The documentary Chaplains raises a fundamental issue for Christian chaplaincy: what is its relationship to the church?
Kathryn Reklis reviews film, TV, and more
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.
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.