At the centre of the first season of the BAFTA-winning comedy Fleabag is the gleefully promiscuous eponymous protagonist, played by Phoebe Waller-Bridge, whose answer to most of life’s questions is sex. [1] So when Season 2 introduces into its bawdy and…
The traditional popular Christmas film is typically full of holiday joy and good cheer, as exemplified by enduring classics like the musical White Christmas, the madcap silliness of Elf, or the syrupy sentiment of Love, Actually. To be clear, I…
Editor’s Note: In our effort to explore the intersection between practical and theoretical expressions of theology and the arts, Transpositions features contemporary artists who infuse their work with theological reflection. In our latest installment, Senior Editor Brett H Speakman interviews singer-songwriter Dave…
Question: What do Daenerys Targaryen, The Unburnt, Breaker of Chains, Mother of Dragons, and yourself—with fingers hovering idly over trackpad and eyes bouncing across lines of internet text—have in common? I answer: Enchantment. Both cultures are defined increasingly by perspectives…
A hush descends over the room. The silence is only interrupted by the whirring of a machine sending curled fingers of smoke onto the pale-pink illuminated stage. With hands clasped and eyes closed, the lines of closely huddled bodies sway…
‘Sometimes we can get lost living in the here and now Sometimes it takes the sky to see what’s on the ground’ –Ben Rector, ‘30,000 Feet’ [1] For those individuals born during the twentieth and twenty-first centuries, the possibility…
Jonathan L. Walls and Jerry Walls, editors. Tarantino and Theology. Los Angeles, CA: Sideshow Media Group, 2015, 264. pps., $19.99 / £13.02. When dealing with a creator as distinctive in style, content, attitude, and execution as Quentin Tarantino, the reactions…
Amena Brown, Breaking Old Rhythms: Answering the Call of a Creative God, Intervarsity Press, 2013, 144. pps., $10 / £6.30. “We are God’s poetry. What God does in our life has rhythm, has rhyme, and is poetry” (135). These two…
On the American indie music scene, the past ten or fifteen years have seen a rash of singer-songwriters—male, white, thirty-something—making dark, lovely, lyrical, disturbing, disaffected, and heartbreaking albums. Nothing new so far? Right. Cue Elliott Smith. But the repeated, shared…