review | matching tracksuits

Review: Is God a Vindictive Bully?

Tuesday 13 June 2023

As with many apologetics books, the intended audience of this seems like it might be the skeptic community when in fact it is clearly written for Christians. In other words, this is not a book that will convince skeptics but is intended to ease the worries Christians have about the God of the Old Testament.

The first clue for this comes from the title: the average skeptic will not simply call the Old Testament god a bully. This being is a moral monster — which is actually the title of another book by Copan. The subtitle gives a clearer indication of the intended audience: “Reconciling Portrayals of God in the Old and New Testaments.” This book is written for people who love the god of the New Testament (i.e., Jesus) but finds the Old Testament god a bit off-putting. This is important because Christianity declares that, appearances to the contrary, these are the same being, albeit in different “persons,” which makes no logical sense, but that’s an argument for a different review. So this is an effort to reconcile kind Jesus with the evil god of the Old Testament by trying to remove the “appearances to the contrary” part of the argument altogether.

How do I as a skeptic read it, then? I tried to give it the benefit of the doubt, I tried to “treat another’s writing as you yourself would want your own writing to be treated” (6) as Copan suggested we do with the OT text, but in the end, I was just disappointed. There were no apologetic tactics in this book I had not encountered (and dismissed) before. The primary problem with this book from a skeptical point of view is that all the moves the author makes to square the two gods of the Bible simply belie the underlying Christian contention about Biblical authorship. In other words, he relies primarily on that old tired tactic “context.” Indeed, he has an entire chapter called “A Bit of Near Eastern Context.” For example, in justifying the harsh punishments proscribed in the Old Testament, Copan brings up the exaggerations of the Code of Hammurabi and then suggests that these are merely exaggerations as well and that “it is likely that the death penalty was rarely utilized” (85). This suggests that the authors of the Old Testament merely used the same tactics as the authors of Hammurabi’s Code. Yet how could that be? Didn’t the Christian god inspire the Bible? This apologetic tactic undercuts the claims of divine authorship, but Copan has a solution, explaining that the “Mosaic law didn’t start from scratch or reinvent the wheel” and suggests that it “appropriated sources apart from any direct divine revelation to Moses, who selected and adapted material resulting in a ‘special synthesis'” (37). Just Copan never explains just what this “special synthesis” might be and how we might discern Moses’s borrowing from surrounding cultures and divine intervention.

The other primary tactic Copan uses is qualification. This might be, or that could be, or this is a logical inference, or that is implied. This is probably an exaggeration and that is probably not carried out. In other words, it’s all conjecture.

This is a book that will not convince anyone who genuinely questions the text. This is a book for Christians looking to feel better about the god of the Old Testament.

Review: The World in Flames

Monday 27 September 2021

I was drawn to this book for one reason: I grew up in the same cult as Walker, Herbert W. Armstrong’s Worldwide Church of God (WCG). Hence, as I read the book, I felt an eerie similarity with many of Walker’s experiences. His sense of otherness while at school was the same as my sense of otherness. His sense of impending doom while looking at peers in school was my sense of impending doom.

My embarrassment about these beliefs, however, was absent. He seems to have talked freely about the strange things he believed, even going so far as to try to convert his best friend Paul. I, on the other hand, never said a word about my beliefs. Looking back on this, I think it’s because I never really believed. I could imagine someone asking me, “ Do you really believe that?” after I’d explained this or that strange belief, and my only imagined response to their reaction of “Oh that’s weird” would be to agree. That was my fear. This deep abiding embarrassment about what my church believed was central to my religion’s worldview. It was strangely lacking in Walker’s.

There’s a more fundamental sense in which I cannot relate to this book: Walker is African-American, and I am white. This is notable because the WCG’s theology was inherently one of white supremacy. This is not to say that the church was comprised of racists, nor is it to suggest that there were openly racist sentiments expressed in weekly services, but its theology had definite racist shades that appeared in select passages in Armstrong’s writing. He would insist he was not racist, but it’s difficult to argue that when part of the theology was that in the kingdom of God, which we colloquially knew as the World Tomorrow (which was the same name as Armstrong’s weekly religious broadcast), everyone will be sent back to where they “belong.” Armstrong phased it thus in his 1966 book The Wonderful World Tomorrow: What It Will Be Like, which he copied directly into his final book, Mystery of the Ages:

In Noah’s day, the chief cause of the violence and chaos of world conditions was racial hatreds, interracial marriages, and racial violence caused by man’s efforts toward integration and amalgamation of races, contrary to God’s laws. God had set the boundary lines for the nations and the races at the beginning (Deuteronomy 32:8-9; Acts 17:26). But men had refused to remain in the lands to which God had assigned them. That was the cause of the corruption and violence that ended that world. For 100 years Noah had preached God’s ways to the people—but they didn’t heed.
At that time, even as today, that world faced a population explosion. It was when “men began to multiply on the face of the earth” (Genesis 6:1). Jesus said, of our time, right now, “But as the days of Noe [Noah] were, so shall also the coming of the Son of man be” (Matthew 24:37)—or, as in Luke 17:26, “And as it was in the days of Noe, so shall it be also in the days of the Son of man.” That is, the days just before Christ returns. Today race wars, race hatreds, race riots and race problems are among the world’s greatest social troubles.
Noah merely preached to people in his human lifetime. But Noah, in the resurrection, immortal, in power and glory, will be given the power to enforce God’s ways in regard to race.
It seems evident that the resurrected Noah will head a vast project of the relocation of the races and nations, within the boundaries God has set, for their own best good, happiness and richest blessings. This will be a tremendous operation. It will require great and vast organization, reinforced with power to move whole nations and races. This time, peoples and nations will move where God has planned for them, and no defiance will be tolerated.

Leaving aside the blindly stupid and racist assertion that “men had refused to remain in the lands to which God had assigned them” when considering the fact that the presence of African Americans in modern America is due almost entirely to the enslavement of Africans rather than people refusing “to remain in the lands to which God had assigned them,” the proposition that there will be “a fast project of the relocation of the races and nations” is essentially the assertion that God is a segregationist. The Kingdom of God runs on Jim Crow laws, it seems.

Note that I never once heard this from the pulpit. I never heard a single discussion about this, and I think that a fair number of people were unaware of this passage and the handful of others scattered in his writing. When I read that passage to a friend who’d also grown up in the church, she was dumbfounded and angry that she’d never noticed it. It was not a central element of the theology: the notion that we’d all become gods was more prominent.

In light of all that passage, though, it’s fascinating to me to think of the African-American constituency in WCG congregations. What was it about Armstrongism that attracted minorities even though it was clear from the theology that Armstrong’s god somehow viewed them as inferior? I was hoping Walker would write more about this than he did because he only deals with it directly a couple of times and obliquely a few more times. Still, it gave a compelling picture, and I cheered when his family finally left the cult.

Review: Flights

Friday 6 March 2020

Do I have to actually finish a book in order to review it? Doesn’t the fact that I couldn’t bring myself to slog through another page constitute a review in and of itself?

I wanted to like this book. I went into it with such high hopes. After all, Tokarczuk just won the Nobel, and this is her most-recommended book.

I found it to be a collection of random, vapid, and shallow “observations” — thoughts that anyone who has traveled at all has had a million and one times — strung together in a random mess of I-don’t-know-what.

A more eloquent Goodreads review put it thusly:

Gosh. What a load of disjointed tripe.
Not a novel. Not a book. More like the author collected all kinds of things: personal notes, FB statuses, random thoughts, more random scramblings and mixed it all together into some sort of text.
Extremely dull, disjointed ramblings on all sorts of things.
It could be read but personally I don’t find it very interesting or illuminating.
Overhyped graphomania, nothing more, nothing less.

If this is her best, I’d hate to see her worst.

It really reminds me of modern visual art. Take a jar, urinate in it, toss in a crucifix, take a picture — voila! Piss Christ. Paint a picture of the Madonna. Add some elephant dung. Voila! Art! Chris Ofili’s The Holy Virgin Mary. I get it — it’s postmodernism and post-postmodernism.

It’s still just nonsense to me.

Putting the “Scat” back into “Eschatology”

Tuesday 18 August 2009

There are movies out there that are so awful that you just have to recommend them to your friends. Like the old Saturday Night Live sketch in which Chris Farley has everyone trying the rancid milk and rubbing his clammy belly, there are some evils that we simply must share to appreciate.

The Omega Code is one of them. Without a doubt, it is the worst movie I’ve ever seen, yet one film everyone should endure just to see how bad a movie can be.

There is nothing redeeming about this film, and that’s its perverse charm. The acting is awful, sometimes too hot, sometimes too cold, most times just not there; the script is pathetic, ranging from faux Elizabethan nonsense to middle school scribblings; the special effects are neither special nor effective; the cinematography is along the lines of “put the camcorder there and hit the red button”; the soundtrack has all the subtlety of a mix prepared by an eight grader who’s just discovered Carl Orff; the direction lacks any whatsoever; the costumes are late-eighties high school drama club quality.

If someone sat down to plan a worse movie, it would be tough to top this one.

A look at the production credits brings everything into focus, though. TBN Films, as in “Trinity Broadcast Network”–Paul Crouch’s network. Writing credits include Hal Lindsey as a consultant for biblical prophecy.

A-ha! It’s not the film itself that’s important, but the ideology behind it. In short, it’s propaganda portraying the soon-coming end of the world according to a certain fundamentalist Christian interpretation of the Bible.As a bizarre aside, there is a bizarre theological menage a trios involved in this film that is about as dumbfounding as the film itself. Both Casper Van Dien and Michael Ironside play in The Omega Code and Starship Troopers. Troopers, in turn, was directed by Paul Verhoeven, who was a fellow of the notorious Jesus Seminar, the ultimate liberal theologians club, hated and scorned by Crouch’s TBN. Talk about working with directors of diverging views!

Michael York plays Stone Alexander, “beloved media mogul turned political dynamo,” whose rise to power is never explained. Within a few minutes of the film, however, he’s “named chairman of the European Union,” developed “an inexpensive, high-nutrient wafer that can sustain an active person for more than a day and a revolutionary form of ocean desalination that will bring life-giving water to the driest of deserts,” and won the “United Nations Humanitarian award.”

And there you have it, folks: if you haven’t figured it out already, Alexander is going to set himself up as the miracle working Beast prophesied in the Book of Revelation.

Initially, “motivational guru Gillen Lane,” played (or rather, played at) by Casper Van Dien, joins forces with Alexander in an effort to make a cliche difference in the world. He soon realizes the evil of Alexander’s true aims and becomes determined to stop him.

Lane's talk show entrance — Lane’s talk show entrance

In the meantime, though, he has some of the choicest moments of the film, often serving up the lines that other characters hang themselves with. For example, Lane suggests that, in order to motivate people, Alexander needs to be someone “to rally behind,” an “archetypal figure to embody the message.” His ultimate suggestion, after mention Martin Luther King and Gandhi, is “a new Caesar,” to which Alexander memorably replies,

Oh, no, no! No, not Caesar! Why man, he’d have to stride the narrow world like a colossus, and we petty men walk beneath his huge legs and peep about to find ourselves dishonorable graves. Oh, no! No, I’m not that ambitious.

Yes, your sophomore English serves you well–Julius Caesar, Act I, Scene ii.

"Why man, he’d have to stride the narrow world like a colossus, and we petty men walk beneath his huge legs and peep about to find ourselves dishonorable graves" — “Why man, he’d have to stride the narrow world like a colossus, and we petty men walk beneath his huge legs and peep about to find ourselves dishonorable graves”

Is this an attempt at high-brow script writing, or is it York improvising, flexing his theatrical muscle, so to speak? I’m not sure which alternative is more frightening.

Yet as the film progresses through the second half, it gets worse. Or better. Or both, if you’re a masochist.

Some examples: Alexander develops technology that “neutralizes” nuclear weapons, unites the world into a single government, with a single-currency, rebuilds Solomon’s Temple, and literally comes back from the dead.

5-Fullscreen capture 12262013 122052 PM — “Gentlemen, we all know the rules to *Risk*.”

Gillen Lane’s close friend Sen. Jack Thompson, played by George Coe (The Mighty Ducks, Bustin’ Loose), laments,

I don’t know anything about visions. I never had one. But I know about marriage. And I know about family. And I know the worth of a real man will show in the countenance of his wife’s face.

" I know the worth of a real man will show in the countenance of his wife’s face" — ” I know the worth of a real man will show in the countenance of his wife’s face”

The director, Robert Marcarelli, introduces bizarre attempts at plot twisting which, to anyone really thinking during the film, are inexplicable plot complications. Characters faced with immanent danger react with increasingly baffling shortsightedness. And most puzzling, the relationship between the purported Bible code (the crisscross, three-dimensional code supposedly hidden in the Torah, a la Jewish Kabbalah) and Biblical prophecy is never explained, though it seems clear to everyone in the film.

This is perhaps the film’s most confusing point. The waters get muddied right at the film’s opening, when Lane, who also has “a doctorate in both world religion and mythology from Cambridge,” is interviewed on a talk show by Cassandra Barashe, played by Catherine Oxenberg.

Barashe: In addition to your many other accomplishments, you seem to be an expert on the Bible code. […] Explain to our audience what this Bible code is, and how it works.
Lane: Well, crisscrossing the Torah is a code of hidden words and phrases that not only reveals our past and present, but foretells our future. […] Most amazingly, in the Book of Daniel, an angel tells him to seal up the book until the end of days. But Rostenburg[, an expert on the Bible code,] may have found the key to unlock it. See, he believed that the Bible was actually a holographic computer program and that instead of two dimensions, it should be studied in three. If this could be achieved, the code would actually feed us prophecies of our coming future. Anyway, the reason I discuss this in my book is because what we want to believe as religion really traces back to myths born out of our collective consciousness.
Barashe: Has anyone raised the question of how people like yourself can believe in these hidden codes within the Bible, and yet not in the Bible itself?
Lane: You mean like, “Jesus loves me, this I know [Looks at the audience with skeptically raised eyebrows], for the Bible [Air quotes, returning his gaze to Barashe] tells me so?” [Looks at the audience as they laugh at his wittiness]
Barashe: Yes, exactly.
Lane: My mother used to sing me that song. But you know what? She died in a tragic car accident when I was ten years old, and I finally realized that her faith in this loving God, her truth, was just a myth. Therefore, myth must be truth.

"We are the higher power!" to applause in middle America — “We are the higher power!” Lane proclaims, to applause in middle America. Highly realistic.

This kind of twisted logic is the basis for the film and snakes its way throughout the whole script. The Beast rises to power by following the secret codes of the Bible, yet we’ve all been warned of it in the books of Daniel, Ezekiel, and Revelation, as other characters make clear. We’re left wondering, “If it was supposed to be so clear to us mere mortals, why did Satan–and that’s really who Michael York’s Stone Alexander is, a possessed megalomaniac–need the secret Bible code to figure out how to bring it all to fruition?”

That’s a question that not only does the film not answer, but it doesn’t even realize it raises it. I suspect this confusion between code and prophecy arises from TBN’s effort to get “real prophecy” into a mass marketed, main-steam film. The popularity of Michael Dorsnin’s The Bible Code and similar books seems to have gotten the writers at TBN to thinking, “Hey, we can use this as a springboard into the Bible’s real code: prophecy!” As a result, it’s a mess.

As a whole, the biggest flaw of The Omega Code is its earnestness. Films usually don’t take themselves as seriously as The Omega Code does, for it not only depicts but is a battle against the wiles of the devil. Yet what the cast and crew end up making, instead of the Biblically-based, thought-provoking thriller they think they’re working on, is a B-movie, and the absolute worst kind: an accidental B-movie. It’s “B” status slipped up unawares, probably just a few moments behind the initial idea was taken seriously by all involved.

Even if the film were made in earnest but intelligently, it wouldn’t be so bad. But not only are we dealing with an awfully written script, but we’re also enduring characters who are simply stupid. They scribble “bug” on a legal pad to let one another know a room’s wired, then proceed to talk in hushed stage whispers that no known listening device can detect. They run for their lives, literally the most wanted individual on the planet, then start ranting about visions they’re having when they finally find someone who’ll help them.

God bless them all, but they’re freaking idiots, each and every one!

The clear stupidity of the characters lets us sigh in relief, though. In the end, their idiocy transforms the film into a hopeful vision for the future, because if Revelation’s Beast turns out to be half as dimwitted as any one of the characters in this film, there’s hope for humanity.

Unless he starts producing films.

Ping Spong

Saturday 1 August 2009

The Sins of Scripture: Exposing the Bible’s Texts of Hate to Reveal the God of Love is Shelby Spong’s 2005 effort to deal with several problematic themes in the Bible. Divided into sections, each section contains several chapters dealing with:

The Bible and the Environment (Overpopulation and the Catholic imperative to procreate)
The Bible and Women (Misogyny in the Bible)
The Bible and Homosexuality
The Bible and Children
The Bible and Anti-Semitism
The Bible and Certainty
Reading Scripture as Epic History

Spong flip-flops on how to explain these problematic passages. Sometimes, he seems to say “We’ve been misinterpreting this all along”; with other passages, he seems to say, “Well, primitive times, backwards thinking.” But with certain core items, he simply disregards them as being unscientific and unable to teach us anything.

He deals with the major passages about homosexuality in the first manner. The command in Leviticus not to lie with another man as one would a woman has been misinterpreted throughout the millenia. What it means, Spong explains, is not to treat men in a subservient manner, not to treat a man like a woman. In explaining it this way, Spong is essentially saying, “This is not a homophobic text; it’s a misogynistic text!” Whew — what a relief. Apparently, the writer of Leviticus just meant “Don’t treat your lover as if he’s lower than you” or “Don’t treat him like a woman.”

The other method of dealing with troubling texts is to employ the “they didn’t know better; they were primitive people back then” argument. He does this with the misogynistic passages. He gives great detail about all the double standards in the Old and New Testament for women (women are ceremonially unclean longer when giving birth to girls; woman are not to hold positions of authority or even ask questions in church; when are to be sequestered when menstruating), and he seems simply to brush it aside by saying, “Well, we know God couldn’t be misogynistic, so these texts represent the times and culture they’re written in.”

Yet Spong occasionally dismisses whole episodes in the Bible because they simply can’t be true. For instance, the core of traditional Christianity is wrong:

Let me state this boldly and succinctly: Jesus did not die for your sins or my sins. That proclamation is theological nonsense. It only breeds more violence as we seek to justify the negativity that religious people dump on others because we can no longer carry its load. […]
We are not fallen, sinful people who deserve to be punished. We are frightened, insecure people who have achieved the enormous breakthrough into self-consciousness that marks no other creature that has yet emerged from the evolutionary cycle. (173, 4)

One reads this and thinks, “Well, what’s the point then.” The logical guess is that Spong will explain, “It’s not Jesus; it’s what he taught.” Yet many of the says of Jesus — particularly the “I am” statements in John — didn’t happen:

Of course, Jesus never literally said any of these things. For someone to wander around the Jewish state in the first century, announcing himself to be the bread of life, the resurrection or the light of the world would have brought out people in white coats with butterfly nets to take him away. (234)

There are so many problems with that that it’s difficult to know where to start. At the most basic level, this shows a profound ignorance of the nature of first century notions of mental health. We only have to look at other passages in the Bible to realize there were none. It was all attributable to demons and mystery. And there certainly wasn’t anything resembling a “funny farm,” even if we strip away the nineteenth century cliches of Spong’s metaphor. Unless Spong has some archeological evidence he’s keeping hidden, it just doesn’t have any credibility whatsoever.

If it almost seems like Spong rejects the existence of a personal God, it’s because he does.

Whoa! Spong doesn’t believe in a personal God, the kind of God that the monotheistic religions have been preaching for millenia? That’s fine — I don’t particularly believe in that God either, but what’s the point of rooting around in scripture to explain this or that when Spong doesn’t even believe in the God most theists hold to be, in one way or another, the author of that scripture?

That’s why reading this causes a certain sense of cognitive whiplash — and I’d assume it’s an experience common to most of his books. “We don’t have to throw out the Bible because of the homophobia that drips from its pages because those passages have been misunderstood for so long; but we do need to throw out the God who supposedly wrote the Bible because no one ever comes back from the dead.” Isn’t faith in that very thing the heart of Christianity?

Spong isn’t trying to revise Christianity as much as he’s attempting to create an entirely new religious system, one that puts all holy books on the same level as the Iliad or the Odyssey. I’m fine what that; that’s the level I put most holy books: instructive, but in no way more authoritative than any other book. But then to insist on calling oneself a Christian seems ridiculous.

And what’s the point of it all? No Christian who believes in the bodily resurrection of Jesus, the actual existence of Adam and Eve, and the need to be saved from Original Sin is going to say, “Hey, Shelby — good point. I’m convinced.” The only people who will be convinced are fence-riders like Spong himself, people who want the cultural comforts of belonging to a religion without any of the bothersome necessities of believing in God, Jesus, etc.

Additionally, no atheist is going to be convinced. To non-theists, Shelby seems to be taking a Trans-Am, gutting it, moving the engine to the back, and turning it into a boat and yet insisting on calling it a Trans-Am. It’s not a Trans-Am, and Spong’s creation is not Christianity.

Spong hints at what he’s after:

Creation must now be seen as an unfinished process. God cannot accurately be portrayed as resting from divine labors which are unending. There was no original perfection from which human life could fall into sin. Life has always been evolving. The Psalmist was wrong: we were not created “a little lower than the angels” (Ps. 8:5, KJV). Rather, we have evolved into a status that we judge to be only a little higher than the ape’s.
This is a very different perspective. There is a vast contrast between the definition of being fallen creatures and that of being incomplete creatures. […] We do not need some divine rescue accomplished by an invasive deity to lift us from a fall that never happened and to restore us to a status we never possessed. The idea that Jesus had to pay the price of our sinfulness is an idea that is bankrupt. When that idea collapses, so do all of those violent, controlling and guilt-producing tactics that are so deeply part of traditional Christianity.
It is like an unstoppable waterfall. Baptism, understood as the sacramental act designed to wash from the newborn baby the stain of that original fall into sin, becomes inoperative. The Eucharist, developed as a liturgical attempt to reenact the sacrifice that Jesus made on the cross that paid the price of our sinfulness, becomes empty of meaning. […]
The first step is found, I believe, in acknowledging our evolutionary origins and dispensing with any suggestion that sin, inadequacy and guilt are the definitions into which we are born. […] We might be a dead end in the evolutionary process, a creature like the dinosaur, destined for extinction. We might instead be the bridge to a brilliant future that none of us can yet imagine. (177-9)

Basically, Spong is talking more Arthur C. Clarke/2001: A Space Odyssey than anything else. Yet recall that the sequel, 2010, ends with a very Garden of Eden-esque situation:

“ALL THESE WORLDS
ARE YOURS EXCEPT
EUROPA
ATTEMPT NO
LANDING THERE
USE THEM TOGETHER
USE THEM IN PEACE”

Or maybe Spong has something else in mind. Maybe Spong doesn’t really know what he has in mind. Except that he’s a Christian, but only insofar as he reads the Bible and thinks Jesus was damn fine man (in as much as we can tell from his sayings, after we scrape away everything he obviously never said).

Spong calls himself a Christian, but it leaves me wondering what kind? It’s seems that, having been an Episcopal priest and bishop for so long, he simply can’t let go.

From the Plantation to the Penitentiary

Wednesday 18 July 2007

We just got Wynton Marsalis’ latest album, From the Plantation to the Penitentiary (AMG). It features relative newcomer Jennifer Sanon on vocals, and we’re both very pleased with our choice.

I listened to it four times night before last, and probably as many last night. It simply hasn’t left our CD player since we got it Monday.

With this album, in some ways it seems to be more about the lyrics than the music. Matt Collar, for the AMG review, wrote,

Long an outspoken figure in the jazz world and a lightning rod for debate over what constitutes the so called “jazz tradition,” Marsalis is less concerned about the direction of jazz music here and more about the direction of American society.

It is true that, lyrically, this is a very political album, but the thing about Marsalis is that he’s such an accomplished musician that he doesn’t have to be concerned about much of anything for the music to come out sparkling. It might not be a musically revolutionary album, but it is an intensely listenable collection, and I will certainly be returning to it often in the near (and far) future.

The Omega Code

Saturday 14 January 2006

There are movies out there that are so awful that you just have to recommend them to your friends. Like the old Saturday Night Live sketch in which Chris Farley has everyone trying the rancid milk and rubbing his clammy belly, there are some evils that we simply must share to appreciate.

The Omega Code is one of them. Without a doubt, it is the worst movie I’ve ever seen, yet one film everyone should endure just to see how bad a movie can be.

There is nothing redeeming about this film, and that’s its perverse charm. The acting is awful, sometimes too hot, sometimes too cold, most times just not there; the script is pathetic, ranging from faux Elizabethan nonsense to middle school scribblings; the special effects are neither special nor effective; the cinematography is along the lines of “put the camcorder there and hit the red button”; the soundtrack has all the subtlety of a mix prepared by an eight grader who’s just discovered Carl Orff; the direction lacks any whatsoever; the costumes are late-eighties high school drama club quality.

If someone sat down to plan a worse movie, it would be tough to top this one.

A look at the production credits brings everything into focus, though. TBN Films, as in “Trinity Broadcast Network”–Paul Crouch’s network. Writing credits include Hal Lindsey as a consultant for biblical prophecy.

A-ha! It’s not the film itself that’s important, but the ideology behind it. In short, it’s propaganda portraying the soon-coming end of the world according to a certain fundamentalist Christian interpretation of the Bible.

As a bizarre aside, there is a bizarre theological menage a trios involved in this film that is about as dumbfounding as the film itself. Both Casper Van Dien and Michael Ironside play in The Omega Code and Starship Troopers. Troopers, in turn, was directed by Paul Verhoeven, who was a fellow of the notorious Jesus Seminar, the ultimate liberal theologians club, hated and scorned by Crouch’s TBN. Talk about working with directors of diverging views!

Michael York plays Stone Alexander, “beloved media mogul turned political dynamo,” whose rise to power is never explained. Within a few minutes of the film, however, he’s “named chairman of the European Union,” developed “an inexpensive, high-nutrient wafer that can sustain an active person for more than a day and a revolutionary form of ocean desalination that will bring life-giving water to the driest of deserts,” and won the “United Nations Humanitarian award.”

And there you have it, folks: if you haven’t figured it out already, Alexander is going to set himself up as the miracle-working Beast prophesied in the Book of Revelation.

Initially, “motivational guru Gillen Lane,” played (or rather, played at) by Casper Van Dien, joins forces with Alexander in an effort to make a cliche difference in the world. He soon realizes the evil of Alexander’s true aims and becomes determined to stop him.

In the meantime, though, he has some of the choicest moments of the film, often serving up the lines that other characters hang themselves with. For example, Lane suggests that, in order to motivate people, Alexander needs to be someone “to rally behind,” an “archetypal figure to embody the message.” His ultimate suggestion, after mention Martin Luther King and Gandhi, is “a new Caesar,” to which Alexander memorably replies,

Oh, no, no! No, not Caesar! Why man, he’d have to stride the narrow world like a colossus, and we petty men walk beneath his huge legs and peep about to find ourselves dishonorable graves. Oh, no! No, I’m not that ambitious.

Yes, your sophomore English serves you well–Julius Caesar, Act I, Scene ii.

Is this an attempt at high-brow script writing, or is it York improvising, flexing his theatrical muscle, so to speak? I’m not sure which alternative is more frightening.

Yet as the film progresses through the second half, it gets worse. Or better. Or both, if you’re a masochist.

Some examples: Alexander develops technology that “neutralizes” nuclear weapons, unites the world into a single government, with a single-currency, rebuilds Solomon’s Temple, and literally comes back from the dead.

Gillen Lane’s close friend Sen. Jack Thompson, played by George Coe (The Mighty Ducks, Bustin’ Loose), laments,

I don’t know anything about visions. I never had one. But I know about marriage. And I know about family. And I know the worth of a real man will show in the countenance of his wife’s face.

The director, Robert Marcarelli, introduces bizarre attempts at plot twisting which, to anyone really thinking during the film, are inexplicable plot complications. Characters faced with immanent danger react with increasingly baffling shortsightedness. And most puzzling, the relationship between the purported Bible code (the crisscross, three-dimensional code supposedly hidden in the Torah, a la Jewish Kabbalah) and Biblical prophecy is never explained, though it seems clear to everyone in the film.

This is perhaps the film’s most confusing point. The waters get muddied right at the film’s opening, when Lane, who also has “a doctorate in both world religion and mythology from Cambridge,” is interviewed on a talk show by Cassandra Barashe, played by Catherine Oxenberg.

Barashe: In addition to your many other accomplishments, you seem to be an expert on the Bible code. […] Explain to our audience what this Bible code is, and how it works.
Lane: Well, crisscrossing the Torah is a code of hidden words and phrases that not only reveals our past and present, but foretells our future. […] Most amazingly, in the Book of Daniel, an angel tells him to seal up the book until the end of days. But Rostenburg[, an expert on the Bible code,] may have found the key to unlock it. See, he believed that the Bible was actually a holographic computer program and that instead of two dimensions, it should be studied in three. If this could be achieved, the code would actually feed us prophecies of our coming future. Anyway, the reason I discuss this in my book is because what we want to believe as religion really traces back to myths born out of our collective consciousness.
Barashe: Has anyone raised the question of how people like yourself can believe in these hidden codes within the Bible, and yet not in the Bible itself?
Lane: You mean like, “Jesus loves me, this I know [Looks at the audience with skeptically raised eyebrows], for the Bible [Air quotes, returning his gaze to Barashe] tells me so?” [Looks at the audience as they laugh at his wittiness]
Barashe: Yes, exactly.
Lane: My mother used to sing me that song. But you know what? She died in a tragic car accident when I was ten years old, and I finally realized that her faith in this loving God, her truth, was just a myth. Therefore, myth must be truth.

This kind of twisted logic is the basis for the film and snakes its way throughout the whole script. The Beast rises to power by following the secret codes of the Bible, yet we’ve all been warned of it in the books of Daniel, Ezekiel, and Revelation, as other characters make clear. We’re left wondering, “If it was supposed to be so clear to us mere mortals, why did Satan–and that’s really who Michael York’s Stone Alexander is, a possessed megalomaniac–need the secret Bible code to figure out how to bring it all to fruition?”

That’s a question that not only does the film not answer, but it doesn’t even realize it raises it. I suspect this confusion between code and prophecy arises from TBN’s effort to get “real prophecy” into a mass marketed, main-steam film. The popularity of Michael Dorsnin’s The Bible Code and similar books seems to have gotten the writers at TBN to thinking, “Hey, we can use this as a springboard into the Bible’s real code: prophecy!” As a result, it’s a mess.

As a whole, the biggest flaw of The Omega Code is its earnestness. Films usually don’t take themselves as seriously as The Omega Code does, for it not only depicts but is a battle against the wiles of the devil. Yet what the cast and crew end up making, instead of the Biblically-based, thought-provoking thriller they think they’re working on, is a B-movie, and the absolute worst kind: an accidental B-movie. It’s “B” status slipped up unawares, probably just a few moments behind the initial idea was taken seriously by all involved.

Even if the film were made in earnest but intelligently, it wouldn’t be so bad. But not only are we dealing with an awfully written script, but we’re also enduring characters who are simply stupid. They scribble “bug” on a legal pad to let one another know a room’s wired, then proceed to talk in hushed stage whispers that no known listening device can detect. They run for their lives, literally the most wanted individual on the planet, then start ranting about visions they’re having when they finally find someone who’ll help them.

God bless them all, but they’re freaking idiots, each and every one!

The clear stupidity of the characters lets us sigh in relief, though. In the end, their idiocy transforms the film into a hopeful vision for the future, because if Revelation’s Beast turns out to be half as dimwitted as any one of the characters in this film, there’s hope for humanity.

Unless he starts producing films.

Review: Letters Between a Catholic and an Evangelical

Thursday 12 August 2004

McCarthy admits up front, in his foreword, that both he and Waiss had one aim: to convert the other. That the book is published by an evangelical publishing house testifies to the fact that Waiss failed; that the book is not titled “Letters that Converted a Catholic Priest” testifies to the fact that McCarthy failed.

Who won the debate is more a question of readers’ preconceptions than anything else. Catholics will be unconvinced by McCathy’s arguments, and few Protestants will be moved by Waiss’s somewhat bland presentation.

Of the two, McCarthy is much more aggressive, and in many ways, much more rational. But there is a mystical element in Catholicism that doesn’t mix well with pure rationalism. Recall that after consecrating the host in Mass, priest speak of the “Great mystery of faith.”

At the heart of the book is the question of authority: both accept the Bible as an authority, but evangelicals stop there, where as Catholics see Tradition and the Church as on equal footing as the Bible, comprising together the Word of God. Much of the book, then, revolves around Waiss trying to show how the Church’s extra-Biblical notions (i.e., those not specifically detailed in the Bible, such as the papacy, Mary’s Immaculate Conception, etc.) are, in some way, Biblically based while McCarthy chips away at Waiss’s arguments. The tables turn from time to time, especially discussing “sola scriptura,” but by and large, it’s a game of “Prove it from the Bible.”

As such, McCarthy and Waiss toss one phrase (or a derivative) at each other quite often: “No where in the Bible do we find X.” McCarthy fills in the variable with Papal authority, Marian devotion, the importance of Tradition; Waiss replaces “X” with the notion of “sola scriptura,” the Trinity, and a couple of other ideas. With the exception of “sola scriptura,” Waiss’s contention seems to be that McCarthy and evangelicals are essentially “guilty” (my term, not his) of the same thing they accuse Catholics of: incorporation of extra-Biblical doctrines. Waiss could have pushed McCarthy a bit harder on this point, I think, for he doesn’t even mention a host of non-Biblical based notions that “sola scriptura” evangelicals accept: Sunday worship, non-observance of Jewish holidays (i.e., no where in the Bible does it explicitly say that followers of Jesus are to stop observing the Jewish festivals), Easter, and Christmas come to mind.

This shows the Protestant notion of wanting to have its theological cake and eat it, too. Protestantism accepts the early Church councils’ decisions about the New Testament canon, the proper day of Christian assembly, the appropriateness of celebrating Jesus’ birth and resurrection, but most denominations (especially evangelicals) are unwilling to accept the Catholic Church’s continuing authority. This is one of the paradoxes of the Protestant movement, which necessarily implies that the Church started off correctly, but somewhere got tangled up in a mess of legalism and false belief. Sadly, questions like “At which point?” and “Why would God let such a thing happen despite his promise to the contrary?” aren’t mention in the book. It leaves me feeling that Waiss pulled some of his punches.

On the other hand, McCarthy demolishes some Waiss’s arguments in support of Catholic theology. His handling of whether Jesus had half-brothers (i.e., whether Mary remained a virgin her whole life and whether “brothers” in the New Testament should be translated “cousins,” as the Church maintains) is well done, for example.

As I mentioned earlier, who won the debate depends on readers’ preconceptions. As a non-Christian skeptic, I found the debate to be a draw. This is because “Letters” is a debate about the tenants of a religion based on a self-contradictory book, a notion neither McCarthy nor Waiss would take into account. For example, is one saved by faith alone or by faith and works? It depends on where you look in the Bible. Did Saul/Paul’s traveling companions on the road to Damascus hear a voice or not? It depends on which chapter of Acts you read. Does the bread and wine become Jesus’ actual body? It depends on how you read a couple of different NT passages. With such a flawed starting position, a draw is the best outcome either participant could hope for.

When such contradictions arise, the great literal/figurative differentiation arises. Indeed, much of the book also seems to be an argument as to whether or not to interpret this or that passage literally or figurative, with each side accusing the other of taking the passage out of context.

On the other hand, it is refreshing to see debate that doesn’t often (though sometimes, to a slight degree) slip into personal insults. While many Protestants (and this almost always includes fundamentalists, and often includes evangelicals) think the Catholic Church is the Whore of Babylon and the Pope the Anti-Christ and many Catholics regard Protestants as heretics, McCarthy and Waiss keep things civil the whole time.

One final criticism: the length precluded truly in-depth discussion, and many of McCarthy’s and Waiss’s comments go unanswered.

Overall, I would say it’s an interesting read for the simple fact of seeing to opposing views clearly (though perhaps too succinctly) presented.

Review: Christianity on Trial

Saturday 12 October 2002

I’m not sure whether the thesis of this book could best be summed up as, “Christianity isn’t all that bad” or “Christianity has made the world the wonderful place it is today.” That depends on whether you’re trying to summarize the intended or actual thesis.

This purports to be basically a book of Christian apology, in a sense: not defending the faith’s tenants, but defending the faith’s acts. It rightly points out that there is a lot of criticism directed toward Christianity that, were it directed toward any other religion, would be construed as bigotry. That’s true enough, and a fair criticism. On the other hand, the book seems to imply that the majority of contributions Christianity has made to civilization are positive – that the scales tip toward the good. That’s fine and good, but it doesn’t provide enough proof of that. We never get any idea if the people and groups in each chapter are exceptions to the rule, or the standard. I got the feeling that the authors didn’t know either, but were trying to pass them off as the latter.

This is particularly noticeable when we consider the two topics conspicuously missing from the book: Christian anti-Semitism and Christian misogyny. The environment, democracy, and science all rightly get chapters, but nary a word about misogyny, and only lip-service to anti-Semitism (“Okay, okay, Luther was anti-Semitic, but look at all the good things he did!”). The closest thing to mentioning misogyny, on the other hand, is perhaps a reference to the (to use their woefully inadequate understatement) “unfortunate” Salem witch trials.

On the whole, I remain unconvinced of Christianity’s virtues through the centuries. It’s a human institution, filled with the hatred, bigotry, and stupidity common to all people.

Still, it did make me realize that condemning the Apostle Paul for his views on slavery is to use an anachronistic morality to judge him. This is a common theme in the book, and somewhat rightly so. We can’t condemn society X for being cruel when it was no crueler than any other contemporary society, even if it is vastly more vicious than our own. We can comment on it, but it doesn’t make them immoral.

Matching Tracksuits

Fun in Fours

Results For "review"

Review: Is God a Vindictive Bully?

Review: The World in Flames

Review: Flights

Putting the “Scat” back into “Eschatology”

Ping Spong

From the Plantation to the Penitentiary

The Omega Code

Review: Letters Between a Catholic and an Evangelical

Review: Christianity on Trial