Craig Detweiler

Tree of Life: From Genesis to Revelation

Craig Detweiler — Thu, 26 May 2011 09:45:19 -0700

Tree of Life resurrects the era when Hollywood still aspired to greatness. Not since 2001: A Space Odyssey (or less successfully, The Fountain) has a filmmaker attempted to capture both the origins of life and our ultimate destination. Director Terrence Malick came of age when movies still mattered. And with Tree of Life, only his fifth feature in forty years, Malick has drawn upon ancient biblical wisdom to prod and comfort adventuresome filmgoers. Some will find it tedious and overreaching. But those who surrender to the resplendent images may find the experience unexpectedly healing.

Countless stories have started with the problem of pain. We wonder why the innocent suffer. Why do bad things happen to good people? Tree of Life opens with quotations from the book of Job. In the biblical narrative, Job loses his wife, his children, his health and his home. Friends offer bad advice, blaming him for his ordeal, suggesting he repent from whatever sins caused God to send so much suffering.

Job is understandably tempted to curse God. Malick has chosen source material ripe for drama. In 1959, Archibald MacLeish turned the trials of Job into the Pulitzer Prize-winning play, J.B. Yet, Tree of Life focuses not upon the losses of Job but upon the overwhelming answer from God. Ultimately, Job is humbled by a God’s barrage of questions rooted in creation. “Where you there, Job?” “Did you set this all in motion?” Tree of Life dares to offer a divine perspective on tragedy.

Without that framework, Tree of Life may seem random and intractable. It is a poetic meditation on loss. It unfolds as a visual symphony with five or six movements centered around a core aspect of life: death, birth, the age of awareness. The sections are separated by musical cues rather than plot twists. The soundtrack includes classical compositions by Bach, Brahms, and Holst and contemporary requiems by Henryk Goreki, John Tavener and Mother Thekla. The threadbare plot flows from tragedy to creation, and from innocence to experience. A family is invited to move from grief to surrender. And viewers are taken from Genesis to Revelation.

This film has been years in the making. Anticipation among cinephiles has been huge. It just won the Palme D’Or at the Cannes Film Festival for Best Picture. Tree of Life is worth the wait. But will most people miss this movie that deserves to be seen on the big screen? Will the Christian community that often wonders why Hollywood doesn’t make anything for them pass on The Tree of Life for retreads like The Hangover Part II and Transformers 3? I am all for popcorn movies, but in this case, I’ll opt for something that truly feeds the soul. Check out my full review of Tree of Life here.

Higher Ground at Sundance

Craig Detweiler — Thu, 27 Jan 2011 07:48:22 -0800

The 2011 Sundance Film Festival is driven by ultimate questions. John Horn from the Los Angeles Times notes how bad faith fuels films like Salvation Boulevard, The Ledge, and Kevin Smith’s bloody Red State. Festival programmer John Cooper told Horn, “It’s America looking at itself.” Even the Sundance website acknowledges the rise of spiritual cinematic themes this year. The great news is that many of these refreshing films are likely to reach theaters this coming year. We have more than 100 students from faith-fueled schools like Fuller Seminary, Biola University, Taylor University, and Pt. Loma University gathered here to grapple with these deep themes.

Fox Searchlight purchased Mike Cahill and Britt Marling’s fascinating film, Another Earth. It uses the sci-fi genre to explore why we have such a hard time forgiving ourselves. The nuanced performances by William Mapother and Britt Marling move from horror to empathy to transcendence. It is a smart picture that respects the audience, expecting us to delve into philosophy and metaphysics without fear. How thrilling to hear Mike Cahill acknowledge his debt and interest in the humane work of Krystof Kieslowski, particularly, The Double Life of Veronique.

Director Sean Durkin generates remarkable tension in Martha Marcy May Marlene. Elizabeth Olson stars as a young woman fleeing an abusive cult. Her bruised by unbowed breakout performance is absolutely Oscar worthy. John Hawkes brings a chilling menace to his role as the manipulative commune leader, Patrick. We see how he slowly wins Martha’s confidence, recasting her as Marcy May. The horrors she experienced block her attempts to reconnect with her only sister, Lucy. It will be a long, rocky road back to normal for Martha and Lucy. Filmmaker Sean Durkin tightens the screws on the audience, ratcheting up the tension to a near breaking point. He displays the kind of control (never wasting a shot, a cut, or a gesture) that distinguished Roman Polanski’s early work. While Fox Searchlight purchased this riveting film, Martha Marcy May Marlene is a haunting, immersive experience that I’m not eager to see again.

A crisis of faith fuels an outrageous canoe trip in The Catechism Cataclysm. Steve Little of Eastbound and Down fame stars as Father Billy, a priest who can no longer remember the point of his Bible stories. He reconnects with his high school idol, ersatz rocker, Robbie Shoemaker (Robert Stonestreet). Their misadventures paddling down a river are hilarious, frightening, absurd, and touching. Five years after his highly original debut, The Guatemalan Handshake, filmmaker Todd Rohal returns with a literal vengeance. The jokes and the freak outs in The Catechism Cataclysm kept our midnight audience howling with laughter and unease. Yet, Rohal is clearly serious about the central theme—how to rediscover faith that has been lost. For Father Billy, Robbie’s random stories snap him back to the priesthood. For Rohal, making this arresting film has reawakened his faith in film’s purgative power.

Higher Ground is the most profound and nuanced exploration of faith I’ve seen since Robert Duvall’s 1997 Oscar nominee, The Apostle. Vera Farmiga makes a masterful directing debut, getting the tone and tenor of evangelical Christianity just right. Higher Ground works as a personal history, based upon the remarkable memoir of Carolyn Briggs’ This Dark World. Named in the film as Corinne, Briggs’ journey from naïve Iowa schoolgirl (and pregnant bride) to one of the 1970s born again “Jesus People” embodies an overlooked era in American religious history. The details of faith (from The Way Bible that she and her earnest husband read to the ethereal sounds of speaking in tongues) are all pitch perfect. The soundtrack is loaded with gorgeous, original source music. Despite the abundance of music within worship, Corinne gets no affirmation of art, literature, or ideas. Her only solace comes from her best friend, Annika. Dagmara Domincyzk brings such vitality to the role, offering frank talk about sexuality and adventure that Corinne desperately needs. How great to see two women with such warmth, humor, and intelligence onscreen.

When Annika is crippled by cancer, Corinne’s blessed assurance starts to unravel. Yet, Higher Ground treats religious faith with such rare respect. It is complex, messy, and real. Only an overzealous pastor’s wife and a horrific therapist earn our well-deserved ridicule. They demonstrate why some kinds of Christianity have been so soul crushing to artists and women (especially women who are artists like Carolyn Briggs!). I take comfort in knowing how many recent strides have been made in reintegrating the arts into religious settings. At Fuller Seminary’s Brehm Center, students are encouraged to find their artistic voice within the wellspring of faith and doubt. A powerful ending suggests that Corinne’s self-awakening may yet be reconciled to her ongoing religious yearnings. During a poetic post-screening conversation, Farmiga described Corinne as “not broken down, but broken open.” Farmiga concluded, “She’s not ridding herself of faith—she’s ridding herself of an impoverished faith.” This filmmaker and theologian said, “Amen.”

Memorial Day for the Disappeared

Craig Detweiler — Fri, 28 May 2010 01:22:25 -0700

Memorial Day weekend offers an opportunity to honor fallen soldiers, those who fought on our behalf. But what about those who’ve been caught in undeclared wars, who were never officially in battle, but perished nonetheless? How might we properly remember civilians caught in political crossfire?

I was in Buenos Aires this week for Pepperdine University's new faculty conference. The most moving moment in my Argentine experience occurred on a Thursday afternoon. The Mothers of the Disappeared have been gathering at the Plaza de Mayo for over thirty years. Each Thursday at 3:30pm, they march behind a banner to demand justice, to seek answers, still longing to know what happened to their children. Closure remains elusive.

Their sons and daughters were arrested, tortured and murdered by government agents during the “Dirty War” that haunted Argentina from 1976 to 1983. During the tumultuous 1960s and 70s, leftist/communist forces resorted to kidnappings, bombings, and assassinations to destabilize the Argentine military regime. The government adopted equally harsh and illegal activities to stamp out the subversives. Students, intellectuals and others suspected of leftist leanings were arrested and ‘disappeared’ following police interrogation. Human rights organized estimate between 10,000 and 30,000 Argentines disappeared during the Dirty War.

Grieving and irate mothers of the disappeared slowly found each other. They banded together in solidarity to pressure the government for answers and apologies. Some wanted major changes in government policy. Others simply wanted their remains of their missing children returned for a proper burial.

Musicians committed to social change have celebrated the mothers in song. Way back on 1987’s Joshua Tree, U2 lifted up the “Mothers of the Disappeared.” (Check out a concert version here). Folk singers like Holly Near and Joan Baez offered a cry for los desaparecidos. Sting sang, “They Dance Alone” way back in 1988.

Perhaps so much international attention was bound to result in competition, jealousy and backbiting. With donations pouring in, The Mothers eventually split into two factions, one highly organized and militant, the other slightly beleaguered and weary. The Mothers of the Plaza de Mayo call for sweeping social change. They have formed a wealthy and robust political action group that has spawned publications, websites and even a university.

The Mothers of the Plaza de Mayo—Founding Line focus upon recovering the remains of the children. They still want to bring former government officials to justice. Yet, the Founding Line engage in silent protest. How poignant to see them holding faded photos of their sons and daughters after so many years.

As they circled the center of the plaza, it felt like an extended wake. Worn down by so much grief and so few answers, they march as a living vigil, a way to remind us all of innocent people caught in an ideological war.

In marked contrast to the Founding Line, the other Mothers let their voices be heard. They arrived in a sleek van, covered with their iconic scarf symbol. As they entered the plaza, the crowd parted in a moment of collective respect and awe. Their fiery leader, Hebe de Bonafini, led the procession. As they ringed the same circle, these madres thrust their fists in the air. They crowd who followed them clapped in unison, shouting in Spanish. They called the government, “Cowards!”, asking them to acknowledge “The Plaza belongs to the mothers.” What vibrancy in their step and fire in the eyes.

Several Argentines told me they thought the madres had too much power. Charges of corruption have dogged de Bonafini’s organization. Evidently, she applauded the terrorists acts of 9/11 and defamed the Pope. Given my relative ignorance regarding Argentine politics, I will refrain from judging either faction. The marches of both groups brought tears to my eyes.

I was struck by how much moral force accompanied their protest thirty years on. They continue to fight, undoubtedly until death. They’re more like ‘Grandmothers of the Disappeared’, a vivid reminder of how much power the elderly can possess.

LOS SUNS STRIKE BACK

Craig Detweiler — Thu, 06 May 2010 23:04:49 -0700

While legislators’ political decisions are often made behind closed doors, the repercussions are played out in the public arena, particularly via pop culture. Since drafting and signing the most stringent immigration law in decades, Arizona State Senator Russell Pearce and Governor Jan Brewer are now galvanizing symbols. Before SB1070 passed, they received all kinds of local political pressure after a (white) rancher, Robert Krentz, was shot by a suspected coyote/smuggler/drug dealer. And the state feels utterly unsupported/protected by U.S. agents who have set up checkpoints 60 miles from the border. Yet, after the bill was signed into Arizona law (it is slated to take effect in August), Pearce and Brewer have turned Arizona into a recurring gag on the Colbert Show.

Back in 2007, director Robert Rodriguez’s bloody, R-rated trailer for Machete looked like a joke. But now Rodriguez indicates a feature version starring Robert De Niro as a race baiting Congressman, Danny Trejo as a vigilante, and Cheech Marin as a shotgun wielding priest will have a timely September theatrical release. On Cinco de Mayo, Rodriguez leaked a special preview trailer to Ain’t It Cool News.

Perhaps no one has stirred things up more effectively than Roger Sarver, managing partner of the Phoenix Suns. Sarver turned the state’s primary sports icon, performing on a national stage (the NBA playoffs) into an opportunity to oppose Arizona’s new “show me your paper” law. He didn’t need to manufacture new jerseys. He simply resurrected the “Noche Latina” campaign that the N.B.A. had already promoted earlier this season. “Los Suns” took the court against the San Antonio Spurs (another vibrant Sun Belt town in a border state). Steve Nash led Los Suns to their second consecutive playoff victory over the valiant Tim Duncan and Los Spurs.

Interviewed beforehand by Tony Kornheiser of ESPN, Nash said, “Our owners asked us if any of us had a problem wearing the [Los Suns] jerseys and nobody did. So, I think we’re pretty like-minded on the issue. This league is very multicultural. We have players from all over the world, myself obviously being a foreigner [Canadian], many of my teammates, players on other teams. Our communities are very multicultural. So I think we need to find a different way to combat the issues that we face in our society. And I think this is the wrong way to go about it.” Nash knows how to score points.

As a Tucson native, Suns’ owner, Sarver, is also quite familiar with cultural crossings. The confluence of native, Spanish, and Anglo (primarily U.S. military) culture in Arizona has resulted in a fascinating mix. The city and state has been blessed by all the creativity (and finance) generated from these divergent groups. The Southwest is defined by the arts, tastes, and sounds that come from Mexico, from the Rez, and from the Range. Evidently, a few too many snowbirds have forgotten what makes Arizona buzz with possibilities. When those wide open spaces get a bit too crowded, people get shall we say, “edgy.” Next test–the will and resolve of the baseball players slated to play their 2011 All Star Game in Arizona.

So which team are you cheering for in the NBA playoffs? Are you a fan or foe of Los Suns? I find myself increasingly compelled by the biblical verses about “Welcoming the Stranger.” Over Christmas, I read a great book on the subject. It made a clear case for both the historic initiative brought by immigrants, as well as the ongoing heart of God for those on the margins. I also recall my time as a substitute teacher in LA County public schools. I have never taught sweeter, more motivated students (in junior high school no less!), than the recent immigrants so inspired to learn English and pursue the American Dream. They renewed my faith in our country’s ideals…

SHEER GLEE

Craig Detweiler — Thu, 29 Apr 2010 12:51:35 -0700

Perhaps American Idol’s fading star is attributable to the musical polish of GLEE. On this week’s episode, the poignant melodies of Burt Bacharach fueled some of the most memorable television I’ve seen in years. The late Luther Vandross turned "A House is Not a Home" into a powerhouse, show stopping production. But Glee added another layer of heartbreak when Kurt sang it as a tribute to Finn. Now, the ‘chair’ is much more than a chair. It is a symbol of the loss of a parent, the loss of innocence, the unrequited love of a male cheerleader for the class jock. That’s a lotta drama packed into one scene and song and show.

On the other side of the Cheerios cheerleading squad, body image became a highly charged issue.

With Sue Sylvester pressuring the team to lose ten pounds, Mercedes Jones faced an internal (and external) crisis. Teaching at PepperdineUniversity, I’ve been reintroduced to the pressures faced by teen girls to conform to unrealistic beauty standards and body sizes. It is a significant issue on our campus. And as a father, I have a very vested interest in seeing our standards shift to a healthier balance. So I was thrilled to see Mercedes belt out Christina Aguilera’s “Beautiful” as a protest anthem for plus sized women everywhere. Her background chorus of those who never quite fit in made for a rousing renunciation of Sue Sylvester.

Perhaps the reappearance of Amber (played by the remarkable Kristen Chenoweth) elevated everybody’s game this week. Will seemed genuinely moved to see her spunky energy emanating from a roller rink. Amber is so frank and unapologetic about her alcoholism and weaknesses. Their reunion at the rink brought real “Fire” to Bruce Springsteen’s pop song. It is so encouraging to see classic tunes ‘released’ by their publishers (and songwriters) to be rediscovered in primetime. The record companies are finally desperate enough to make the songs available to a new generation of performers, shows, and fans.

Amber and Will also provided my favorite TV moment of the year, their stirring duet on “One Less Bell to Answer.” Kudos to Glee’s director, Paris Barclay, for creating such a cinematic moment for the small screen. And how captivating to bring “A House is Not a Home” in for a reprise. The creators of Glee seem to have gotten inside the songs, recognizing the genuine pathos behind our finest, seemingly disposable pop songs. I can’t remember when I was so moved by such simple staging and unadorned singing. It generated sheer Glee. Anybody agree?

CITY of the ANGELS FILM FESTIVAL: Hidden Gems

Craig Detweiler — Fri, 26 Feb 2010 10:40:17 -0800

People are always asking me for film recommendations. Unfortunately, my favorite movies are often tough to find. I see so many amazing films at festivals that rarely (if ever) get the attention they deserve. They may win the Audience Award at South by Southwest (like THAT EVENING SUN) or screen at Sundance before slipping into obscurity (like LOURDES). The best of world cinema may play in theaters in Los Angeles and New York for a week, then quickly vanish (like SERAPHINE). When (and if) they’re released on DVD, it won’t be at Best Buy (like GOODBYE SOLO). So how can discerning filmgoers find these hidden gems?

The City of the Angels Film Festival celebrates the most inspiring independent films of the year. We’ve assembled a stellar lineup of ‘buried treasures’, films that audiences will love if they know about them. We see our job as curating, sorting through an avalanche of options in such of the transcendent, the original, the artistic. In a world of bigger, faster, louder, these films may move at a more humane rhythm. They may sneak up on you, rather than grabbing you by the throat. You may find yourself strangely moved in ways you can’t quite describe. So check out the world premieres, LA premieres, and retrospectives that we’ve chosen to highlight here.

And join us at the Directors Guild in Hollywood for this classy occasion, March 12-14, 2010.

OBAMA: "I'm praying alot these days."

Craig Detweiler — Fri, 05 Feb 2010 09:28:40 -0800

While some may question whether a national prayer breakfast blurs the line between church and state, it is one of the rare non-partisan events that has attracted presidents from both parties. It dates back to the days of Dwight Eisenhower. While the organizers might be specific in their religious convictions, the event itself celebrates America’s civil religion. How appropriate that President Obama would call for a renewed civility. He suggested we can challenging each others’ policies without questioning people’s motives. “Surely you can question my policies without questioning my faith or for that matter, my citizenship.”

The cynic may consider that a political ploy designed to rescue plunging poll numbers. Yet, the depth of our national problems requires some setting aside of partisanship. We can agree on the need to alter our political discourse, to move forward in economic recovery, to get out of the nightmarish wars abroad. While we debate the methods, we can still practice civility. Here is Obama’s complete 17 minute address. Best lines: ‘In this Tower of Babel, we lose the sound of God’s voice” and “I’m praying a lot these days.”

THE BOOK OF ELI: SOUL POWER

Craig Detweiler — Thu, 14 Jan 2010 00:10:25 -0800

A man with no name wanders across a barren desert. He forages for food and supplies. He doesn’t pick fights, but he certainly settles them. We’ve seen these vistas before, but not with as much punch or panache. The Book of Eli is stylish and smart, a post-apocalyptic western perfectly suited for our era of economic reassessment. It offers a heroic version of Christian faith in action, defending a rare and endangered Word of God. The Book of Eli rocks, rolls and delivers a whopping dose of soul.

Denzel Washington offers a laconic and athletic performance as Eli. He is a man of few words. He tries to avoid conflict. But when threatened, he responds with considerable force. Those who push him too far may suddenly find themselves missing a limb. Denzel joins a long line of iconic cinematic cowboys like Toshiro Mifune’s samurai in Yojimbo, Tom Laughlin as Billy Jack, and Clint Eastwood’s Outlaw Josey Wales.

The Book of Eli earns its R-rated with bursts of shocking violence. Some Christians may find it too coarse or profane. But it is also remarkably faith affirming. Eli is a righteous warrior, a man on a mission, dialed into God’s call. He will not be deterred from his calling to protect the book, The Book, the Holy Bible. The film has echoes of the Old Testament in its grim surroundings, its struggle for survival, and its bloody, high stakes battle over a holy document. It takes us back to first things. How should we live? Who should be in charge? What happens when there are not enough supplies to go around? The Book of Eli presents a grim picture of humanity. Yet, amidst the post apocalyptic wasteland, Eli represents a glimmer of hope. I wrote a Bible study guide (with downloadable clips!) for the film. Find it here.

The Book of Eli shows what happens if justice takes a holiday. Everyone is forced to scavenge to survive. Even worse, what if leaders willingly deceive the public? Is there a norming norm to call us back to order? We desperately need the wisdom and inspiration found in God’s word. Yet, The Book of Eli also suggests that the Bible can be dangerous and explosive. In the wrong hands, it could become a tool of deception and domination. Gary Oldman co-stars as the ruthless self anointed sheriff, Carnegie. He rules a frontier town through intimidation. Carnegie sends out a posse in search of books. And what does he do with the works of art and literature his gangs round up? Burns them. The Book of Eli affirms the power of words—for good or evil.

Solara (Mila Kunis) and her mother, Claudia (Jennifer Beals) are caught in the middle, trying to survive under Carnegie’s reign of terror. They dream of a better place and long for a different way of being. Solara has only experienced fear and domination–until Eli walks into town. He offers a viable alternative, rooted in prayer, gratitude and cooperation. Solara is intrigued by such refreshing ways of relating to each other.

The Book of Eli is well timed for our economic depression. We’re reassessing our values. As directors, The Hughes Brothers drain almost all signs of life, color and comfort out of the landscape. Their cinematic world is harsh, bleak, burned over. The sharp script by Gary Whitta causes us to consider what things are worth. What matters in a world where food and water is in short supply? How much would you exchange for a few minutes of musical comfort? Can the soulful sounds of Al Green heal the most broken heart? The Book of Eli challenges us to be grateful for life’s simple pleasures.

The creative team at Alcon Entertainment has demonstrated the same faith fueled taste that rocketed their surprise hit, The Blind Side, to box office glory. They make Christian conviction cool. It earns the poster tag line “BeELIve.” But The Book of Elinever devolves into preachiness. Eli is a reluctant warrior who walks without fear. In a cruel world, he demonstrates that a sword can be wielded with holy restraint.

PROP 8 TRIAL: Strange Bedfellows

Craig Detweiler — Mon, 11 Jan 2010 20:35:12 -0800

While no one can predict the outcome of the Prop 8 trial, the unlikely pairing of conservative lawyer Theodore Olson with his former liberal foe, David Boies, is making plenty of headlines. They faced off in the famous Bush vs. Gore Supreme Court battle. Together, they are now arguing against the constitutionality of California's Proposition 8 which outlawed gay marriage.

Newsweek features a fascinating first person account from Ted Olson. Rather than discussing how and when he reversed his position, the former solicitor general for George W. Bush maintains that conservatives should inherently affirm individual liberty and any legislation that promotes marriage, stability and family. It is also intriguing that liberal lion David Boies relishes the opportunity to put the Obama's administration's equivocating on the issue on trial. He told Newsweek, "The current administration has been decidedly halfway on this issue," he says, "and I think the specter of having George Bush's lawyer out in front of a Democratic president is something that, shall we say, might stimulate people to rethink their positions." Conservative scion Edwin Meese offered an editorial protesting the particulars of the trial (including its San Francisco venue) in the famed venue of the left, The New York Times.

I don't write this to argue the various points/sides of the trial. More to marvel at how this moment we're living in expands the bounds of what we've come to consider conservative/liberal and traditional/progressive. In this case, the established political lines and loyalties seem rethought and reshuffled. This is exactly the surprising blend of red and blue that we look for (and embody) at Purple State of Mind.

Follow the hour by hour of the trial posted by the Mercury News.

ANTICIPATING AVATAR

Craig Detweiler — Tue, 01 Dec 2009 22:31:27 -0800

Anticipation is building for the December 18th arrival of James Cameron’s first feature in 12 years, AVATAR. Reports about the budget rising above $300 million have resulted in striking similarities to the fear and trembling in Hollywood that preceded Titanic. Cameron is one of the only directors who can secure so much financial backing on an original script. The studios don’t mind risking so much money on a known quantity like a superhero film (Spiderman) or a sequel (Transformers). But with Avatar, Cameron has brought an entirely new world of the Na’bi in eyepopping 3D technology. The New Yorker chronicled his chutzpah in remarkable detail.

While the initial trailer failed to meet expectations, star Sigourney Weaver suggests that fans will find the finished film irresistible. She figures three or four trips to the theater will become the norm. Surely, Fox is hoping for the kind of repeat business and word of mouth that blasted Titanic into gargantuan heights.

Yesterday’s LA Times also highlights two interesting connections. A USC linguistics professor created the language assigned to the Na-bi tribe. Will it become a fanboys delight, rivaling their affection for the Klingon spoken in the Star Trek series? Or will it sound silly, raising regretable echoes of Jar Jar Binks?

The video game version of Avatar arrives tomorrow. Cameron wisely developed the game alongside the movie (rather than waiting to create an unsatisfying knock off of the film’s story). It demonstrates how much the lines between gaming and movies have blurred. Evidently, the University of California at Irvine has created a new major in game science. What was dismissed as flyweight entertainment just ten years ago, now has earned academic credibility. Sounds like the time is right for a book that studies the spiritual implications of video games and virtual worlds.

I just happen to have just finished editing a stellar collection of essays entitled, HALOS AND AVATARS: Playing Video Games with God. Honestly, I am thrilled by how well this book came together. My contributors are quite brilliant. The book raises surprising and timely themes about eternal tensions like predestination versus free will. And what will terms like ‘born again’ mean in a world in which everyone already has a Second Life and multiple Miis? In coming weeks, I hope to highlight the various chapters and contributors. But for now, how about ordering an early Christmas present—Halos and Avatars arrives in January.