Some rights reserved by purplemattfish
It could have been any academic conference—except that Catwoman was on my left and a fully dressed hobbit was on my right.
I just got back from Disney World with my kids. The trip set me thinking about how stories get told and passed on.
NASA is, to say the least, enthusiastic about The Martian. The film is a really, really good commercial for a future budgetary request.
It's hard to watch Straight Outta Compton and not think of #BlackLivesMatter. But this is not explicitly a movie about politics or race.
Why would a brand see theological language as rich ground for advertising? Perhaps because theology and advertising share the same root.
A screen in a sanctuary used to be a signal that a congregation had taken a side in the worship wars. Now it's just a sign that a church is open and functioning.
Religious satire was once an edgy form of humor celebrated by rebellious teens. Now it’s attracting adults who buy theater tickets.
Do Trainwreck and Catastrophe herald a resurrection of the rom-com genre? Or merely a grotesque reanimation?
Augustine said the lesson's content is not as important as the teacher's desire. Passion is what instructs—and I'm teaching my children Star Wars.
As I watched Inside Out, I found myself thinking about Augustine's assertion that we are what we love and what we hate.
Of all the violence on Game of Thrones, one scene from the fifth season stands out in public opinion as particularly horrific.
U2's subway prank created a strange sort of intimacy and spontaneous community. I felt a similar dynamic at play at a recent funeral.
Watching Inside Amy Schumer or Broad City, you might conclude that sex is all young women think about. There is something refreshing about this.
Scandal and New Girl are not ordinarily “about” race. But as national conversations on police violence intensify, they’ve stepped into the discussion.
Typical superheroes have no religion; they are quasi-religious saviors. This makes the hero of the new Netflix series Daredevil unusual.
The generational gap between 25 and 42 might seem not that great. But Noah Baumbach has explored the subtle differences in many films.
Beth Felker Jones teaches at Wheaton College in Illinois. She is the author of Faithful: A Theology of Sex.
Jason Byassee teaches homiletics at Vancouver School of Theology.
Kathryn Reklis teaches theology at Fordham University and is codirector of the Institute for Art, Religion and Social Justice.
The Century's work relies primarily on subscriptions and donations. Thank you for supporting nonprofit journalism.
Support us by buying books: