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Black Lives Matter; Remembering Ravi Zacharias

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your sunday drive podcast

In this new episode of the Your Sunday Drive podcast, we discuss the current unrest following the death of George Floyd, including conversation about Black Lives Matter vs. “All Lives Matter,” protests vs. looting, the role of social media and politics, biblical examples (including Jesus flipping tables) and frameworks for understanding justice, value, etc.

We then take a brief moment to reflect on writer/speaker Ravi Zacharias, who passed away recently, sharing some takeaways and highlights of Ravi speaking.

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

Who Would Jesus Vote For?

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your sunday drive podcast

Finally, the “answer” to the question on everyone’s mind: Who would Jesus vote for?

In this one-year-anniversary, Super Tuesday episode of the Your Sunday Drive podcast, we discuss the different economic and governmental systems vying for votes this year, and ask some key questions: What are the basic differences between right and left economic systems? Does capitalism or socialism or some other -ism best fit human nature? Are there biblical principles to help us understand these options? Are there governmental models in the Bible and do they apply here and now? How do we weigh economic vs. social/moral concerns?

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



The Holidays & Mental Health; Star Wars

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your sunday drive podcast

It’s nearly Christmas – a joyous time, but also a difficult time for many.

In this episode of the Your Sunday Drive podcast, we welcome local family medicine physician’s assistant Dave Mulder to talk about the holidays and mental health, trying to lend a Christian perspective to an issue that many face this time of year.

With The Rise of Skywalker just days from release, we also take a quick few minutes to discuss the spiritual significance of Star Wars.

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

Smallfoot: Truth Can Be Costly

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As a child, I remember reading about the legends of Bigfoot and the Abominable Snowman, also known as the Yeti.  What in the world were these huge hairy creatures, and why were people unable to capture anything other than shadowy pictures of them?Were they simply afraid of people? Did they have something sinister to hide? Or were they allergic to anything relating to humanity?

Past films have done one of three things involving Bigfoot and/or Yetis: (1) identified them as gruesome monsters nobody wants to mess with, (2) portrayed them as creatures worth exploring the woods and mountains for, or (3) simply casting them as misunderstood beings.  Fairly recent examples of this last phenomenon include Harry and the Hendersons and Monsters, Inc.. We can now add to that Smallfoot, a animated feature from Warner Brothers.  Based on a book called Yeti Tracks by Sergio Pablo, Smallfoot offers viewers a story about discovering the truth that’s wrapped in layers of colorful, pastel-tinted computer graphics. There are definitely some things kids (and adults alike) will take away from the film, but I feel like it cobbled too much from past movies, limiting its effectiveness.

In a nutshell, Smallfoot is about a land of Yetis who seem to have the perfect life living on their mountain perch.  Nobody visits their ‘world’ and they don’t visit anyone—mainly because the world ends in a cloudbank of unknown depth (paralleling Storks). Nobody is convicted to go beyond what they already know as safe (paralleling The Giver).  A tight set of rules, drawn on stones in pictorial form and worn by the Stonekeeper (voiced by the rapper Common), governs the Yetis in an attempt to keep them safe and insulated (again, paralleling The Giver).  Questioning is severely frowned upon (paralleling 1984).  When Migo (voiced by Channing Tatum) spots a Smallfoot—err, human, he’s immediately fascinated.  Maybe the stones were incorrect!  But the human suddenly parachutes below the bank of clouds, leaving Migo (and later, a few additional Yeti) curious at what lies below.  When he discovers humans aren’t as bad as one might think, Migo brings his discovery to the attention of the people and the Stonekeeper. At this point, the film spirals into the realm of why humans and Yetis cannot co-exist before a betrayal-redemption sequence (including a chase through the Pac-Man inspired town where the humans live) occurs. In addition, a number of peppy songs contribute to making the film lighthearted, even when the subject matter becomes more serious in nature.

The quality of the animation is quite good, though it’s in more in the vein of Cloudy with a Chance of Meatballs versus anything Pixar-related. As for the characters, Migo is somewhat memorable for a lead, as he discovers himself and what he truly believes in while filling in the blanks about questions he’s always had. The Stonekeeper has a unique outfit along with truths to tell—and hide (although it’s pretty jarring to hear a rapper’s voice leading the group at first). The group that seems to understand Migo are completely serviceable—except for Fleem (Ely Henry), who attempts comic relief but completely falls flat. Percy (James Corden) is a Steve Irwin wannabe who wants to get rich but finds something more when he looks beyond his dreams, plans, and numerous selfies.

There are a number of themes kids and adults alike will be able to take from a viewing of Smallfoot, especially in the area of telling the truth. Migo sees the Smallfoot (i.e., Percy) and, when he tells the community, he is banished because it goes against the stones and causes the other Yetis to start questioning. At this point, he could’ve simply accepted the ruling of the Stonekeeper and moved on, but he held fast to what he believed, found Percy, and proved they exist.  Later, he suppresses this truth in the name of keeping the Yetis safe.  However, Migo learns that telling the truth can be costly. In a similar vein, we can consider the apostles who were commissioned by Jesus in Matthew 28 to tell the world about him.  They knew what the truth was, but not everyone wanted to hear and/or believe it.  As a result, persecution followed (and, in some cases, death).  We need to understand that it’s always better to tell the truth about what we believe rather than give in and confuse and/or deny our beliefs.

Kids are going to find Smallfoot to be an entertaining, joyous romp peppered with lessons they’ll be talking about on the way home from the theater. Adults may also find this to be the case.

Smallfoot is in theatres now.

For audio of our interview with Smallfoot writer/director Karey Kirkpatrick, click here.

The special features on the Blu-ray include the Yeti Set Go Sing-Along, the “Super Soozie” Mini Movie featuring Soozie, the featurette on “The Secret of the Yeti Stones,” “Yeti or Not, Here They Come!”, and the music videos for Nial Horran’s “Finally Free,” Cyn’s “Moment of Truth,” and “Wonderful Life.”  

The Ready Player One “Easter Egg” That Bypasses the Backlash

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this quick post plays
through three short stages

the third contains
the Easter egg

all three potentially
contain SPOILERS


Stage One: “Microreview”

if you haven’t seen Ready Player One
(or read Cline’s book),
you really should;
particularly if you’re the
target demo:
a “nerd,” “geek,”
pop culture afficionado
of a certain stripe
(70s-80s gaming, sci-fi, etc.)
(more on this later)

but even if you’re not
the target demo du jour,
you should still see it,
cuz it’s a fun,
eminently Spielbergian,
bombastic popcorn flick
(tho, prepare to
suspend plenty disbelief
and prepare to groan
at the too-neat ending)


Stage Two: “Context”

if you’ve seen this movie already –
more certainly if you’ve
read the book,
have this kind of thing
on your radar, etc. –
you may have a sense of the
Ready Player One backlash
that’s been afoot:

e.g. 1: Steven Spielberg’s Oblivious, Chilling Pop-Culture Nostalgia in “Ready Player One”

e.g. 2: The Ready Player One backlash, explained

(those two pieces are helpful
primers and there are others)

the gists of the criticisms
have to do with
Cline, Spielberg, or both
succumbing to certain
negatives of nostalgia and some
nasty exclusivity concerning
particular pet passions
(this involves something
called “Gamergate”)

i think there’s obv
plenty valid points here,
but delving in fully
is beyond this post

(for some
thoughts on nostalgia, see my
good, bad, ugly: nostalgia edition)

(for some
thoughts on how groups
(like gamers)
crave things like
ownership, community, etc. –
relevant to them
playing out negatively
re: Gamergate – see my
a pop invite to the church)


Stage Three: “Spiritual < Spiritual”

while in general i agree with
Rob Bell that
“everything is spiritual,”
i think some
desires
(longings,
hungers,
senses of privation,
experiences of lack,
problems,
issues,
whatever)
are more clearly so

in this instance, by “spiritual”
i mean something like
“essential to our being
as humans;”
i also mean something like
what’s at play here:

“If I find in myself desires which nothing in this world can satisfy, the only logical explanation is that I was made for another world.” ~ C.S. Lewis, Mere Christianity

here, in other words,
spiritual = supernatural

and HERE is where we discover
the titular EASTER EGG –
the “secret” that “saves”
Ready Player One
from some potential negatives
brought up in Stage Two….

Ready Player One, really,
is about these spiritual/supernatural
longings/desires;
specifically, i see
The OASIS
(the movie’s VR game world)
as a proxy for
desires for
things like:
love, belonging, community,
escape, freedom, victory,
meaning, enjoyment, passion

Ready Player One
says this about people:
people need
love/meaning/etc.
and they’ll do
whatever it takes
to get it
(including create
fictional worlds where they do)

but now notice how
Ready Player One‘s
counterintuitively anti-gaming ending –
when we’re told something like
“the real world is what’s real” –
also says this about people:
real (read: spiritual) problems require
real (read: spiritual) solutions,
and *bigger* ones, too

in other words: spiritual < spiritual

it may seem like The OASIS
can give Wade (the main character)
what he needs,
but nah: he needs Samantha (the girl)
irl for that;
in this same way,
our ultimately
spiritual/supernatural
desires for
love/meaning/etc.
must be “solved” by something/someone
ultimately
spiritual/supernatural –
and *bigger –
too

and,
to me,
with this Easter egg
of perspective in hand,
Ready Player One –
though imperfect –
communicates something
very valid,
very real
about being a human

(for some
thoughts on how
humans often
sneak these kinds of
Easter eggs
into pop culture, see
what it means that you like things that are like other things that you like
and
Get Re-Enchanted: Stranger Things 2, Pop Culture & God)

 

 

Sorry, Ricky Gervais: Humanity Still Needs a Cure

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i genuinely dig
Ricky Gervais plenty,
and i’m thankful for
The Office,
like, for sure

i appreciate his
iconoclastic approach
to comedy;
i relate to his atheism,
tho i’m not an atheist myself,
as you’ll gather below

however,
i noticed him make a move
in his recent Netflix comedy special,
Ricky Gervais: Humanity,
that i’d like to call into question,
because it raises a
significant issue
for someone like Gervais

(Ricky, i hope you’ll appreciate this;
you seem to appreciate
close thinking,
or at least attempts at it 🙂 )

last year around this time,
Netflix was
releasing a slew
of comedy specials;
at that time, i posted
“comedy needs Crashing”

in it, i noted:

…a certain “typical”
comedic perspective –
generally hilarious,
of course,
but also
sardonic, cynical,
melancholic and
world-worn and weary,
endlessly observational
when it comes to
finding problems,
but seldom (apparently)
when it comes to
actually addressing them,
actually living with them
in the day-to-day
(other than offering
its own oddly biblical
and plenty true
pseudo-spiritual
prescription of
“just laugh through it”)

i submit that Gervais
affects this perspective
in Ricky Gervais: Humanity
*to the letter,*
almost as if he’d
read what i wrote

he even chooses to
end the special –
having already advertised,
importantly,
his own atheism,
as he’s wont to do –
with his own version
of the prescription:
“just laugh through it”

in other words,
how does Gervais
suggest we approach
(obv universally rough) life
in this Godless universe?

“just laugh through it”

*this* is the move i want to
call into question

first let me say again:
i agree with this suggestion;
it can be, in fact,
found in the Bible
(Proverbs 17:22, e.g.)
and other religious traditions

but here’s the thing:
in the Bible,
such a prescription is
clearly but a palliative –
something to help you through,
but not something
that ultimately cures
any ultimate issue

for,
importantly,
in the Bible,
there is an ultimate issue,
and more importantly,
there is an ultimate cure

and so this is the part where Gervais –
where any atheist –
encounters a problem;
here’s the rub:
either there isn’t really
an ultimate issue to cure,
or there is an ultimate issue,
but no ultimate cure

either the way things are
in this Godless universe
seem wrong –
like something that
could be,
should be “fixed” –
but they’re really not
(because “wrongness”
isn’t really a thing);
or they really are wrong
(whatever that could
even mean sans God),
but there’s nothing
and no one “ultimate” enough
(no God)
to ultimately do
anything about it

to me, tbh,
neither of these
really seems okay

to me, tbh,
neither of these
really seems to
match up with
our experiences, our intuitions,
our wisdom about the world

and so,
to me, tbh,
a palliative like
“laugh through it” –
nice and true
and helpful as it may be –
is just not enough
once we’ve dismissed
the possibility that
something is really wrong
and
something can
really be done about it

in other words,
it’s just not enough,
once we’ve dismissed God

\\\

so…
calling into question complete…
where one goes from here, of course,
is up to that one

thanks for the laughs, Ricky –
humanity is certainly a
fertile topic for it

here’s to hoping for
options kept open 🙂

 

 

seeing it coming [The Last Jedi SPOILERS]

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when old wineskins
make way for new,
who sees it coming?

if one waits on royalty
but receives rabble,
will one still receive?

and though death is
obviously an end,
isn’t it always also a beginning?

even so . . .

shred the Jedi texts and
burn the sacred tree,
for the force is
the force for everyone –
“The wind blows wherever it pleases.
You hear its sound, but you
cannot tell where it comes from
or where it is going.” –
true always,
clearer now

when the one book
in the one tongue
gets Gutenberged,
then can the word
truly be writ
on its true home:
the hearts of all,
not the papers of the few

even so . . .

if Rey be the seed of nobodies,
that need not mean
she cannot still be
the start of a new hope –
for the last shall be first,
the weak shall be strong,
the poor shall be rich

also forget not
the lamb yet lion,
the servant yet master,
the pauper yet king –
forget not that
things many
can yet be one

even so . . .

Skywalker is dead.
the call of the
force/wind/God
made in a way most final.
his shoot of a branch
seemingly snipped.
the Jedi –
once but a
dreamer of a boy
looking aloft to
binary stars –
finally, the last.

yes, but,
who supplants him?

who but he himself:
yet another boy dreamer,
looking aloft to a
new sky of his own

so can you see?

can you see it coming?

the new wineskins?
the royal rabble?
the end-yet-beginning?

can you see that
Luke is Rey is
the boy dreamer
is all the dreamers is
me
is
you?

and can you see that
this is the way of the
force/wind/God?

i hope,
yes

 

Get Re-Enchanted: Stranger Things 2, Pop Culture & God

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i am
*so* psyched
for Stranger Things 2

like, *psyched* psyched

i want more mystery,
more stylish 80s homage,
more dope soundtrack,
way more Eleven;
i want #justiceforbarb,
Eggos ate raw,
Winona Ryder everything,
coffee and contemplation

honestly, who can deny
that the whole
Stranger Things thing –
like much of what
it lovingly calls back to –
is one of those
oh so pleasant
serendipitous revelations;
one of those things where,
now that it’s happened,
you can no longer imagine
the pop landscape
without it

however,
(serendipity be damned),
why?

why such a strong reaction
to Stranger Things,
by so many,
seemingly
“out of nowhere”
?

i thought
Alissa Wilkinson
(in a Christianity Today
article called
“How ‘Stranger Things’
Re-Enchants the World”)
was onto an answer:

In a modern world—where science can explain everything from depression to deja vu to the Aurora Borealis… even religious folk yearn for a re-enchanted world, one where fairies, or demons, or other intelligences exist just beyond what we can see.

What we’re after is joy—the serendipity of discovery, the thrill of mystery, the feeling of excitement lurking around the corner…

Our desire for magic doesn’t let up… art still seems best poised to capture that magic. Stranger Things is just the latest version of this yearning…

agreed for sure:
part of the draw,
the allure
of Stranger Things,
is that it sort of
re-imbues the world
with a magic,
a mystery,
an enchantment;
Stranger Things
takes the “regular world”
and adds the “upside down” –
takes plain old “things”
and makes them “stranger”
(again)

so is that it?
Stranger Things
speaks to us so
cuz it’s a reminder that
“there’s more to things
than meets the eye”
?
and cuz the experience
of that is… fun?

no, that’s not (just) it

as Wilkinson notes,
the show is
“the latest version
of this yearning
[for magic];”
Stranger Things is also
powerful precisely
because it participates
in this long line of
pop culture manifestations
of a specific
human yearning

what yearning,
specifically?

a yearning not only for magic –
read: the supernatural –
but for a universe
*built* with and on magic;
a magical universe
that not only
brings “joy,”
but makes possible
an explanatory
and existential
completeness
that an un-strange,
mundane,
materialistic,
naturalistic universe of
pure scientism
actually *cannot*

a yearning, in other words,
for a universe of meaning

what meaning?

literally *any* meaning

for in an un-strange,
mundane,
materialistic,
naturalistic universe of
pure scientism,
science is the only
game in town;
but though science excels
at explaining the “how”
of things,
it is exceedingly bad
at explaining the “why;”
in fact, science
does not,
*cannot*
speak the language of “why”
at all, and therefore
cannot lend meaning
in the sense we mean

you need things to be a bit…
stranger…
for that kind of meaning;
you need a magic universe
of possibilities
for that kind of meaning;
for that kind of meaning,
you need
a universe with a God

once you have that,
magic and the
possibility of
knowing the
“why” of things
reappear,
along with all
our dearest, deepest meanings –
good is better than evil,
love defeats hate,
sacrifice overcomes greed –
the narratives
we inescapably spin
to demonstrate
those meanings,
and the pop avatars
we create to animate
those narratives…
Stranger Things,
thankfully,
awesomely,
 among them

(for some related
ideas about narratives,
see “What IT Means
(and How *Any* Good Story ‘Means’)”)

Disney Parables – Finding Nemo: The Pursuit of the Father

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Usually, when it comes to a film’s protagonist, we consider the person who exhibits the most growth, or at least demonstrates the most action on behalf of the individual or others. Since 2003, Finding Nemo has been lauded for its artful tale of the titular little fish, netting box office splash, critical accolades, and the top spot in DVD sales … ever. But on further review, the film bears even deeper attention: this isn’t Nemo’s story at all, anymore than “The Parable of the Prodigal Son” is about the “lost” or younger son.

In Finding Nemo, the young clown fish of the same name finds himself captured by human divers, against the wishes, urging, and commands of his father. In an act similar to the son who claims half of his father’s possessions in the story that Jesus tells in Luke 15:11-32, Nemo touches the hull of the ship and tells his father, quite clearly in fact, “I hate you.” Whisked away by the divers and sold to a dentist, Nemo at first fights the situation he finds himself in with a new group of aquarium fish, and finally, consigns himself to his fate.

Meanwhile, Marlin takes his fatherly efforts up a notch or two. Putting his anxiety and fears about life off the reef aside, he departs his home to pursue his son. He first encounters a regal blue tang named Dory, and then an Australian shark named Bruce, a sea turtle named Crush, and the pelican named Nigel. He dodges an Anglerfish, escapes a blue whale, and finally arrives in Sydney, Australia, to collect his son. Through a series of strange and fantastic events, they are reunited. Happy ever after…

But the truth of the story is that it all swings on a moment when Nemo hears – by way of Nigel, by way of seagulls, by way of swordfish, by way of turtles, etc. – that his father is coming to get him. It’s not until he hears the empowering good news, the truth of his father’s love, that he summons the courage (and a few others are inspired) for him to break out. [Sidebar: What can we learn about the power of the gospel? The fact that people need to hear that they’re loved, that God loves them? Sometimes, our lives feel like they’re in glass houses… or aquariums… with no way out.]

Back in the words of Jesus’ story of the son, we can see that while we have contextualized “prodigal” to refer to a son who squanders his father’s wealth – or any black sheep of the family who has wandered off (and may or may not return) – the truly scandalous, powerful, unending, undeserved, uncontainable love of the father is what is truly “prodigal.” In fact, Jesus’ parable is not that of the “lost” or “prodigal” son, but that of the seeking father.

For a moment, consider what the father must have been doing in Jesus’ story to see the son “while he was a long way off.” Of course, he had to have been actively looking or seeking for him, but what if the father was in fact always aware of where his cutthroat, out-of-bounds boy had gone? What if the father had allowed – like most parents have at some point – for his child to experience failure, to suffer, to misstep so that he could learn who he was? In the process, the father teaches the son grace.

And in the end, the fathers are the heroes of these stories.

Ultimately, it is about the grace to forgive (and maybe to forget, right Dory?) that allows both fathers to love extravagantly. With apologies to Marvin Gaye, there ain’t no ocean wide enough, no disobedience or shame deep enough, to keep either of these fathers from getting to their sons. This is the testimony of the story – the heart of the gospel – that nothing we do can separate us from the love of the Father, that God’s love is immeasurably deep and wide.

Genius Ep. 6 – Hitting Rock Bottom

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(National Geographic/Dusan Martincek)

One of the key points of conflict thus far on Genius, National Geographic Channel’s 10-part series on Albert Einstein (Tuesdays, 9 PM/ 8 CT), involves his marriage.  It’s obvious that Albert married Mileva mainly for her scientific mind and little more. As a result, the relationship has been spiraling downhill for a few episodes; in the meantime, Albert’s scientific career has been on an upward trajectory. When his cousin Elsa enters the picture as more than just a family relation, it’s only a matter of time before the powder keg of emotions explode.

Director James Hooks (the fourth different director of the series thus far) brings a heavily dialogue-driven perspective to the proceedings.  He begins the sixth episode by setting up Einstein’s plan to confirm that light waves bend as a result of gravity.  Albert (Johnny Flynn) has teamed up with an astronomer who will photograph the upcoming eclipse and gather data to further strengthen his theory of relativity. Problem one: the nearest location to see the full eclipse is Crimea, Russia. Now that he’s moved to Berlin and is a part of the Prussian Academy, Albert has to convince a bunch of skeptical scientists to provide funding for the trip—scientists who are ruffled by his brazen attempts to challenge their previous work. Albert gets some of the money, but Elsa (Gwendolyn Ellis) uses her clout to get the rest.

Problem two: After the trip has departed, German declares war on—you guessed it—Russia. With a load of photographic equipment in tow behind enemy lines, things aren’t going to go well for the members of the team on the train (see below).

(National Geographic/Dusan Martincek)

But there’s another issue—a Serbian scientist has been able to come up with proof that Einstein’s theory doesn’t work as it currently exists. If Einstein publishes the paper with the eclipse data, he’ll likely be discredited.

This is where Einstein’s marriage enters the discussion.  He moved the family to Berlin because he wants to be with Elsa instead—he even tells her, “With you, it’s sunshine.  At home, [it’s always] a cloud of anger.”  But she realizes how scandalous the situation can become unless Mileva (Samantha Colley) is out of the picture.  Mileva finds out, and Albert has to make a decision—one that will have consequences for the rest of his life.

He chooses Elsa, telling Mileva he wants a divorce.  But Mileva refuses to grant it to him.

At this point, Albert becomes even more of a jerk than one can possibly imagine, giving Mileva a written list of demands in order to keep the marriage intact.  They amount to a completely platonic, non-physical relationship—cook, clean, take care of the two kids, and leave him completely alone with his studies.  Surprisingly, she agrees to this.  When she learns of the Serbian’s negation of Einstein’s proof, she tries to tell him, but he cites the written list he wrote her and dismisses her out of hand.

Eventually, the strain is too much, and after she has a one-night stand with the Serbian scientist, Mileva agrees to separate (not divorce—this may play a role in future episodes).  Albert is elated—now he can return to Elsa.  But when he returns home, he finds it empty.  Mileva takes the children to Zurich, leaving Albert—for the first time in the series—completely broken.

Nobody wants to ever hit rock bottom in life.  But there comes a period for most people where just that occurs. What once was is not any more.  Friends have abandoned in a time when they’re needed the most. There’s really nothing left to do but surrender to God and strive to make life changes that last.  It doesn’t mean there won’t be scars, but the end will be better than the alternative.  Jesus talked about this situation in a story about a young guy who took his inheritance, blew it all on the frivolities of life, then found himself in a place where he had to resort to eating pig slop to survive.  Only then did he come to his senses and point his life in the right direction (see Luke 15:11-31).

We’ll have to see if anything arises from the final scene of the episode—Albert Einstein crying, alone, at a train station. Is this really rock bottom, or will things get even worse?