In 2010, David Suchet, the English actor perhaps best known for his role as detective Poirot, received a letter in the post from a lady in Northern Ireland who had MS and whose sight had gone as a result.

A friend gave her an old audio cassette of John’s Gospel which David had read for Hodder’s earlier NIV Audio Bible published sometime around 1990, and on listening to it she was so struck by the words of the gospel that as she went to bed that night she cried out to be able to see again so as to be able to read more of the gospels, more of the Bible.

According to Ian Metcalfe, publishing director at Hodder Faith, responsible for commissioning the NIV Audio Bible, the next morning when she woke she found she was able to see. She wrote to David to tell her of this experience and this story inspired David to pursue his long-held dream of reading the Bible through in its entirety.

Since it’s launch last April, the NIV Audio Bible has sold 15,500 copies…

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Pat Conroy was laid to rest Tuesday under the bright Lowcountry sun, which is exactly where he always wanted to be.

Although he was not South Carolina-born ”” he entered this world in Atlanta ”” the famous author chose the Lowcountry, chose Beaufort, as his home. He loved this state as much as any native, and he shared that love with the world.

And we loved him back.

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When the women in the movie “Only God Can” talk with each other, they say things like “Let me tell you, one Charleston Heart to another,” then go on to say whatever they wanted to share.

This is a faith-based movie about five women in their 40s who have been friends since their days at the College of Charleston. They call themselves the “Holy City Heartbreakers” and the film begins with them all coming together for a reunion at a splendid beach house not far from Charleston.

That these women love and care for each other is readily apparent, yet, as adults, they have taken different paths toward completeness, with varying results. Two are committed Christians, the other three, not so much. This leads to conflict among them that is put into perspective when tragedy strikes.

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Nothing says cultural marginalization of Christians like the phrase “faith-based films.” The connotations: mediocre acting, directing and writing; cut-rate production values; and, most of all, niche product.

When I went to see “Risen,” the freshly released New Testament movie from “Waterworld” director Kevin Reynolds, I sat through previews for “The Young Messiah” and “God’s Not Dead 2” (yes, there was a “God’s Not Dead” 1), and the latter at least looked as though it embodied what I mentioned about talent and budget.

Yet with a nationwide release and at least one A-list star, “Risen” has performed reasonably well at the box office. It was the third-highest-grossing movie last weekend, when it opened, bringing in $11 million””a good showing for a project with a $20 million budget.

That may be because Mr. Reynolds has””for the most part””avoided the melodramatic clichés that have marred many an overblown Jesus movie.

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Watch and enjoy it all.

Take a look and see how it compares to your list and how many of the 25 you have seen.

One of the oldest refrains in the world is the theodicy question: how could a good God let bad things happen?

That question animates Agnus Dei, which premieres at the Sundance Film Festival on Tuesday. But the film’s answer is expansive, complex, and subtly subversive. Directed by Anne Fontaine (Coco Before Chanel, Gemma Bovary) and led by an all-female cast, the movie tries to approach (but not fix) the repercussions of unspeakable cruelty with the quiet balm of beauty. It’s a must-see for CT readers.

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Alan Rickman’s most poignant, canny and comical quotes https://t.co/nNGwgQBoGB pic.twitter.com/PGvpN62Q1g

— The Independent (@Independent) January 14, 2016

Plans to show a short video promoting the message of Christmas, and featuring a nativity scene, around the festive season have been rejected as too “religious” for the big screen.

An alliance of churches and Christian charities funded and made the 45-second film as part of its annual “Christmas Starts with Christ” campaign.

It was launched online last Christmas and has been viewed 250,000 times and the organisers had hoped to take it to cinema screens this year.

Read it all from the Telegraph.

There was a time not so very long ago when the most common complaint about Christmas was that it had become too commercial and that its Christian significance was being forgotten. Since then the decline in religious belief in Britain has grown so much that the secularity of Christmas is taken for granted. It is effectively a pagan festival now. According to the Church of England, only about one million people, or around two per cent of the population, still attend church on Sundays (though about twice that number do so on Christmas Day). The Church is in a bad way, and it is only natural that it should seek, as it has always done, to recruit new members by proselytism: hence its decision, in the run-up to Christmas, to use modern media for the purpose and screen a 60-second commercial in cinemas featuring the Lord’s Prayer.

I haven’t seen the commercial, but it sounds jumpy and irritating in the way that most cinema advertisements are. It reportedly shows the Archbishop of Canterbury, Justin Welby, reciting the first line of the Lord’s Prayer, with the other lines being said in succession by different groups of people including schoolchildren, refugees, policemen and weightlifters (why weightlifters?).

It may well be irritating, but certainly no more so than all the other advertisements for such things as motor cars, watches, drinks, deodorants, or Jeremy Clarkson advertising his new paymaster, Amazon. But it has been banned by Britain’s biggest cinema chains on the grounds that it would offend cinema audiences. Digital Cinema Media (DCM), the company that handles most of Britain’s cinema advertising and is owned by Odeon and Cineworld, announced very late in the day, well after it had been approved by the appropriate authorities, that the C of E’s commercial should not be shown because it had a policy of not screening religious commercials on the grounds that advertisements reflecting personal beliefs risked ”˜upsetting or offending audiences’.

Read it all from the Spectator.

…Fanaticism is real and nightmarish, and if we can’t tell the difference between sane and mad religion, we have lost a significant skill. Equally, if we treat one another as infants who can’t cope with actual disagreement about cultural and moral matters, we do no one any favours.

The happy result of the ban on the Lord’s Prayer advert has been, predictably, that an impressively large number of people have watched it online. It’s an ill wind. But the fact of the ban brings into focus one of the least sensible and helpful aspects of the way a lot of people today think about religion.

Such people forget what religion ”” specifically Christian religion ”” has made possible, despite its historical failures and scandals. And they nurse the dangerous illusion that the values of a majority (or rather the values of the feverish and prosperous minority who dictate what we have to watch before Spectre or Carol begins) are the right ones, never to be challenged.

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River stars Swedish acting legend Stellan Skarsgard as detective DI John River, a seasoned and brilliant cop who has an unusual personal history and pscyhological profile of his own.

The less you read about it, the better, especially if you like thrillers/mysteries. Just watch it: 6 episodes now available on Netflix–KSH (Hat tip: EH).

When Aaron Wolf began interviewing synagogue members and shooting footage for a documentary about the restoration of Wilshire Boulevard Temple, he considered himself a fallen-away Jew.

He knew that his late grandfather, Rabbi Alfred Wolf, had served the temple for 36 years. Aaron Wolf was bar mitzvahed in the historic sanctuary, and he spent summers at the camps for Jewish youth that his grandfather had created in Malibu.

But by the time he went to New York University to study film, he viewed religion as unimportant.

After four years of working on the documentary, “Restoring Tomorrow,” and learning more about the temple’s history and his grandfather’s role in it, that has all changed.Read it all.

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Britain’s shallow, celebrity-obsessed culture could leave as toxic a legacy for future generations as the pollution of the planet, the former Archbishop of Canterbury, Lord Williams of Oystermouth has warned.

Today’s children are growing up in a culture with few if any real “heroes”, he said, while ideas of “nobility” and even “honour” are quietly disappearing.

The result could be as damaging to the nation’s “moral and imaginative ecology” as the destruction of the environment, he argued.

Britain is in danger of become a more “boring” and “mean-minded” place as a result, he added.

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It might not be well-publicised by the church, but every diocese in Britain has its own deliverance minister. Each is appointed, personally, by the Bishop. Many, like Stephen, become interested in taking on the role after having their own experience of some apparently supernatural phenomena . “I used to live in a house that seemed to have some sort of presence,” says Stephen. His haunting, though, was mild: more pest than pestilence. “Even though it was a relatively modern house it was always very cold, particularly in my children’s bedroom,” he says. “We bled the radiators, we looked for a draft and there was none. The place just had an atmosphere. I went away for a couple of nights and my wife, who’s fairly level headed, was freaked out just by being left in the house with my child.” At a loss, he called in a deliverance minister who told him, ”˜Don’t worry, I can deal with this,’ and blessed the house. As he said his prayers everyone gathered felt the temperature rise around them, right where they stood. “It went from cool to being very warm, and it wasn’t just me that felt it,” he says. “This is something I’ve experienced a few times. The house is actually quite a pleasant place to live now.”

Becoming a deliverance minister not only requires selection by the bishop, but the attendance of a compulsory training course. “It lasts three or four days,” he says. “It gives you a huge amount of input along the lines of, ”˜these are things you may not have experienced before and how you go about dealing with them.’ There’s also a very heavy emphasis on the difference between people who are psychotic and people who might be manifesting evil influences.” As part of his general training, Stephen says he completed an extended placement working at a mental health facility. “I have quite an extensive knowledge and experience of people who’ve got various psychiatric problems.”

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If the church is the body of Christ, then the megachurch is like an athlete on steroids.

Every major city has a bevy of churches drawing between 5k-25k people. To get a body to grow that big leaders have to use some sort of performance enhancer. These things””typically models, strategies, and techniques gleaned not from the gospel or the Christian narrative, but from the world of business and the narrative of consumer capitalism””serve as performance enhancers that help create enormous congregations with huge facilities and hundreds of programs.

The impact of these practices is akin to using performance-enhancing drugs. They actually alter the form and function of the body, causing real and serious long-term consequences for the church universal.

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Back in the day, the iconic Walter Cronkite closed his nightly CBS newscast with the reassuring words, “And that’s the way it is.” And for a generation at least, Americans believed him.

Well, they don’t any more. Survey after survey has shown that few professions are held in lower regard by the public than journalism. Survey after survey has also revealed that many elite journalists hold to a narrow, secular worldview that sees religious belief as irrelevant to the “real” issues of the day””if not downright dangerous.

“Now the problem with this journalistic orthodoxy,” says Robert Case of the World Journalism Institute, “is that it is disingenuous. ”¦ The post-modern journalist subscribes to no external standard for her judgments. ”¦ With the post-modern loss of the quest for objective truth, journalistic judgment is subject to personal whim, and manipulation by the media elite who have their own perspective on truth.”

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Remember?

Ten years ago Don DeLillo wrote that the attacks of Sept. 11 would change “the way we think and act, moment to moment, week to week, for unknown weeks and months to come, and steely years.” The historian Taylor Branch spoke of a possible “turning point against a generation of cynicism for all of us,” and Roger Rosenblatt argued in Time magazine that “one good thing could come from this horror: it could spell the end of the age of irony.”

They were wrong, of course….

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It is not only intimate life and family dramas that are twisting in the chasm between the elite and the rest of us. CBS recently aired an instantly notorious reality show called The Briefcase, in which a struggling family is given a briefcase full of money and told they can either keep it all or give some to another, similarly struggling family. The twist is that the second family has been given an identical briefcase and told the same thing. The scenario recalls the classic “prisoner’s dilemma” of game theory””though in this case the tension comes not from rational decision making but from the anguish of the participants. The show’s producers step into the Christian Grey role, an entity with effectively limitless resources that finds a random family on which to lavish its attentions at an emotional cost it determines for them in advance.

Even philanthropy cannot seem to escape the sadistic thrill of playing Christian Grey””of dangling something people need on the far side of some ludicrous obstacle. Last year the Dr. Pepper Tuition Giveaway invited university students to make videos explaining why their tuition should be paid for. The top entrants were invited to compete in a contest at a college football halftime show. If they managed to throw enough footballs into an oversized Dr. Pepper can, they won up to $100,000 in tuition support. If not, at least they had an all-expenses-paid trip to the conference championship game. It’s astonishing that this was called a giveaway, as if hustling up a viral video, earning the most votes, and then performing a circus trick in a stadium were not a rather taxing sort of labor.

There is a lurid odor about these entertainments. The sight of real people wriggling and dancing and chucking footballs to win a cruise makes a very slight claim on our sense of fairness and decency. The sight of them doing it for tuition or medical bills shreds it beyond any recognition.

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To the casual skeptic, the notion of getting sucked into the Church of Scientology’s belief system is a prospect as likely as a Sunday brunch date with galactic overlord Xenu.

But for the average Canadian, it helps that this film’s main liaison is filmmaker Paul Haggis, a practising Scientologist for 35 years before his explosive departure from the church in 2009.

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The vicar who is the star of a reality television show in which couples are married as soon as they meet has been criticised for allowing his clerical collar to give respectability to a “seedy” experiment.

The Rev Nick Devenish is one of five experts who selected six strangers to tie the knot in the Channel 4 show Married at First Sight.

The team vicar at the Church of St Mary & St Michael in Cartmel, Cumbria, analysed the participants’ understanding of marriage, what they wanted from their union and how well they understood the seriousness and commitment required. He was part of a panel of experts alongside a sex therapist, a psychologist and two anthropologists.

The Bishop of Manchester, the Rt Rev David Walker, accused the show of “inappropriate and rather seedy behaviour” and has said that a Church of England vicar should not have been involved.

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ROFL.

Today, a new “cloud tax” takes effect in the city of Chicago, targeting online databases and streaming entertainment services. It’s a puzzling tax, cutting against many of the basic assumptions of the web, but the broader implications could be even more unsettling. Cloud services are built to be universal: Netflix works the same anywhere in the US, and except for rights constraints, you could extend that to the entire world. But many taxes are local ”” and as streaming services swallow up more and more of the world’s entertainment, that could be a serious problem.

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They worked fror 5 years on this movie–3 years on the the storytelling alone. Watch it all.

The film’s title alludes to the opening track of Wilson’s 1988 debut solo album. The film delivers both in spades. Mercy is certainly shown to Wilson in the film, which skips the darkest period of his life, a fifteen-year-stretch between 1968 and the transformation that came after Melinda Ledbetter (his wife-to-be) met him. During those lost years, he was in and out of psychiatric hospitals, battling auditory hallucinations, spending much of his time in bed, using drugs, and grossly overeating (his weight soared to more than 300 pounds).

Melinda (played by Elizabeth Banks) is really the central character in the ’80s narrative, and her perseverance and genuine concern for Brian’s well-being ultimately get him out of his abusive relationship with Dr. Landy. Love & Mercy celebrates the gift of Wilson’s music by focusing on his most fertile creative period and the light shining through after almost two decades of darkness. What makes the Wilson story so wonderful is its genuinely redemptive arc. With Melinda he has enjoyed a newfound stability (they’ve been happily married for 20 years) and a return to the music spotlight with 2004’s Grammy-winning Brian Wilson Presents Smile and later with the long-awaited release of the masters for Smile in 2011.

While love and mercy may have both landed in the title, justice is also central to the film. In the scene that generates the largest applause, Dr. [Eugene] Landy is served papers for the lawsuit that ultimately cost him his license to practice psychiatry. That may suggest why Love & Mercy is so compelling. It avoids the formulaic quality of so many recent biopics, but it’s not ashamed to tug at our heartstrings. And above all, it captures the joy of creation.

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US actor Mark Wahlberg has revealed that his faith in God has helped him to change his life around and achieve success.

Wahlberg, 43, earned himself the bad boy of Hollywood image following a string of misdemeanours which saw him arrested and detained multiple times as a teenager and addicted to cocaine aged 15.

He told Square Mile: “I pray every day and try to go to church every day. My faith in God is what makes me a better man.

“It’s the most important part of my life. I pray that I will live up to my intention to be the best husband and father that I can be. I never would have been able to change my life and have the success and love that I have in my world today without my faith.”

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Lasch was not out to define the future, or to shape it either. He was not even, for some extraordinary reason, out to get rich. He had come to describe the cultural carbon clogging the national carburetor. We weren’t going to be made okay by dieting or jogging or protest-marching, or even by opening up our souls. We might, if we paid careful attention to Professor Lasch, become more fully aware of what was afoot in our culture, and what effects it was producing. Light might break through. The rest was up to us.

What was amiss? Much, it seemed. The Culture of Narcissism grew out of Lasch’s earlier study of the modern family, Haven in a Heartless World, in which he had pointed to an alarming decline in the family’s authority. It seemed, on the basis of the more extensive scrutiny supplied in The Culture of Narcissism, that the culture itself was approaching bankruptcy. “Bourgeois society seems everywhere to have used up its store of constructive ideas.”

Liberalism had nothing to offer, said this disillusioned liberal, weary as he was of cultural libertarianism. “Psychological man” had become “the final product of bourgeois individualism,” liberated from past superstitions but seeking the meaning of life. He lives “in a state of restless, perpetually unsatisfied desire.” All of which was congruent with Jimmy Carter’s presidential perceptions. But no White House speechwriter could afford to go where Lasch now led, which was toward arraignment of the “therapeutic” climate that caused Americans to seek “personal well-being, health, and psychic security.”

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The denial of the sex industry’s role in perpetuating sexism and its rebranding as “feminist” is a serious impediment to tackling gender inequality. While there is vocal commentary around reducing domestic and sexual violence in Australia, those voices are conspicuously quiet when the violence depicted is in pornography. Too many women’s advocates remain complicit in the sexual entitlement and unadorned violence that this industry is making normative.

While campaigns seek longer jail terms that will keep sex offenders out of society, this won’t change the terrain that is funnelling more and more young men down this dangerous path. The police cannot arrest their way out of the problem, nor can a lesson on sexual health undo a lifetime of socialisation.

Marches and protests against domestic violence rage on, discussions continue to unpack male entitlement, yet the elephant in the room remains unacknowledged. One of the most omnipresent and unavoidable drivers of sexist violence is seemingly invisible. To address sexist violence, advocates must challenge the lie that pornography is progressive.

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