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?”

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

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Popular Culture and Ideas, Television

If ‘Googled’ is a verb that needs no explanation, can there be any doubt the Internet is changing the very way we think?

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“Plasticity and the human brain” was my original draft headline for this post. Seemed like a catchy enough way to draw readers in.

But before I could write this column with such a punchy “hed,”  I had to do a bit of research. On the Internet from my desk, of course. That’s when I got distracted. Which is rather the story of the Internet. They don’t call it the World Wide Web – with the emphasis on web – for nothing.

Sharon Begley, senior health and science correspondent at Reuters, was the science editor and the science columnist at Newsweek from 2007 to April 2011. In the Jan. 8, 2010 issue of she had an interesting piece called, “Your Brain Online: Does the Web change how we think?” Begley was commenting on Edge Foundation Inc.’s 2010 annual question by John Brockman to 109 philosophers, neurobiologists, and other scholars, which four years ago was: “How is the Internet changing the way you think?” Not so much, argued some scholars, including neuroscientist Joshua Greene and cognitive psychologist Steven Pinker, both of Harvard.

Others held a dystopian view. Communications scholar Howard Rheingold argued the Internet fosters “shallowness, credulity, distraction” and as a result that minds struggle “to discipline and deploy attention in an always-on milieu.” Evgeny Morozov, a Belarus-born researcher and blogger and the author of The Net Delusion: The Dark Side of Internet Freedom and To Save Everything, Click Here: The Folly of Technological Solutionism, who studies the political effects of the Internet, says, “Our lives are increasingly lived in the present, completely detached even from the most recent of the pasts … our ability to look back and engage with the past is one unfortunate victim.”

Psychologist Mihaly Csikszentmihalyi of Claremont Graduate University writes that the ubiquity of information makes us “less likely to pursue new lines of thought before turning to the Internet.” The information is de-contextualized and satisfies our immediate research needs at the expense of deeper understanding, Csikszentmihalyi argues.

This is not exactly a new argument. Nicholas Carr wrote a similar piece in the July/August 2008 issue of Atlantic magazine with the genuinely catchy title: “Is Google Making Us Stupid?”  He argued the  online world has made it much harder to engage with difficult texts and complex ideas.

Carr wrote: “Over the past few years I’ve had an uncomfortable sense that someone, or something, has been tinkering with my brain, remapping the neural circuitry, reprogramming the memory. My mind isn’t going—so far as I can tell—but it’s changing. I’m not thinking the way I used to think. I can feel it most strongly when I’m reading. Immersing myself in a book or a lengthy article used to be easy. My mind would get caught up in the narrative or the turns of the argument, and I’d spend hours strolling through long stretches of prose. That’s rarely the case anymore. Now my concentration often starts to drift after two or three pages. I get fidgety, lose the thread, begin looking for something else to do. I feel as if I’m always dragging my wayward brain back to the text. The deep reading that used to come naturally has become a struggle. I think I know what’s going on. For more than a decade now, I’ve been spending a lot of time online, searching and surfing and sometimes adding to the great databases of the Internet.”

Carr followed up that 2008 magazine article with a book two years later, The Shallows: What the Internet Is Doing to Our Brain.

I could go on, but truth is I got distracted around this point in my research. That happens with the Internet – a lot. My mind was soon enough recalling Quantum Leap, starring Dean Stockwell, as Al Calavicci, and Scott Bakula, as Dr. Sam Beckett, a scientist who becomes lost in time following a botched experiment.

It aired from March 1989 to March 1993 originally, a quick detour to Wikipedia confirmed for me. “I thought it was quite good at the time for the sociology more than the science,” I was soon explaining in an e-mail. “Interesting though because it is one of the last shows of its type to air before the Internet was just about to take off in a big way. There was e-mail in 1993 and a very early World Wide Web (WWW), but few people were ‘wired.’”

That might have been OK if that was as far as it went. But soon I was doing some comparative research on Wikipedia for the mid-1980s to mid-1990s sci-fi era. “I also quite enjoyed some of the episodes of Sliders, starring Jerry O’Connell as Quinn Mallory, which ran from from 1995 to 2000, focusing on alternate histories and social norms as the group of travellers  “slide” between parallel parallel worlds by use of a wormhole referred to as an “Einstein-Rosen-Podolsky bridge,” I helpfully added after my brief mention of Quantum Leap.

“There was also a series called Max Headroom that aired briefly in 1987 and 1988. Edison Carter, played by Matt Frewer, who actually grew up in Peterborough, was a hard-hitting reporter for “Network 23,” who sometimes uncovered things that his superiors in the network would have preferred to keep private. Eventually, one of these instances required him to flee his workspace, upon which he was injured in a motorcycle accident in a parkade. Bryce Lynch downloaded a copy of his mind into a computer, giving birth to the character Max Headroom, as the last words seen by Carter before impact were “Max Headroom”, specifying vehicle clearance height in the parkade.

“Max Headroom also appeared as a stylized head in some TV ads against primary colour rotating-line backgrounds. He was known for his jerky techno-stuttering speech, delivering the slogan “Catch the wave!” (in his trademark staccato, stuttered digital sampling playback as “Ca-ca-ca-ca-ca-catch the wave”) in the rather disastrous Coca-Cola venture in the mid-to-late-1980s with “New Coke.”

An hour or so has now passed.

I agree heartily with Carr that the web “has been a godsend to me as a writer. Research that once required days in the stacks or periodical rooms of libraries can now be done in minutes … a few Google searches, some quick clicks on hyperlinks, and I’ve got the telltale fact or pithy quote I was after.”

But the fact is that at about this point in reading Carr’s thoughtful treatise, Sergey Brin and Larry Page’s magic Google search engine somehow transported me to Don Terry’s article, “Lou and Me: ‘We work at a newspaper, a real newspaper’” in the January/February 2010 issue of the Columbia Journalism Review, which you can be transported to as well via http://www.cjr.org/feature/lou_and_me.php?page=all.

Ah, yes. Lou Grant, the character played by actor Ed Asner in the show of the same name. Editor of the fictional Los Angeles Tribune. Moved from television news in Minneapolis, after being laid off supposedly after 10 years as Mary Tyler Moore’s boss on the Mary Tyler Moore Show, back into newspapers. But on another television show, if you can follow the thread. Debuted Sept. 20, 1977, Terry helpfully reminds me. That’s good to know since time can play tricks and get telescoped with age, I find.

By now, I’m thoroughly absorbed in the reverie of memory and have to remind myself I’m writing a column based on the plasticity of the human brain and how technology can change the very act of how we think and construct reality.

Take typewriters, like I used in journalism school. Friedrich Nietzsche bought a Malling-Hansen Writing Ball typewriter in 1882 and his style of writing changed, long before the World Wide Web and Google.

His already terse prose became even tighter and more telegraphic. “Our writing equipment takes part in the forming of our thoughts,” Nietzsche observed.

How do I know this? I “Googled” it.

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