Men and women can’t be friends

“You realize of course that we could never be friends,” Harry says to Sally, slyly sneaking this disclaimer in to open the conversation of how sex always gets in the way of friendship. Possibly, he was just trying to work sex into the conversation any way he could. It is 1989, and Billy Crystal sits in Meg Ryan’s passenger seat painting a picture of gender relations past, present, future in the film When Harry Met Sally. It is a statement that, at the time, was describing gender relations in a post-sexual revolution era, but it also predicted how men and women would relate today in our world of app-based community and romance. Harry expresses his worldview in this context of two flirty college students, and it is charmingly funny, but when we look at where our churches are in the department of gender relations, it is nothing to smile about.

harry11

As the millennial generation continues to put off getting married, we feel a larger and longer relational gap. To fill this void, many turn to positive, healthy friendships for belonging and community. Many more, though, participate in hook-up culture and online dating, where people of the opposite sex are commoditized. What is then created is an environment where relationships are defined by sex and isolation is created by the void of loving friendships.

The church might be feeling the fallout of this trend most. Recent research shows that because of this, women are making their exit. According to Barna Group, since 2003 the percentage of churchgoers that are female has dropped 12 points, and it is not because more men are coming in. Coupled with this, Barna also reports that only 17% of women feel like they are “very emotionally supported” in their church or synagogue.

I wonder if we trying at all to create environments where marriage isn’t the only priority in male-female relationships? But here we are, and I think our churches could be spaces where our current generation, which is relying heavily on friendship as their main source of affection and support, should find what they are looking for. This is not a quick and easy task. Even though community is a major priority in the church, our inability to form friendships between men and women can leave us like Ricky Bobby in his first interview, scrambling to figure out what to do with his hands. If something doesn’t change soon, if we do not find a way to encourage friendship among singles, thereby offering women the support they need, we could lose an essential component to representing the image of God in our places of worship.

Men and Women Need to Communicate

Sadly, our culture doesn’t stress communication and friendship between men and women. Sex and romance are the current language of male-female relationships. The current state of interpersonal communication is frightening. Reading through Parks & Recreation star Aziz Ansari’s book Modern Romance makes talking to the opposite sex seem like a myth, a rarely sighted animal that culturally never shows its face. Look at the narrative both men and women have been presented in popular movies and TV. Men are always the heroes, flying, swinging, or smashing in to save the day. This is true for the latest Marvel films, anyhow. The most recognized and powerful Marvel female leads, Gwyneth Paltrow’s Pepper Potts and Natalie Portman’s Jane Foster, weren’t even invited to the party in the latest installment of the Avengers franchise. Why would they come anyway? In a bloated, male-driven superhero movie they more than likely would have served as little more than scenery. They are excluded unless the narrative calls for romance.

thor-and-jane-foster-thor-the-dark-world-25019-2880x1800

Looking for a positive narrative for women, let’s investigate Disney’s Frozen. In a lot of ways, the film has become a beacon of hope in the normal princess narrative because it is a female-driven story about sisterly love and triumphing over the societal pressure for women to hide who they are. Nevertheless, you won’t find positive inter-gender friendship-building in this most recent Disney flagship. It is reasonable that Anna lacks the skills to make friendships. Being locked in a kingdom her entire life could do that. But when she emerges from her isolated world, she falls for the very first man who catches her attention. Here is the problem with the majority of our princess narratives: The action begins when the man arrives and ends with the happily-ever-after wedding. There always has to be a love interest, right? Even the resourceful Tiana from Princess and the Frog and the courageous Mulan from Mulan have narratives revolving around a love interest. What made these women who they are? It wasn’t the men. Just once, wouldn’t it be nice if Kristoff and Anna stayed friends or Tiana opened her dream restaurant without being betrothed to Prince Naveen?

If we look at the narrative of Jesus’ life, though, we find that He didn’t think it necessary to have a love interest in order to have women around. Luke 8 tells a little bit of the account:

Soon afterward he went on through cities and villages, proclaiming and bringing the good news of the kingdom of God. And the twelve were with him, and also some women who had been healed of evil spirits and infirmities: Mary, called Magdalene, from whom seven demons had gone out, and Joanna, the wife of Chuza, Herod’s household manager, and Susanna, and many others, who provided for them out of their means.”

These women were diverse, faithful, and incredible. Perhaps what stands out at first glance is how they financially supported Jesus’ ministry. They were dedicated to the cause as well as the cross. They followed Jesus all the way to the end and beyond and no wonder! Look at Mary Magdalene. Think about the absolute torture her life consisted of before meeting Jesus. What a story she has to tell. Our author, Luke, is a great example for our churches to follow. His first few lines tell you how he was a meticulous recorder of the history of Jesus. Many believe as he was on his travels alongside Paul, gathering information for a complete record of this story, he collected manuscripts and conducted interviews, interviews in which the women in Jesus’s life and ministry were not left out. In fact, it is likely that he even interviewed Mary, mother of Jesus. Can you imagine that conversation? Luke hearing firsthand Mary’s incredible story of being visited by an angel and life never being the same again. Our biblical authors didn’t pass these women up, and it means our churches shouldn’t either.

Today, we have our first female NFL coach, the first female graduates of Army Ranger school, a U.S. women’s World Cup title, a female mayor bringing gangs to peace in Compton, and on and on and on. These are opportunities and contributions that we do not see in male-dominated cultures around the world. Where women are oppressed, the culture suffers.

maxresdefault

Why then does it seem that the church is still behind in this area? Can you imagine what stories the church is missing by not communicating well to the women in our midst? Jesus didn’t have women there alongside Him by accident; He thought it was necessary, and we’ve got to move beyond the romance narrative and have real conversations. Men and women need to seek each other out, talk face to face, and learn to ask good questions. You’d be surprised how infrequently women are asked, “What do you think about that?” Does the way we communicate with women in church communicate their value? Based on the Barna stats, it doesn’t sound like it. Our churches need to seek out women’s stories, talents, and opinions because they have great value.

Men and Women Need Borders Not Boundaries

Men and women in the church need to have more conversations and interactions if they are to lean on each other as friends. This is normally the point in the conversation when we talk about building up walls. Stories of professional athletes and pastors never going to lunch with women or riding in cars or elevators alone with them creates a sense of fear and confusion. Well get your trumpets ready, people, because we are walking around those walls and bringing them down.

For decades, male leaders in the church have lived by what is affectionately called, “The Billy Graham Rule.” It is said that the famous preacher and evangelist Billy Graham had a “rule” for his interactions with women. He would never be alone with a woman who was not his wife–not in a car, an elevator, or a meal. His thinking is that this is the best way to guard his marriage and his ministry. The fear is both internal and external. It is internal because it squashes a situation where temptation will abound. It is external because even the idea that a leader might be out alone with a woman could cause rumor, suspicion, or false accusations. This could be a valid fear for a church leader. But with one quick Bible app search, you’ll read what Jesus thinks about fear. Where is our trust in our sovereign Lord if fear is this severe in our churches? Also, what if these rigid boundaries are causing more harm than good?

In a recent article for Christianity Today’s Her.meneutics blog, Dr. Halee Gray Scott tells some of the horrors of creating strict boundaries in gender relations:

“As a researcher who focuses on female Christian leaders, I hear it over and over. The first female vice president of a Christian organization confessed she missed out on opportunities to advance her projects because the president made business decisions over lunch, and he promised his wife he wouldn’t eat lunch alone with women. It was enough to make her want to quit.”

Yes, it can cause a myriad of problems to be alone with someone of the opposite sex, but strict boundaries can shut people out of important, valuable ministry. Instead of creating giant walls in our relationships, what if we created helpful borders that can be moved and crossed when appropriate? We’ve got to find a balance and that may involve balancing our intentions. 

Men and Women Need the “Friend Zone”

Oh, the “friend zone,” a term so dreaded in our society that it spawned a Ryan Reynolds romantic comedy, Just Friends. But what if the friend zone is exactly what we need in our churches?

Just Friends

The friend zone begins with creating flexible borders, not steel-reinforced boundaries. For example, let’s say we are never going to hug anyone of the opposite sex in our church. After all, physical touch alludes to romantic affection (and not everyone even likes being hugged). But is this the model Jesus presented to us? Jesus touched. Jesus hugged. Jesus embraced people of all walks of life. It is true that hugs can become inappropriate, but they can also be incredibly appropriate. One way to navigate this is to always ask if it’s ok to hug someone. This can be awkward and difficult, but abandoning all physical contact creates a world much like a 7th grade dance floor, with each gender on the opposite side clinging to the wall for dear life. The church is about unity not division. There is no exact science or standard you can set because everyone has different needs and feelings about things like physical touch, spending time alone with someone, and frequency of communication. We need to work through these spheres with individuals to create a space where people are heard and friendships can flourish. As with anything that isn’t clear cut, mistakes are bound to be made but our churches and our friend zones need to have grace and forgiveness built in.

It may also be necessary to redefine why we are in the church. The church should not be defined by the romance narrative of the culture. Can anyone point me to the scripture reference where it says that the church is there for you to find your mate? The church is God’s invention to equip His people and bless the world, to restore shalom to all areas of life. Finding your future spouse may be a result but it’s not the main idea. Let’s say God has called you to be married. How many people are you going to marry? So then, what happens with all of the other opposite gender relationships in your life? If you are currently married, making your spouse your only friend is a surefire way to put crippling pressure on them to be your only source for support. The God of the Bible is a God of community, and friendship is a gift God has given us.

When marriage becomes your main target for bonding with people of the opposite sex, then it’s difficult to build relationships, even friendships, that aren’t defined by sex in some way. This is exactly what Harry was talking about.

“This myth, then—the belief that sex wholly explains the depths of our most profound relationships—has led many of us in recent decades to feel suspicious of, uncertain about, and at times even ashamed of deep friendships and has hindered our search for closer and more fulfilling ones,” says Dr. Wesley Hill, a leading voice in the spiritual friendship movement. Creating the friend zone involves both genders meeting in that space with the motive to hear each other’s stories, provide love and support, and build a vibrant, diverse church community.

Men and Women Need Each Other

Creating churches where genders are constantly divided is an effective mode of making people lonely and isolated. Do you remember the book Men Are from Mars, Woman Are from Venus? However gimmicky the title may be, there is some truth to the idea that men and women are different. Sometimes it does feel like we might as well be from different planets, but we both come from the same image. We carry the image of God together as the human race, and we need each other to show that image to the world and to the people in our church.

In my role as a campus minister, I get to meet and work with too many women who come from a background where they never had a healthy relationship with their father and have never been shown love and respect in a dating relationship. In fact, many come to college having been used and degraded in almost every relationship in their lives. What if a woman like that comes into a church environment where she is treated like something to fear? What if she is treated only as the romantic interest of a greater narrative? She will never experience the image of a Father who will never use and abuse her. She will never experience the image of a brother who has her back. She may never have the space to build relationships that speak the Gospel into her life.

When creating our friend zone, we must be looking and thinking about people as friends first. It means our first thoughts about these people are how we can love and serve them and wondering how they will positively contribute to the Body of Christ. It means recognizing gifts and hearing stories. It means bringing our true selves into our churches and sharing that with others by communicating openly and honestly. We’ve got to navigate these waters with the intent to be Kingdom builders, to welcome people of any gender into our houses of worship to meet our servant King. It’s time for our churches to step up and prove Harry wrong. Men and women can be friends, and if we are going to help our churches flourish and truly reflect the image of God we, in fact, are called to be friends.

This article originally appeared in Christ & Pop Culture Magazine. (Edit 2017)

Advertisements

On the run with Baby Driver

What’s your favorite song? Sorry, that’s a vague question. What’s your go-to road trip song? How about your shower song? Do you have a song for rainy days? What do you listen to after a break up? Is there a song that makes you dance involuntarily? Music can serve so many of our emotional needs. It’s hard to imagine life without the songs we pull into our own personal soundtracks. Baby Driver, writer/director Edgar Wright’s new film, begs us to inspect our lists of go-to tracks and wonder what they tell us about how we see the world.

19551159_10101360520438406_1918297312_n

For Baby, the title character in the film innocently played by Ansel Elgort, life is about escaping and there is no greater escape than music. The life pumped through his earbuds not only drowns out the tinnitus he acquired as a boy, but also pulls him out of the dangerous activities he’s being forced into. Baby has a face and a heart that fits his name but a life that’s filled with crime, drugs, and violence. This duality of morality pushes him into the songs in his many iPods to drown out the hum in is ears and the ringing of his conscience.

In his life of crime, is there a better profession for someone like Baby, constantly on the run from himself and others, than a getaway driver? In fact, Baby is the best getaway driver Atlanta has ever seen. The darkest day of his life happened in a car and as soon as he could see over the wheel (and learn how to steal cars) he made sure the driver’s seat would become his sanctuary. Somewhere along the line, Baby boosted the wrong car and found himself in serious debt with Doc, a notorious crime boss played by Kevin Spacey. Under Doc’s thumb, all Baby can do is listen to his music and drive. During the film, he pushes the pedal to the metal speeding closer and closer to freedom from what his life has become.

19551543_10101360520463356_1992421116_o

It took Wright years to make this film because he broke many of the rules of traditional filmmaking. He assembled the soundtrack and wrote the scenes around the songs. Normally, movies are made the other way around…writing the scenes and then finding the music for them. It’s easier that way because you may not get licenses for the music. However, Wright had a vision and what a vision it was! He created a symphony with the world around Baby. Footsteps, car horns, tire squeals, sirens, screams, explosions, and gun shots sync to the beats placing the audience into Baby’s ears.

Anyone familiar with Wright’s other works (Shaun of the Dead, Scott Pilgrim vs. the World) will appreciate his attention to detail. The soundtrack to Baby Driver has the diversity of a Guardians of the Galaxy more than it does the Pitbull laden playlists of your typical cars and crime action romps. Like a deep track book of Psalms, the music takes you on a ride through just about every possible human emotion. It is the kind of soundtrack that proves no song can be your favorite for every occasion.

19553158_10101360520448386_1330353833_n

Baby Driver asks you to take this ride through Baby’s shuffle to find out just what kind of person he is. Is he a victim of circumstance? Is he more of a willing participant than he lets on? Baby can’t escape these questions forever. Luckily, music isn’t just a method of escape but is also how Baby experiences and processes the world. The life Baby leads is so saturated with music that his steps are in time. The slow jams give him time to reflect on his crimes, the screeching guitar solos perfectly accompany his anger, the break-up songs help explore his trauma, and the love songs help him hope for a better tomorrow.

Our favorite tunes offer us the same invitation to allow the words, the notes, and the spirit move us through whatever we’re dealing with. Watching and listening to Baby Driver might give you some new songs for your playlists but hopefully it also helps you think about what you’re using as your guide of melodic self-reflection. This is one of those films we’ll study in film schools because of its spectacular craftsmanship. It captures the complexity of being human in a unique way. So don’t be surprised if it also helps you study yourself. What songs are you drawn to and when? What are you often working through? What are you escaping from? Sometimes you have to face your music.

19553443_10101360520453376_1997314717_n

Baby Driver Psalms Companion

Looking to take a ride through human emotion? The Book of Psalms in the Bible is God’s ultimate playlist. Here are some of the themes pulled out of Baby Driver and a selection of Psalms to help guide you through them.

Who are we?

Psalm 8

Psalm 139

Break up

Psalm 147

Love

Psalm 136

Conviction

Psalm 51

Celebration

Psalm 148-150

Hope

Psalms 16

Psalm 23

Don’t be surprised by Wonder Woman

Let me describe a scene to you from the most recent Star Wars movie, Rogue One. Tell me if it feels familiar to you. The story’s lead Jyn Erso has agreed to help the Rebel Alliance gain access to her former mentor Saw Gerrera. They travel to Empire occupied Jedha, home to Gerrera and an ancient Jedi Temple. It’s not long before Erso and the rebels are caught up in scuffle, as Star Wars rebels tend to do. Erso is being led around the planet by rebel leader Cassian Andor. Andor has been carrying the weight of rebellion on his shoulder for years. He is constantly burdened by the safety of the mission and his team. There is a pride to this burden and this pride leads to my least favorite scene in the movie.

In the middle of the skirmish, Andor is leading Erso around a chaotic battlefield reminiscent of scenes of modern warfare we’re used to today. Naturally, Andor can’t possibly account for every danger around every corner and he and Erso get cornered by a squad of dreaded Stormtroopers. Looking at Andor you see the face of failure. They’re doomed, dead where they stand. Suddenly, Erso kicks into high gear and drops both the troopers and Andor’s jaw. He can’t believe Erso single-handedly dismantled the troopers. He can’t believe Erso, who is the mentee of the very accomplished rebel they were there to find, who had been providing for herself for the better part of a decade in a conflict-heavy galaxy, who he had rescued from a prison labor camp alongside other hardened criminals, who is the daughter of one of the greatest geniuses in the galaxy, could possibly have the skills to survive that situation. So why is Andor surprised?

Wonder Woman Old Panel

Andor is probably surprised because decades of film history have told him that whenever a woman fends for herself, its surprising. This is a feeling of surprise Han and Luke felt the minute Princess Leia grabbed a blaster and led them down the garbage shoot. So here we are, it’s 2017, and we have our first big-screen adaptation of the world’s most famous superheroine, Wonder Woman. Wonder Woman has been around for decades, and, in that time, has fought her way from the Justice League’s secretary to one of the busts carved into DC Comics’ Mount Rushmore alongside her fellow pop culture icons of Batman and Superman. One would hope that, as we’ve entered a moment in cinematic history where studios are ready to put women in the title role and in the director chair, we would stop being surprised by what women are capable of. One would hope…

Diana Prince aka Wonder Woman and her male companion, Stever Trevor, enter a dark London alley. They’re carrying crucial intelligence the British military needs to gain an advantage in World War I and are being pursued by undercover German soldiers. Just like Erso and Andor in the battle on Jehda, Trevor leads them into a corner. He doesn’t see a way out, and he’s burdened by a need to find a way out of this hopeless situation. A German gun goes off and Trevor knows the bullet’s for him. A “ping” familiar to Wonder Woman fans rings out as Prince stops the bullet with her signature cuffs. Trevor’s jaw drops. He’s surprised that Wonder Woman, the one who saved him from a plane crash, the one who he watched take out a dozen German soldiers in an earlier battle, a woman he learned is from an advanced race of Amazon warriors from a supernaturally hidden home world, could possibly be the solution to them surviving the ambush.

Amazons

Wonder Woman, as a film, is filled with breathtaking action scenes, charmingly fun banter between interesting characters, and some of the coolest, most memorable superhero moments committed to film. It belongs at the top of the list of DC’s most recent efforts and right alongside its Marvel Comics (Avengers, Iron Man, etc.) peers. As reviews for the film have been positive, and as Wonder Woman continues to be a cultural icon, my fear is that story that comes out of the box office this weekend will be headlined by surprise.

Wonder Woman will lead the box office in bouncing back from the lowest Memorial Day numbers in about a decade. Last week, two movies were released that were supposed to kick start the summer cinema season. Helmed by a juggernaut franchise and a human juggernaut in The Rock, Pirates of the Caribbean 5 and Baywatch were financial disappointments. They led the summer into a dark alley and had studios questioning if they’d survive. Here comes Wonder Woman to save the day.

Gal and Director

Wonder Woman herself, Gal Gadot, with director Patty Jenkins

We live in a world with Aja Brown, the mayor of Compton, who led successful peace negotiations between rival gangs the Bloods and the Crips. We live in a world with Ava DuVernay, acclaimed director who not only became the first female African America director to helm a $100 million budget movie with Disney’s A Wrinkle in Time but, also, created the wildly complex and riveting Queen Sugar, a show she intentionally hires up-and-coming female directors to lead. We live in a world with Aung San Suu Kyi, who was under house arrest for 15 years for her political activism before being elected to lead the Myanmar government. We live in a world with Supreme Court Justice Sonia Sotomayor, Olympic Judo Gold Medalist and sexual assault survivor/activist Kayla Harrison, activist for female education Malala, Facebook COO Sheryl Sandberg, and astronaut and engineer Ellen Ochoa. We live in a world where more women than men are graduating college. We even live in a world where even American Ninja Warrior has seen Jessie Graff break course records. There are women of wonder all around us.

The success of Wonder Woman shouldn’t be a surprise, and, hopefully, will send a clear message that we’re ready for more. Just recently, Academy Award winning actress Jessica Chastain, while serving on the Canne Film Festival jury, commented on the current climate of female representation in film, “It was quite disturbing to me, to be honest.” For this to change, our view of what women are capable of has to change. We have to believe women can lead brilliant, complex and compelling stories because they live those stories every day.

We’ve come a long way and Wonder Woman might be the beginning of something great. Her character, like the women of the world, has fought for her place on the marquee. We have forced women to fight for their place at the voting booth, in the classroom, in the lab, on the hill, in the battlefield, at the finish line, and in the conference room. Women will continue to fight, so when will men stop being surprised when they can fight better than us?

Justice League

Getting the most out of “Get Out”

As a professional wrestling fan, I have been a participant in more than a few raucous wrestling crowds. The average pro wrestling crowd is a true cross section of America and, through years of observing the art form, I’ve come to recognize what kind of storytelling earns those crowd reactions. There are certain veins of the human experience wrestling easily taps into. Think about the saga of Stone Cold Steve Austin, the blue collar, unfiltered every-man, and his billionaire nemesis, Mr. McMahon.

The beats of this story were familiar to a wide audience. Who hasn’t had a bad experience with a boss? Who hasn’t felt bullied by someone to the breaking point? For months and months at a time Mr. McMahon would use his vast resources to keep Austin under his thumb. Then in the big matches…Austin would have his day and the crowd would go wild! The performers take the emotional stress and trauma many have experienced and supply a release of that pressure. When Austin punches McMahon, we all get the feeling of punching the evils in our life we can only dream of fighting back. It’s exhilarating and therapeutic. I love a good crowd reaction, but when similar cheers rang out from the audience at my viewing of Get Out, I couldn’t help but feel heartbreak.

get-out-6

Get Out is a horror movie, written and directed by comedian Jordan Peele (Key & Peele). I’m no stranger to the horror genre so it’s easy for me to recognize the familiar tropes. What Peele does so beautifully is turn those tropes on their head and showcase the horror of the everyday experience of many people of color. Take away the wild twists, turns, and horror violence of the movie and there is still plenty of tension and horror. “[It] was to say there’s a monster lurking underneath this country. And even though you don’t always see it, it’s there, and a lot of us know it’s there,” Peele told Ebony magazine of the film’s real monster, racism.

Naturally, when the topic of race is approached in any medium, a flood of political backlash soon follows and this has already been the case with this movie. Get Out’s perfect 100% Rotten Tomatoes score was tarnished by a review from a right leaning website, a review that not only gets simple details wrong, it incorrectly categorizes the film as a comedy saying it doesn’t stand up against “classic” comedies such as the critical and financial flop Norbit. What is particularly difficult about reviews like this, is that, by reacting far too quickly and harshly, it misses the heart of what Get Out is saying.

get-out-3

The story isn’t asking for political action. It’s not asking for widespread, big government intervention into issues of race. It’s not asking for the impeachment of the current president. It’s the cries of a biracial artist in America, from his celebrity platform, pleading for the majority culture to listen and immerse themselves in the horrors of everyday life for the minority. My viewing was so heartbreaking because it was clear this was the experience of many of the people I shared a theater with. Their cheers at the film’s climax were voices joining in to the cries of the filmmaker.

get-out-4

Get Out is a gift, it’s a window into the life of our fellow human. My prayer is that viewers might be able to listen to the cries, to fight back the initial urge to react, and join in on the experience. While the film isn’t asking for political action, it is asking for the feelings and experiences of people of color in America to be validated. You might not immediately understand what is going on in every scene, but what an invitation to ask why you don’t or to see the movie with a friend of color. “That’s the nicest thing you can hear from a white person sometimes: ‘I don’t know,’” Get Out star Daniel Kaluuya told Vulture.

As much as this film is fun to examine (there are tons of small details pointing to the history of race in our country), Peele is also asking you to examine your reaction to each scene, particularly throughout the final act. This herculean, first-time directing effort manages to cover incredible ground touching on relationships between races, genders, cultures, and within races, genders, and cultures. Sometimes the movie features humor you’d expect from Peele while at other times it features situations akin to academic studies on race. The narrative you enter with Get Out is complicated but so is experiencing its themes in the everyday.

get-out-1

“When I watched it, I was like, ‘This is how racism feels.’ You get really paranoid, and you internalize it, and you get really weird around people that are close to you, and you don’t understand it. You don’t know if you’ve got the right to be angry, and then it all goes f****** ape sh**, because you have this release of rage, because you’re not around people that you can talk about it with. The rage suits the genre. Like I said, there’s nothing more horrifying in life than racism,” Kaluuya says later in the Vulture interview.

If you are willing to ask some hard questions of the film and yourself, here are some I’d offer. *SPOILER WARNING* Some of these questions carry mild spoilers for the film.

– Rose’s father says a lot during the tour of the house…his relative was defeated by Jesse Owens, he would have voted for Obama for a third term, he feels bad about having people of color as servants…why might any or all of these situations make Chris uncomfortable?

– Even though the party scene is exaggerated, do you believe people of color often encounter conversations like these in real life (ex: a woman asks Rose if “being” with a black guy is better)?

– Once it’s revealed what is really going on at the Armitage home, what does it say about views of the black body through history? Have you or anyone you’ve known ever harbored anger or jealousy of the physical abilities of a person of color?

– Once it is revealed what is going on with Georgina and Walter, what does that tell you about the awkwardness of the interactions between them and Chris previously in the film? Why were these interactions so awkward?

– By the end of the movie you might realize there is actually more going on in the scene with the police officer at the beginning. Why might Rose have so adamantly jumped to Chris’s defense?

– Have you ever watched a slasher or horror movie before? They often feature a white female protagonist. Was your experience with the final villain showdowns in those movies the same or different than with Get Out? Particularly, when Chris has the film’s final villain in his grasp, do you feel differently than you might if the roles were reversed? Why?

This is a rated R film, so you may also want to take that into consideration before watching it.

What “Hamilton” and “Rogue One” have in common

There were no Skywalkers, no wookies, no Millennium Falcon but Rogue One was a great addition to the Star Wars Saga. The movie’s conception began with a line from the opening exposition of 1977’s A New Hope,

“It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR…”

For the first time since this text initially crawled across the silver screen, we get to experience that story and I think I enjoyed it so much because I spent a large part of this year listening to Hamilton.

rogue-one-2

A New Hope has never been my favorite Star Wars movie. Empire Strikes Back has always been the best, and nowadays I prefer the updated effects and filmmaking of The Force Awakens or the new stories in the animated Clone Wars or Rebels. Don’t get me wrong, I love episode four…I love the characters and the overall story but it has always felt more like a space adventure than it has a film about war and peace.

Watching the original trilogy over the years I always knew Luke, Han, and Leia would prevail, evil would lose, and at the end the Ewoks would throw a party that I’ve always wanted to be invited to. That is why I think I have never totally written off the prequels…their story is a tragedy and that is often more interesting than the feel-good original trilogy. The stakes of war have never been higher, though, then in Rogue One.

rogue-one-3

This isn’t a movie about Seal Team 6, it’s about the soldiers that gave their lives before the glory was had. There are no blonde-haired, blue-eyed farm boys here. This is a movie about rebels, revolutionaries who are rough around the edges, riding the line between freedom fighter and terrorist. They’re more scruffy looking than any Star Wars character we’ve seen before and they aren’t chasing their destiny…they’re chasing freedom and basic human needs.  For decades, Luke Skywalker has walked around with a gold medal around his neck paid for with the blood of folks that must have thought it must be nice to have the force on your side.

Rogue One: A Star Wars Story (Donnie Yen) Ph: Film Frame ©Lucasfilm LFL

Luke, Han, and Leia all have one thing in common…they’re a little cocky. It is probably what has always put viewers at ease watching the original trilogy. We couldn’t imagine any of our main characters dying, because they couldn’t either. The characters in Rogue One don’t have the luxury of confidence. They are young, scrappy, and hungry and even knowing the chances of success are slim, the politicians aren’t behind them, and none of them are Jedis…they’re not throwing away their shot.

rogue-one-6

Whereas the prequels were complex to a fault, Rogue One is complex in all the best ways. The weight of imperial control is heavier than it has ever been. The Death Star looms larger. The rebels struggle with giving up and some do. Even Darth Vader is scarier than he’s ever been. It’s more real. Our arts community has been living in the real-life story of Alexander Hamilton for more than a year now. Its highly relatable because it’s a human story that really happened. Rogue One felt more human, more complex. The characters are good guys until you get in the way of the rebellion. They are filled with contradictions, but so is independence.

The action of Rogue One also felt more grounded including a sequence that felt ripped from Black Hawk Down or The Kingdom. The movie felt familiar because we see these conflicts played out on the news every day. U.S. intervention in civil wars like what unfolded in Aleppo is made impossible to navigate because of the political and physical dangers. In the original trilogy, the rebel “alliance” could have just been a catchy name, but in this movie we get to see what that word means. It is a mix of governments, revolutionaries, terrorists, prisoners, and traitors.

rogue-one-5

Hearing the dreams that Hamilton had of a free nation makes the American revolution more inspiring and relevant. Rogue One fills in some interesting gaps in the Star Wars Saga. Luke Skywalker’s victory in A New Hope means more because we have the names, the faces, and the acts that made it possible and they are normal people.

If I lost everything to the government, I would fight it. If I witnessed any of the horrors of imperial control, I’d be willing to defect. If I had spent my life dedicated to protecting and maintaining faith in the force, I would be willing to show what that faith looks like. The main character Jyn Erso says, “Rebellions are built on hope,” and there is truth to that, but if so, then they are held together by ordinary people. Rogue One asks us all to consider, if you had Darth Vader’s saber aimed at you, what would you stand for? What would you fall for?

We all look different in “Moonlight”

“Running around, fishing in a boat of light. In moonlight, black boys look blue. You’re blue. That’s what I’m gonna call you: ‘Blue’.”

What is the best setting to tell a scary story? I’m imagining that you visualize a dark, moonlit night with your friends surrounding a campfire. The low light of the fire casts deep, cavernous shadows around your eyes. Maybe to enhance the effect you’ll hold a flashlight just below your chin.

moonlight-1

Light has a funny way of influencing our perception. It’s interesting that often when we talk about our mistakes or successes we employ a metaphor of a positive or negative light being cast. Let me cast some light on the story of Moonlight, a terrific movie out now directed by Barry Jenkins based on the play In Moonlight Black Boys Look Blue by Tarell Alvin McCraney. The film is about Chiron, a boy growing up in an impoverished project in Miami. His mother is an addict. His father is absent and his closest father figure is a local drug dealer. He also struggles with his sexuality. Take a minute and ask yourself where this story is going?

moonlight-5

Was it easy to write Chiron’s story for him? This is a light that we have seen shed before and Moonlight features many elements you might expect, but the beauty of the film lies in the unexpected, both for the audience as well as Chiron. The movie is divided into three acts providing snapshots of pivotal seasons in Chiron’s life that established his identity.

In each of the three acts, Chiron, who’s normal demeanor is stoic and silent, guarded against a world that has hurt him again and again, lets that guard down. He exposes himself to the love, support, and judgement of another. For fans of the Bible, this act is often translated to the sharpening of iron, right? We expose ourselves to have our rough edges smoothed out, to sharpen our character.

moonlight-4

This Biblical metaphor is intimidating to me for one reason, we are the iron. We all have the responsibility to sharpen and we are all vulnerable to the sharpening. My ability to sharpen comes with my bias, my emotions, and my selfish motivations that are part of being human. Which then begs the question, what bias, emotions, and motivations am I vulnerable to being sharpened by?

When you imagined how Chiron’s story would play out, what identity or narrative did you project on him? We often homogenize the people around us, fitting them into assimilated boxes of our cultural identity to fit roles that make us feel comfortable. Moonlight is, perhaps, equally about the dangers of forcing people’s identities into boxes as it is about the hope that comes when we are free to be defined by something that transcends stereotype.

moonlight-2

Chiron sits at the dinner table with Juan, his drug-dealing father figure. He asks him about a derogatory term he has heard which Juan explains is a word used to “make gay people feel bad.” Chiron then wonders if that term defines him. In this moment, Chiron is vulnerable to sharpening, wanting Juan, who has shown him compassion and love, to cast a light on him. Juan sets Chiron free by saying that he doesn’t need to have his whole identity figured out yet.

From there, Moonlight takes many turns you might not be prepared for…some expectedly tragic, some surprisingly uplifting, some powerfully universal. Fair warning this film will not be for everyone and an inspection of the film’s content rating will help frame your viewing. That said, the narrative of Chiron’s life features a complexity seldom seen in modern cinema. It is familiar, but unique. It doesn’t fit in a neat and tidy box.

Moonlight

None of the specific instances, good or bad, define Chiron’s whole life. Each act is distinct. There is great freedom and hope in that. This is a freedom I am given by Christ. There have been many moments in my life that shined a negative light on me…but that light hasn’t defined my whole identity. There have also been moments that cast a positive light, that have brought me love and respect. That isn’t the full story either.

What if you were always seen in the perfect light? What would that change about the way you define yourself and make decisions? This is the beauty of the Gospel. Jesus not only took the punishment for our worst moments, he gave us the reward for his best so that God will always look upon us under a perfect, loving light. A light that will never be overcome by darkness.

While you watch:

What moments in the film surprised you? Why do you think that is?

What would you have told a young Chiron at the dinner table if he was asking you the questions he asks Juan?

When in the film does Chiron let others to define him? What is the result?

The creation story inside “Moana”

I remember the first time I saw the ocean. It was in high school on our senior trip. I sat on the top deck of our ship, the trip was a low budget cruise, and stared into the horizon for hours. That moment staring into the endless ocean made my small town in Pennsylvania feel like a cage surrounded by bars of mountains and hills.

Often our imaginations are limited by how far we can see in front of us and, growing up, each of my horizons had an end. This wasn’t the case on the water. Witnessing the vastness of our world first hand opened my mind and with each passing year my worldview got bigger and broader. The ocean was calling.

moana-1

Disney’s new movie Moana begins with the phrase, “In the beginning…” For Bible readers, this should be a familiar opening line. As with Moana, this is how our creation story begins. This is a great reminder that Christians aren’t the only culture that has a story of how the world began…but of interest is what is familiar and what is different about these stories.

In the writings of ancient cultures there are lots of stories about the world coming to be from the violent death of a beast or through a cataclysmic transformation of one piece of matter to the world as we know it. The world is formed from something. The outlier here is The Bible,

“In the beginning God created the heavens and the earth. Now the earth was formless and empty…” (ESV)

Or for those, like me, who like the Jesus Storybook Bible,

“In the beginning, there was nothing. Nothing to hear. Nothing to see. Only emptiness. And darkness. And…nothing but nothing. But there was God. And God had a wonderful plan.”

The creation narrative in Moana begins with a goddess in the form of an island, Te Fiti, springing from the ocean to create all that is alive. In an attempt to capture the island goddess’s creative potential, her heart is stolen by the demi-god, Maui (my personal life coach, Dwayne “The Rock” Johnson). Years later, this theft sets in motion an intersection of the personal journeys of Maui and Moana and, in doing so, models for us what it means to follow our calling and tap into our own creative potential.

moana-2

Maui’s mistaken assumption is that life comes from Te Fiti…but the truth is that Te Fiti’s power, her ability to create life, her creative potential comes from the ocean. Maui believes that he can earn this creative potential through godlike feats. The tale and music of Moana tell a different story.

“You may hear a voice inside

And if the voice starts to whisper

To follow the farthest star

Moana, that voice inside is

Who you are”

Moana’s parents have a plan for her life. She is tapped to be the next leader of her people, but Moana hears a different calling inside. Very quickly she realizes that in order for her culture and people to survive she must listen to that calling, not from her parents, but from the giver of life. Moana is about following your calling and realizing the same creative potential that the ocean placed in Te Fiti, resides in everyone. Similarly, The Bible continues from earlier,

“Then God said, ‘Let us make man in our image, after our likeness. And let them have dominion over the fish of the sea and over the birds of the heavens and over the livestock and over all the earth and over every creeping thing that creeps on the earth.’”

God, our creator, made us to be creative. We have the responsibility to cultivate creation. This looks very different for different people and every day as I work with college students I see this first hand. Some of them were born to create lesson plans that will inspire young people, others have an innate ability to read accounting spread sheets, while someone else might have a compassion that compels them to heal others. This creative potential is given, not earned. When we answer the call of our creator to live into that potential the world flourishes.

This is the heart of our story as daughters and sons of God. We are called to enter every realm of this creation and bring the heart of Jesus with us to bless those around us. When we do our work with other motivations (looking at you, Maui) we often experience the exact opposite of flourishing, destruction.

moana-5

Moana’s ancestors were culture makers. The ocean called them off their island to explore the world and cultivate the vast creation. Her voyage throughout the film brings her to a place where she answers her call, understands her legacy as a culture maker, and comes to know that the journey of life is hard and she’ll need reminders of her purpose. The songs in the film seek to write this on her heart.

“I am everything I’ve learned and more

Still it calls me

And the call isn’t out there at all

It’s inside me

It’s like the tide, always falling and rising

I will carry you here in my heart

You’ll remind me

That come what may, I know the way”

God may seem too big and too distant to have a relationship with us, but the story of scripture echoed in the story of Moana are telling us that God dwells inside us. When we look in the mirror we are staring at the image of God and that image is crying out, inviting you to cultivate God’s creation. God is calling…

While you watch:

What defines Moana’s identity? What defines Maui’s identity? What defines yours?

Is there a voice, a feeling inside you that you can’t shake? Is there something you feel down in your heart that you should…or shouldn’t be doing? What is preventing you from answering this call?

Are you aware of what God has created you for or leading you towards? How will you fulfill this? How will you use your passions and gifts to be a blessing to the world…to bring flourishing to creation?

Why I’m #TeamIronMan

In my most honorable hopes and dreams, on the political, ideological battlefield of Marvel’s Captain America: Civil War, I am #TeamCap all the way. Captain America is super strong, super genuine, super honest, super filled with integrity, and super human. He is everything I want to be. Tony Stark (Iron Man) on the other hand, he is flawed, riddled with guilt and shame, and guided by fear and arrogance. So if I’m being honest with myself, in my true/human heart, I am #TeamIronMan.

Civil War Tony 8

If you haven’t seen Civil War yet and plan to this is the time to turn away, read my spoiler-free piece on grace and #TeamCap, and come back after. Because to talk about Tony’s flawed, human heart we have to go to Spoilertown. Yes, that was a *SPOILER ALERT*. This is a *SPOILER REVIEW*. Run away now if you don’t want *SPOILED*.

There are interesting parallels to the development of the Marvel Cinematic Universe (MCU) and the story they have built for the man that started it all, Tony Stark. It was all kind of an accident. Marvel took a B-level hero and by creating a fun story with a perfectly cast lead, launched a blockbuster-making machine. In the first Iron Man film, through a series of coincidences including Tony’s imprisonment by terrorists, his will to survive transforms him into a hero. This launched the Earth into a hero-assembling machine and began to bring bigger and bigger threats to humanity’s doorstep. Thus the trajectories of Iron Man and Captain America begin on their inevitable collision course.

Civil War Tony 1

In the MCU, Captain America is an American soldier who fights throughout WWII. He’s been to basic training, he is willing to give up his life for his fellow soldiers and relies on them to feel the same way. Not only that but he is eventually frozen only to wake up 70 years in the future when everyone whom he loved was dead or dying. This leaves Cap’s world with only fellow soldiers…only people he keeps at arm’s length because he knows the cost of war. Cap’s world view is that of sacrificial servanthood. A servanthood he lives into as a superhuman with the powers to take on any threat with very little limitations.

Then there is Iron Man. Tony Stark grew up in privilege. He is a scientist, inventor, builder, businessman…not a soldier. The MCU takes place in his current life time that features a humanity that Tony increasingly cares for because he is a part of it. Throughout the first two Iron Man films he is strong, battle-tested, and has few limitations, but something happened through the course of The Avengers and Iron Man 3. The universe got bigger as did the threats to humanity. The Earth got smaller as did Tony Stark.

Civil War Tony 2

Once Tony, who was fighting alongside a Norse God at the time, took a look through an intergalactic worm hole and saw one of the endless powerful threats on the other side, desperation set in. It was no longer enough to be a regular human in a suit of armor.

The world, the people he loves (primarily Pepper Potts), and Tony himself are vulnerable. In Tony’s mind we need thicker armor and better weapons. This mindset leads to the creation of Ultron, the A.I. baddie in Avengers: Age of Ultron. Which then leads to massive casualties. This then enslaves Tony by his guilt, shame, fear, and doubt.

For Cap, any loss incurred during war is expected. Mostly because he signed up to die if necessary and has the powers to make sure, under most circumstances, that won’t happen. For Tony, any loss experienced is devastating because the threats are now big enough that at any moment his armor could fail and the loss could be him or, worse, Pepper. In his deepest fears, he expects no loss at all.

Cap isn’t a mindless, emotionless drone, but because he sees the world and war in this way he fights with freedom from the fear of death. Tony fights under the constant fear of death, and because of that puts incredible pressure on himself to try to fix things. He creates more armor, and creates more weapons. Which, to this point, has only created more death. There is a telling scene in Iron Man 3 when Tony is attacked at his home and dons his armor only to fall into the ocean in his heavy metal suit as his house crumbles on top of him. Under water, confined in his suit, with concrete raining down on him. This is a situation he incited, locked in his own creation…is suffocating.

Civil War Tony 7

Cap has witnessed his entire life fade away into the past. Governments and agencies have fallen or changed, and all of his friends and family have passed. He lives knowing death is inevitable. Tony thinks he is stronger than death and therefore it is his responsibility to save everyone else from it. We see him struggle with this to the point of panic attacks in Iron Man 3 and we see him fall even deeper through the course of Civil War. His quest to save everything has driven Pepper, the one he ultimately was trying to protect, away. He is confronted by the mother of a causality from the Ultron incident that causes him to make a deal with the government which drives away half of the Avengers.

Then the Civil War story ends with Tony being confronted one last time with the limitations of his humanity. He thinks he is stronger/smarter than death. He thinks that he can save everyone, but the moment in his past where he truly interacted with the death of his loved ones, there was nothing he could do. When his parents died back in 1991, it was an act of this war the Avengers are still fighting. They died at the hands of The Winter Soldier a.ka. Bucky a.k.a. Cap’s best friend. In the concluding sequences of Civil War, Tony watches the footage of Bucky, another superhuman, murdering his parents. In that moment, all of the guilt, all of the shame, all of the fear, all of the doubt, all of the human limitations are lighting a fire that makes his blood boil for vengeance.

Civil War Tony 3

I think about the apostles of Jesus. Jesus told them of a kingdom to come, a kingdom defined by everlasting life in the freedom of a sinless world. Then, to their horror, Jesus is arrested, beaten, and violently murdered for the world to see. They had believed that Jesus was God. They had believed that they would live in freedom. They watched Jesus heal the terminally ill and raise the dead. On Good Friday, they were left with all of the same emotions Tony had watching his parents die. That is guilt and shame that they couldn’t save Jesus from death. Also, fear and doubt that they also won’t be saved from a similar fate. In those dreadful days, their lives were defined/confined by death’s sting.

But then, on the third day, Jesus rose from the dead. In that moment, the disciples were released from that guilt and shame, their fear and doubt began to dissolve. Knowing that death was out of their control, they were free. Now that death was conquered by Jesus, their lives were defined by eternal life. Tony sees that death is outside of his power and so he seeks to take control of it one last time in the form of revenge against Bucky. He tries to control death by taking it in his own hands. The end of Civil War isn’t a happy one, but I hope that in the next chapter Tony begins to see the error of his ways. This is a hope that I have for myself because I often live under the chains of guilt, shame, fear, and doubt.

Civil War Tony 6

It’s also a change of heart vocalized by Black Panther. Talking to the film’s true villain, a man who lost everything in the Ultron incident and is now fueled by revenge, Panther says, “Vengeance has consumed you. It is consuming them. I’m done letting it consume me.” Maybe in time Tony will see that he cannot control death, but that he can live a life for others without the fear of dying. Maybe in time I’ll see that too if I remind myself of Paul’s words in Galatians 5:1…

For freedom Christ has set us free; stand firm therefore, and do not submit again to a yoke of slavery.

Why I’m #TeamCap

“He’s my friend.”

“So was I.”

This stand-out line of dialogue heard in the early Captain America: Civil War trailers might be the most central exchange to the overall theme/lesson of Marvel’s newest chapter in their expansive cinematic universe. The title of the film implies conflict between friends on our well-established Avengers team. So I’m hoping that knowing Tony Stark a.k.a. Iron Man and Steve Rogers a.k.a. Captain America fight in this film doesn’t come as a surprise to you, but if so turn away now. Otherwise, keep reading as that is as spoilery as we’ll get.

Leading up to the film’s release, the studio asked fans to choose whether their allegiances rest with #TeamIronMan or #TeamCap. One of the accomplishments of Civil War, and there are many, is that leaving it, you probably won’t have a clear answer. Both sides were well explored and well represented in the film, and it made for some great conversation in the car ride back. Still, looking at the motivations of both our heroes…I went in as #TeamCap and left as #TeamCap. My reasons point back to that line of dialogue.

Civil Ware 1

The “he” in that line is Cap’s longtime friend and titular character in the last Captain America movie, The Winter Soldier a.k.a. Bucky Barnes. The Cap films have been building this relationship across all three of his solo stories and so it makes sense that it is central to this installment. A lot happens in this movie and the political and emotional circumstances that lead to all of the superhero sparring matches would take a lot of explanation, but for my money we will focus on the most important motivation for Cap…Bucky.

Basically, without spoiling too much for those who haven’t seen the other Cap movies, what you need to know about Bucky is that he and Cap were BFF’s since day one. While on a mission something happened and Bucky was assumed dead only to reappear years later as The Winter Soldier, a Hydra (the baddies) sleeper agent/assassin who did a laundry list of Hydra’s evil biddings. He was experimented on, tormented, memory wiped, conditioned, and mind controlled to do these things and really hasn’t had a chance to deal with or heal from much of that. That is mostly what Captain America wants in Civil War, a fair shake and a second chance for Bucky. His main mission is to see that Bucky receives grace.

Civil Ware 3

Unfortunately for Cap and Bucky, this comes to a head during a very charged political climate in the superhero world and Iron Man is on the other side of the issue. Now, after years and years of friendship and fighting side-by-side, the ideological differences between Iron Man and Cap are revealed for the whole world to see.

This is largely what Civil War is about…this conflict, but it is also a conflict that arises after years of being on the mission field. Lots of things can happen when you’re on a mission. You win battles, you lose battles, you learn more about yourself, you learn how to focus your work, and relationships come and go. This is not a foreign concept to our Biblical story.

Civil Ware 4

Seeing Cap and Tony waxing politics, beliefs, and strategies reminded me of a brief but significant moment in the ministry of Paul. Barnabas and Paul were a missionary team that saw their fair share of battles on the mission field. These battles were dangerous. These battles left scars (Acts 14:19). Throughout their journeys, though, we see Paul coming into a better and better understanding of the calling on his life to be the apostle to the Gentiles. His specific mission gains focus and his strategies begin to form around that focus. Then in just a few, somewhat vague lines of scripture, we see that Barnabas doesn’t share the same vision. They disagree and they part ways (Acts 15:36-39).

When I read through Acts and Paul’s follow-up letters to the places where he started churches, what stands out is Paul’s deep love for the Gentiles. What an amazing testimony to the Gentiles to have a man that objected so loudly and violently against them being included in the Body of Christ be the one called by God to tell them that the story of Jesus is for them. Paul became so focused on his calling it became more important than his own health and safety (Acts 16:16-40) and it also took priority over his partnership with Barnabas. Paul cared so greatly that this message of grace got to the Gentiles he was willing to fight for his strategy.

Civil Ware 2 

In Civil War, Cap risked losing friends, imprisonment, and death in order to protect Bucky so that one day he may experience the grace he so needed after his time as Hydra’s puppet. Being Bucky’s advocate was a dangerous position as was Paul’s being the advocate for the Gentiles. God has placed us all on our own personal mission fields surrounded by people that need grace, by people that need to be advocated for.

Civil War doesn’t have a very fun, clear cut conclusion. The battle is messy and it left a lot of physical and emotional scars. It was dangerous and scary. For Cap, though, Bucky was worth it because he is his friend, because he got a raw deal, and, perhaps, because he represents all of us. We all need second chances. We all need the freedom that comes from the gospel of our gracious God. If Bucky can’t receive that freedom what hope do we have? Is there someone in your life whose grace is worth fighting for?

Now Iron Man…that is a different story, a story about guilt, shame, and fear. Maybe I’ll have to write about that story too? To be continued…

Moses in “Zootopia”

11 But Moses said to God, “Who am I that I should go to Pharaoh and bring the children of Israel out of Egypt?” – Exodus 3:11

In the face of the new calling on his life, with God’s voice in his ears telling him exactly what to do, Moses takes full advantage of this personal conversation with the creator of the universe. “Who am I?,” Moses asks. This was probably a question Moses asked every day. We see the effects of a narrative Moses had been given throughout his life. The God of the universe is telling him he has been tapped for an incredible purpose and Moses’s first reaction is self-doubt.

Judy Hopps

You see Moses was a man caught between cultures, with a mishmash of an identity, carrying the weight of past failures. When God tells him he will be the deliverer of the Hebrew people Moses balks citing his lack of identity, lack of knowledge and spirituality, and lack of gifts and skill. Basically, Moses is asking what is the use in trying, Lord? I’m just Moses, a nobody, a murderer, a shepherd, and that’s all I’ll ever be. God’s answer is one that can carry even us through the deepest valleys of self-doubt, but before we get there…let’s go to Zootopia because in Disney Animation’s newest film that very same question is posed. What’s the use in trying?

Zootopia is a story with battling narratives. The narrative printed across the brand of Zootopia, a city where eons of predatory instincts in the animal kingdom have been squashed in the name of peace and prosperity, is that “You can be anything.” In reality, though, written on the faces of the older generation is a different narrative. “You can be anything…as long as it aligns with your zip code, species, gender, and place in the food chain.” No one whose worldview is based in reality would ever truly believe that first narrative. Enter a young Judy Hopps, a rabbit from a rural area that has bought into the brand of Zootopia.

ZOOTOPIA

Despite there never being a bunny cop, in the face of pressure from her parents to accept her fate as a carrot farmer, Judy remains a trier. The question of what’s the use in trying has never crossed her mind. Judy is a beacon of hope in the world of Zootopia because not only is the film her story, a story of trying, but it’s also the story of how the roads of this world are paved with the broken hearts of triers everywhere.

This fact is hidden behind the smiley façade of Judy’s parents and it is emotionally told through the life story of Nick Wilde, a sly con-fox, who fails to understand where Judy gets her optimism. With these characters in place we get to see the narratives of Zootopia played out from beginning to end.

ZOOTOPIA

In Judy’s parents we see the end of the story, a life lived believing reality says there are limits to what you can accomplish based on your class, species, and culture. In Nick, we see a character with a fresh break in his heart. We get to hear his story of trying only to have culture slap a muzzle on his predator snout. He even says at one point he’s stopped trying to be anything other than what other animals see him as. Then there is Judy who is in the midst of having her heart broken. We get to witness the process in action, the world beginning to break her down. It’s through these stories you start to realize Zootopia isn’t about animals at all…it’s about us.

Young Nick

Disney is the crew that brought us the line, “Just a spoonful of sugar helps the medicine go down in a most delightful way.” The sugar of Zootopia are the stunning graphics, adorable cartoon animals, self-aware jabs at Frozen, and the fun, pop beats of Shakira. The medicine is a hard look at the state of race/gender/class relations in America. These same narratives battling in Zootopia are at war in our reality every day.

The narrative painted across the brand of America is that racism is a non-issue, that we’ve moved past the dark marks on our history. You can be anything you want to be in America. There is a narrative at war with this, though, and we can see the effects in minority communities. Across the board, people of color are less likely to apply to top institutions even when academically qualified, less likely to choose fields with top starting salaries like STEM majors, and less likely to come into higher education prepared for academic differences between high school and college.

We are at most two generations removed from the civil rights movements of the 50’s and 60’s and our current minority communities are still lacking opportunities and environments to establish economic and academic success. This is a situation that is crying out for a different narrative. There is a moment in Zootopia where Judy breaks through the narrative Nick has built in his life. She tells him that he can be more, that his story isn’t over yet. This changes Nick’s life.

Nick and Judy

Recently, I attended the Jubilee Conference in Pittsburgh, and there I got to hear Dr. Brian Bantum, author of “Redeeming Mulatto: A Theology of Race and Christian Hybridity,” speak on diversity in higher education. His story is unique. Someone late into his academic career broke through the narrative of his life and told him that he had the knowledge and the gifts to become a PhD. And he did.

Dr. Bantum went on to say that had he not had professors of color, compassionate mentors, and others in his life guiding him, achieving the academic success that he has would have had to be a “pure act of imagination.” Without a different narrative he might have answered those encouraging him with doubts. He may have even asked them, “What’s the use in trying?” or even “Who am I to be a PhD?”

That leads us back to Moses and the answer he received to his doubts. Over and over again, in different ways, with different words God repeats to Moses, “I am God. You are mine. I will be with you.” Maybe you will never be whatever you want to be. My window of being the first astronaut to play electric guitar on Mars is closing more and more every second. There are some limitations to what we can accomplish but at the very least God tells us that we are all created in His image. We have the power to achieve amazing things in that image. We can flourish. In America, we really can’t be anything that we want to be, but no matter what your race, culture, or gender is you should have the opportunity to at least try.