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What’s New? Nothing (Except This!)

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So it’s 2023. What’s new? Nothing, really. Well, except one thing. What is it? What’s actually, really, truly new?

Find out in this mindbogglingly exiting, fast-paced Season 5 opener of the Your Sunday Drive podcast.

Topics covered include: McCarthy and the same-old political divisions; how Jesus offers a third way vis-a-vis divisions; how to not let the culture wars steal our joy (a la Trevin Wax) because we’re “citizens of Heaven and fight Mordor with the joy of the Shire in our hearts” (a la Tolkien – happy bday, professor!); btw that’s at least two French phrases used so far in this description (oui oui!); rewatching Mad Men and the providential, still-small-voice moment involving “The Door” where you can discover the actually, really, truly new thing (spoiler, it involves the gospel and Jesus and all that, as per usual w this podcast 🙂 ); the new Avatar and how some movies really change things; probably other topics come up in there as well, but who’s to say really? listen and find out I guess.

Come along for Your Sunday Drive – quick conversation about current events, politics, pop culture and more, from the perspective of a couple of guys trying to follow Jesus.

Hosts: Matt Hill and Nate Polzin. Presented by the Church in Drive of Saginaw, MI, as often as possible. Please visit churchindrive.com and facebook.com/thechurchindrive

Avatar: The Way of Water – Under the Sea

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Love him or hate him, James Cameron understands the cinematic experience.

Over the last 40 years, Cameron has made a name for himself of creating spectacles on the big screen. Through his career, Cameron has become known for his insane attention to detail, his lack of care for budgets and his passion for making the cinematic experience come to life. And, for the most part, the gambles have paid off. On three separate occasions (Terminator 2, Titanic, Avatar), Cameron has made what was then ‘the most expensive movie ever made’ and, each time, has made more money than the last.

(L-R): Lo’ak (Britain Dalton) and a Tulkun in 20th Century Studios’ AVATAR: THE WAY OF WATER. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Of course, arguably, the crown jewel in Cameron’s cap remains Avatar itself. When it was released in 2009, Avatar was viewed as a technological marvel. Featuring entirely fresh characters and a story that was not based on any pre-existing franchise, Cameron blew away the box office years before the Avengers faced their Endgame. But then, despite racking up nine Oscar nominations, the film only won three, all for technical achievement. As a result, Avatar felt like a surprisingly forgettable entry for what became the biggest box office film in history. Other than a physical manifestation of Pandora in a Disney theme park, the Avatar franchise was largely lost amongst a cinema dominated by caped crusaders and super powers. 

Now, Cameron is bringing us back to Pandora once again with Avatar: the Way of Water… and you will be glad that he did. 

Tonowari (Cliff Curtis) and the Metkayina clan in 20th Century Studios’ AVATAR: THE WAY OF WATER. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

I won’t tiptoe around this: Avatar: the Way of Water is one of the greatest visual spectacles ever to be put on the big screen. That may sound like hyperbole, but I assure you that it is not. Cameron is notorious for waiting for technology to meet his cinematic, visions, often delaying production until he can create a spectacle so stunning that it leaves an imprint on your eyes. And he has done so again here. As such, Way of Water is so remarkable that one cannot help but experience a sense of wonder unlike anything we have seen since Spielberg first stood us in front of a brachiosaurus in Jurassic Park. This is the type of film which justifies the cinematic experience in ways that you have forgotten. 

As Cameron takes us under the ocean, the 3D effects and sound editing are so enthralling that you will believe what you see. (While I confess that there are brief moments that feel a little closer to a video game than reality, those moments are few and far between.) This is the type of film that reminds us why we go to the movies. Way of Water quite literally transports us to another world, awakens our senses, and makes us feel like we are breathing for the first time in a new environment. 

Jake Sully (Sam Worthington) in 20th Century Studios’ AVATAR: THE WAY OF WATER. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Although over three hours long, Cameron packs a surprising amount of story into its runtime. Featuring some complex relationships and tensions, Way of Water is not merely a retread of the original film, although it certainly echoes it. In light of this, although not absolutely necessary, the first film is probably worth a rewatch before stepping into the sequel as Cameron expects that you remember the characters from his ‘magnum opus’.

Set more than a decade after the events of the first film, Avatar: the Way of Water revisits Jake Sully (Sam Worthington) and his wife, Neytiri (Zoe Sandana) as they navigate life and family on the world of Pandora. With four kids at home, Jake and Neytiri balance life as parents with their responsibilities with the Na’vi leadership. However, when the ‘Sky People’ return with an old foe at the helm, Jake and Neytiri must fight to keep their people (and family) safe, sacrificing the home they know in the process.

Jake Sully (Sam Worthington) in 20th Century Studios’ AVATAR: THE WAY OF WATER. Photo courtesy of 20th Century Studios. ©2022 20th Century Studios. All Rights Reserved.

Since his first trip to the Floating Mountains, Cameron has continued to develop his world and especially it’s oceans. Whereas the first film emphasized the beauty of the natural world that we see, Way of Watershowcases the natural world that we do not. Taking us under the waters of Pandora for the first time, Cameron has created another world that still feels familiar. Cameron has always been passionate about the Earth’s oceans and, without question, the goal here is to emphasize the value of the world under the sea. Here, he wants us to understand the connectedness that exists between humanity and the aquatic world… and he is not subtle. (Though, to be fair, he never has been.) Crafted with meticulous love, each scene of Way of Water fills the viewer with a sense of awe and wonder, unlike any we’ve experienced in decades. In doing so, even if these landscapes are not of Earth, the film also serve as a call to protect our own natural world as well. (It’s also worth noting that, without giving too much away, themes of the perils of the whaling industry coming to play as well.)

(L-R): Jake Sully (Sam Worthington) and Neteyam (Jamie Flatters) in 20th Century Studios’ AVATAR: THE WAY OF WATER. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Although a decade has passed since the first film, there are some things that have not changed. Given the amount of cultural change that has taken place in conversations about gender equity and toxic masculinity during that time, Cameron shows very little change in his characters. (For example, although he has been accepted in adapted into the Na’vi culture, Jake still lives his life through his lens as a marine.) This leads to a certain level of bravado within the film’s characters and relationships that feels like a throwback to 90s action films. Admittedly, from Alien’s Ellen Ripley to Terminator’s Sarah Conner, Cameron has always been the forerunner of strong female characters yet something still feels a little dated in the film’s writing.

Nevertheless, this is very much a film about fathers and sons. As Jake attempts to step into the role of fatherhood, so too does he struggle to understand his teenage boys. Torn between his family and his people, Jake believes that the ability to protect those they love is directly tied to his role as a parent and a father. (“A father protects his family. That’s what gives him purpose,“ Jake growls.) To Jake, protection is tied directly to masculinity his role as a parent, and as a father. However, as his young sons begin to display their own ideas and desire to step into adulthood, Jake has difficulty with his changing role. No longer are they the young boys that he had to care for. Instead, they are stepping into their own, and it causes tension within the family. 

Without giving any spoilers, this notion taps into the franchise’s ultimate theme of seeing one another fully. (For instance, “I see you,” is the mantra of both the Na’vi and the franchise’s new tribe, the Metkayina.) This is a franchise that is passionate about understanding the other in the fullest of senses. By being willing to recognize their strengths and abilities, Way of Water reminds us again of our connectivity as people and the importance that we have to one another. 

Quaritch (Stephen Lang) in 20th Century Studios’ AVATAR: THE WAY OF WATER. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

It goes without saying that this is a film that needs to be experience of the big screen. With so much content in recent years, it has become more common place to say that we might as well wait to screen a film before it makes the jump to streaming. 

This is not one of those films. 

In short, Avatar: The Way of Water is an experience that must be seen on the biggest screen possible in order to be fully immersed into the dream world that Cameron has brought to life. Somehow, he has done the impossible. James Cameron has managed to bring the franchise that few remember back in such a way that you’ll have an experience you’ll never forget.

Avatar: The Way of Water is available in theatres on Friday, December 16th, 2022.

Laughing All the Way Home: 1on1 with Jemaine Clement (I USED TO GO HERE)

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As a comedy veteran himself, Clement knows what’s funny.

Having worked on such hilarious projects as What We Do in the Shadows, MIB:3 and, of course, Flight of the Concords, Clement argues that the best comedies of today are those that commit to their worldviews.

“At the moment, I feel like [great comedy is] believing what you say,” he begins. “Even if I don’t agree with a comedian still, if I can see that [they] believe it or the movie believes that, it’s committing, I think.”

Starring with Gillian Jacobs in the new comedy, I Used to Go Here, Clement was excited to dive into the role of David, a college professor looking for a fresh start. Though he was excited for the opportunity to work with Jacobs, he found this project particularly appealing because it felt like the type of stories that he enjoyed watching in his youth.

“[I Used to Go Here] reminded me of films [that] I used to go and see when I was a student,” he explains. “It’s like having a window into someone’s life and maybe [at a] trying time for them in a personal way where other people can’t relate to it… It’s an awful time for you, but it doesn’t sound bad for anyone else so people don’t generally talk about them. [laughs]. Then, in some ways, I found the story of the Gillian’s character story quite relatable. It was funny and Gillian’s really funny. I knew she was going to do it so I was excited to meet with her as well.” 

Written and directed by Kris Rey, I Used to Go Here tells the story of Kate Conklin (Jacobs), a young author about to release her debut novel. When her book receives less-than-stellar reviews, Kate is hurt and frustrated by the response. After she receives an invitation from her former professor and old crush, David (Clement), to speak at her alma mater, Kate jumps at the chance return to her old college as a published author. However, as she revisits her past haunts and relationships, she soon begins to slide back into her old life as a student with all its misadventures and misplaced feelings for her former professor.

Clement’s enthusiasm for working with his co-star Jacobs is palpable onscreen as the two have genuine chemistry together. As David and Kate, the two veteran actors work well together, creating a unique relationship that shows the push and pull between them. In an interesting way, the two characters also seem to be mirror images of one another, even if one has initially escaped their home town.

“David’s character was once a promising author and then he got into this other job that’s taken a lot of his time,” Clement recognizes. “He’s basically trying to draw Kate into the that life to take some pressure off of him. So, he’s a possible future for her. Then, she judges David [for having an inappropriate relationship] and basically falls into the same pattern.” 

Though Jacobs’ character may be the film’s central focus, Go Here also features some hilarious performances from young actors like Josh Wiggins and Hannah Marks. While his character may not have interacted with the young cast very much, Clement also notes that the enthusiasm that they brought to the set served as a reminder for him the privilege that is to work in film.

“It’s mostly Gillian in this story, but [director] Kris found some other great actors and actresses, a lot of them local,” he clarifies. “There’s a lot of them from Chicago where we filmed and where Kris lives so that was another fun part of the film. It was great to see people really excited about being in a movie. Sometimes, you have to remind yourself of that. I didn’t get to act with the kids–I’ll call them the kids, even though they were all adults–I didn’t hang out with the kids very much because my character is talking all the time. Literally lecturing. So, I didn’t get to bounce off those guys very often. It was fun doing the lecture thing with Hannah Marks.” 

Considering David’s flaws, Clement believes that his character ultimately just wants to move on in his career and personal life.

“I think he’s looking for some kind of a way out of there, you know?,” he states. “In academia, I think it’s sometimes seems a bit like that. When I see professors from the university where I went 26 years ago, they still look the same, say the same things, give the same lectures for years and answer the same questions. I think, sometimes, that’s rewarding and sometimes frustrating. I think you can see both of those.”

With this in mind, one of the key themes of Go Here is the (sometimes) overpowering nature of nostalgia. Asked what keeps drawing us back to our past seems to be, Clement argues that the appeal lies in our ability to reflect on the positive experiences at the expense of the negatives.

“Often, the way your brain works is you tend to forget the bad things,” he begins. “If you’ve ever been in a relationship, stopped that relationship and then go back to [it], you remember, ‘Oh, that’s right. We used to do this and she used to say that. I used to always reply to this’. I think it’s just that you forget the complexity of things and you remember the good things. I didn’t have the same experience with my college years. I wanted to learn about theater and film and I had a really bad time in my department. I can see my university from [my home] and I cringe at the idea of going there… I didn’t finish my degree and every time I think, ‘I should do those few papers’. Then, I look at the building and I go ‘No, no, no’. [laughs] I don’t want to be that old dude now either. That weird old dude in the class.” 

Though his background may be in comedy, Clement’s has been always excited to be a part of high-profile blockbusters when the opportunity arises. More specifically, his next role will take place on the famed CGI planet of Pandora in James Cameron’s sequel to Avatar. Drenched in secrecy, Clement notes that even he is surprised by the incredible security that the project carries with it.

“We’re filming after these interviews,” he beams. “I know I’m in [Avatar 2]. IMDB has me in up to [the fifth movie] or something like that. Even I was like, ‘am I?’ [laughs] I can’t tell you that much. It’s very secretive. We haven’t been filming over this how COVID pandemic, but they’ve started again because New Zealand’s back and working. I have a scene tomorrow and I go in today. My scripts in a vault and they’ll take my script out of the vault and then I’ll read it and try and learn it there. Then, it goes back in the vault and I go again tomorrow and then I’ll take it out of the vault again.”

Though he’s spent most of his career working on smaller films, working on major projects such as the Avatar sequel are always exciting opportunities for the actor. For example, Clement is always thrilled to work with high profile directors like James Cameron who have inspired his career.

“I’ve mostly done smaller films but, often with the biggest films, what’s made me interested as the director who maybe has done some films I’ve loved,” Clement grins. “Terminator 2 was one of my favorite film experiences I’ve ever had, when I was 15 or whatever I was. It’s hard for me to resist asking Jim, Terminator Two stories all the time. I only do about one a week. [laughs] I would ask after every time how they did certain special effects and The Abyss and things like that. He’s someone who’s quite an imaginative person and gets to make whatever he wants at this level. That’s what it feels like to me.” 

For full audio of our conversation with Jemaine Clement, click here.

I Used to Go Here is available on demand now.

Breakthrough (Ep. 2)–More Than Human: Can It Be A Reality?

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FORTIS exoskeleton
(photo credit: National Geographic Channels/Gary S. Chapman)

If you sit down and stop to think about it, humans are pretty amazing creatures. We have the ability to communicate with others, we can eat and sustain ourselves, and we can think and make decisions for ourselves. In addition, people have greater abilities than these, such as being able to drive cars, write letters, create films, and build massive structures that withstand the test of time (like those pyramids in Egypt). But is that enough? Do we need to become more? Can we use the creations and inventions we’ve developed to somehow become more than human?

It’s an interesting question–one that deserves some consideration. In the second part of National Geographic Channel’s Breakthrough series, actor Paul Giamatti (Cinderella Man; “Downton Abbey”) takes a look at what this might look like in real life. He starts off by considering human exoskeletons that will allow us to do more than we can physically accomplish otherwise.  The FORTIS, for example, can help a person to lift an item weighing up to 36 lbs for extended periods of time (such as a jackhammer), cutting down on fatigue and getting more accomplished. The film Avatar is coming to life for individuals like Eric Vladcovik, who has no legs.  Using another form of exoskeleton, he’s learning how to walk with the assistance of two mechanical appendages he’s lowered into. It’s quite incredible to behold!

Walker
(photo credit: Asylum Entertainment)

In other places, scientists are working on viable alternatives for many of our common senses, such as touch, through the use of virtual reality technology such as the Oculus Rift combined with real tactile input from another person. For those who are deaf, a contraption called the Versatile Extra Sensory Transducer (or VEST) is able to take every day sounds and replicate them for deaf individuals using a series of vibrations they feel on their back and can instantly understand. Wearing your senses on your sleeve is an idea whose time may have finally arrived.

Giamatti’s directing style is quite different (and considerably less gory) than Peter Berg’s first episode of Breakthrough, which centered on pandemics. He tells the story as a first-person narrator who gets to see these contraptions firsthand. It works well with the subject material and gives Giamatti time to think and consider about life might be like as part machine, but not necessarily as a T-1000 (yes; you just heard Arnold Schwarzenegger’s voice in your head).

computer wiringWhile the implications for technology of this nature are pretty staggering, is it what we were designed for when God set about making Adam and Eve in Genesis 2? Wouldn’t He have just given us a built-in exoskeleton like insects have? Did He intend for humanity to morph into cyborgs over time? The book of Isaiah provides a unique perspective to this, when it says, “Shall the potter be considered as equal with the clay, That what is made would say to its maker, ‘He did not make me’; Or what is formed say to him who formed it, ‘He has no understanding?’” (Isa. 29:16 NASB) In other words, the verse seems to equate humans wanting to be equal with God.  In actuality, God provided creativity to humanity so things like this could be both conceptualized and realized to an extent. We already have robots, can control devices remotely, and the cell phone is getting close to being permanently attached to some individuals but we’re not going to be able to duplicate what the Master already perfected.

Does that mean that technology of the kind introduced in this episode is bad and wrong?  Not at all! It’s going to be helpful for many people in ways we cannot begin to fully understand. We’re just not going to be able to equal the effectiveness of God’s original creation through the hands of that actual creation, imperfect as it is. The first step is seeing what can be created and using it for good in the world we live in.  Who knows—it might lead to something that glorifies God better than we can already do. Maybe that’s what it means to be more than human.

Breakthrough is a six part-series airing on the National Geographic Channel Sunday nights at 9 PM.