His father, Jeremiah Castille, played with Tony Nathan on the 1979 Alabama Crimson Tide national championship team.

Still, Leithart was left dissatisfied by Woodlawn. “I think there are a number of reasons for that dissatisfaction, but at base the problem is theological (ain’t it always).

“Evangelicalism is a word religion. I’m a big fan of words, but even talking pictures aren’t fundamentally about words. It’s no accident that the hall of fame for directors has a large share of Catholics (Fellini, Hitchcock, Scorsese), Orthodox (Tarkovsky, Eisenstein), and sacramental Protestants (Bergman, Malick). This can’t be the whole story, of course, since aniconic Judaism has produced some of the world’s great filmmakers. But there’s something to it: Evangelical films over-explain, over-talk. They don’t trust the images to do the work.

“I suspect a more sacramentally oriented evangelicalism, an evangelicalism more attuned to types and symbols in scripture, would make better films.

“Evangelicalism is also a conversionist faith. The key crisis of life is the moment of commitment to Christ. In Woodlawn, most of the characters convert early in the film, necessarily so because the story is about the effect of the revival on race relations. But that means that the line of character development is flat. The really crucial character development has taken place in the moment of conversion. The main exception is Coach Gerelds, and not surprisingly, it’s Coach Gerelds who ends up being the dramatic focus of the film, the character whose emotions and motivations we get to know best.

“Theologically speaking, character development is ‘sanctification.’ A conversionist form of Christianity places less emphasis on sanctification than on conversion and justification. In films, that translates into drastic oversimplification of human psychology. For evangelicals, there are only two sets of motivations, as there are two kinds of people: Saved and unsaved. While that is ultimately true, it is not the whole story.”

Woodlawn, distributed by Pure Flix Entertainment, owned by David. A.R. White, raised in a small Mennonite farming town outside of Dodge City, Kansas, brothers Kevin and Bobby Downes, and Michael Scott, did impressively better perhaps with the very secular Rotten Tomatoes, which is by no means always kind to either evangelical or high school football films, and is the leading online aggregator of movie reviews from a mix of professional critics and its community of users, with an overall score of 77 per cent, and an audience score of 82 per cent (earning a “full popcorn bucket”) meaning the movie received 3.5 stars or higher by Flixster and Rotten Tomatoes users. Rotten Tomatoes noted under “Critics consensus: No consensus yet.” Rotten Tomatoes is part of Fandango’s portfolio of digital properties.

Next up for me perhaps is the college football movie from 2006, We are Marshall, which depicts the aftermath of the Nov. 14, 1970 airplane crash that killed 37 football players on the Huntington, West Virginia Marshall University Thundering Herd, along with five coaches, two athletic trainers, the athletic director, 25 boosters, and a crew of five. New coach Jack Lengye, played by Matthew McConaughey, arrives on the scene four months later in March 1971, determined to rebuild Marshall’s Thundering Herd and heal a grieving community in the process (https://www.youtube.com/watch?v=YU4QBR-V79I).

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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

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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