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Science

I, Pastafari: A Flying Spaghetti Monster Story

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What makes a religion? Do all worldviews have the same validity? How are we to judge? Those are all worthy questions for consideration. I had hopes that I, Pastafari: A Flying Spaghetti Monster Story would provide some insight to those issues, but in the end I was disappointed.

This rather brief film (56 minutes) centers on the Church of the Flying Spaghetti Monster, a parody created in an open letter from a scientist following a Kansas School Board decision to have Intelligent Design taught in schools alongside evolution. In that letter Bobby Henderson sought to have equal time for a story of creation involving a flying spaghetti monster. The point being that just because someone believes something (i.e., Intelligent Design) doesn’t make it science. Science classes should teach science. That seems pretty basic.

But the parody has grown in the years since. Most recently Pastafarians (members of the Church of the Flying Spaghetti Monster) have battled in courts (mostly in Europe) to allow them to wear their religious headwear (colanders) in identity photos. The film spends most of its time with this aspect of Pastafarianism, without ever making a case as to why it matters—or even what those involved really want to happen. The film implies that religion gets special privilege (and sometimes it does), but it never makes it clear if that privilege is inappropriate. For example, why is it inappropriate to allow a Sikh to wear a turban in his driver’s license photo? (Is there possibly an anti-immigrant or racist agenda? The film doesn’t ask that question.) What is gained by being able to wear a colander on one’s head as a Pastafarian?

Parody and satire are excellent tools in examining our culture—and religion certainly has plenty of things that are ripe for satire. The letter to the Kansas Board of Education is a nice example of that. But to what purpose does the Church of the Flying Spaghetti Monster continue its efforts in other areas? The film branches out at times to see religion’s negative impact on our culture. Does the film want to imply that religion is only a negative? What of the negative ways science has impacted society? The film has a very one-sided view of religion.

There is also a sense in which I, Pastafari fails to live up to the teachings of its own religion. Instead of the Ten Commandments, the Church of the Flying Spaghetti Monster has the Eight I’d Really Rather You Didn’ts. The first is “I’d Really Rather You Didn’t Act Like A Sanctimonious, Holier-Than-Thou Ass When Describing My Noodly Goodness.” There is a smugness close to arrogance in the subjects of the film as they make their cases in court to wear a colander. That conceit infests the film overall.

The Church of the Flying Spaghetti Monster could well be an interesting way to raise questions about religion and its place ion society. But I, Pastafari fails to live up to that potential.

I, Pastafari is available on VOD starting July 7.

Photos courtesy of Gravitas Ventures

Mars S2 E5: Dancing with the Enemy

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“Stand down, Mike.”

Rival companies, questionable practices, power issues, contagions, and a pregnancy—these have been the focal points of the second season of Mars (National Geographic, 9 PM/8 CT).  Tonight brings us to a thrilling conclusion—or maybe it will provide more questions than answers.

Before we get there, we should consider the last episode and find out what we’re possibly in store for. After the virus issue was handled thanks to some smart thinking by Marta (Anamaria Marinca) and doses of penicillin, the workers at IMSF must deal with something completely beyond their control—the actions of their leaders on Earth.  Russia has entered into a deal with Lukrum Industries and Roland St. John (Esai Morales). This threatens the IMSF and forces Secretary General Amanda Richardson (Cosima Shaw) to do something to get Lukrum’s attention. Her main option is to levy sanctions on the company to get them to end the agreement.  It sounds difficult in theory, and it is.  In flashbacks to today, we’re reminded that when big companies get huge, there is little (if anything) that can stop them—even when it comes to governmental control and oversight.  This episode, more than its predecessors, calls out these large companies for their past actions and questions what (if anything) can be done to limit their control.

Of course, the Lukrum colony on Mars is continuing its mission but needs more power to make it happen. Olympus Town, headed by Commander Hana (Jihae), agrees to this, but when she and Robert (Sammi Rotibi) take a trip to check out a possible source of water, her assistant commander Mike Glenn (Gunnar Cauthery) refuses and completely shuts Lukrum off from all electricity, placing their entire colony at risk of death. Javier (Alberto Ammann) defies his orders and gets them back online just in time. Hana and Robert, alas, do not find water, and on their way home discover the mutiny that has occurred at Olympus Town.  Mike soon finds himself relieved of duty.  In addition, Robert tells Hana that because he’s not being allowed to create and build things by the IMSF, he’s leaving IMSF to help Lukrum.  There have been hints at a possible romance here, but they’re effectively quashed when the two have their last meeting,

Javier has an additional issue. Amelie (Clementine Poidatz) begins to experience contractions at the thirty-week point, forcing her to make the decision to have a caesarean for her baby.  Things seem to be going smoothly, until she briefly sees a rather large bluish-colored baby (?) being carried out by another doctor. Her cries go out into the nothingness of space as the credits roll.

You’re probably not going to like the vote, Madame Secretary General.

Industry and science have always had a very delicate relationship.  Science wants to discover and prefers things to be pure and unexploited so they can better humankind.  Industry wants to discover as well, but is willing to create, process, and market so they can better humankind while making lots of money for themselves and their shareholders.  Take one of the two out of the equation and humans suffer as a result. Just like in a marriage, there must be some give and take from both sides in order to make the partnership work. Ecclesiastes says, “Two are better than one, because they have a good return for their labor: If either of them falls down, one can help the other up. But pity anyone who falls and has no one to help them up” (4:8-10).  There will always be tension between the two groups, but they must learn to co-exist and work with each other.

So then . . . what will happen to Mike?  How will Robert like Lukrum?  Will there be a power play for Richardson’s position at IMSF?  Will someone finally discover liquid water? Will Amelie get to hold her baby?  We’ll have to find out tonight when Mars concludes its second season.

Mars S2E3: What Is Your Passion Worth?

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All is well . . . for now.

It seems Mars has been all the rage this week.  On Monday, NASA was able to land the InSight rover on the planet, leading to numerous cheers (and a well-choreographed celebration) from the scientists tasked with getting it there.  Over the next months and years, I’m sure they’re going to acquire an immense amount of data that will prove to be beneficial when humans take their first steps on the Red Planet.

Adding to the intrigue was the third episode of Mars on the National Geographic Channel Monday evening (9 PM/8 CT). The last time we took a look at the scientists and miners, they were engaged in a full-on fistfight over a discovery of liquid water by the Lukrum company. Commander Hana (Jihae) was also dealing with the loss of her sister and as the new episode begins, she’s not done a good job handling the situation over the previous four months.

Marta (Anamaria Marinca) was incensed in episode two about the water issue and she’s still fuming about it.  When she beings it up to Hana, the commander’s repression of grief gets the best of her, causing her to explode on her colleague.  Marta decides that she’s going to get samples to prove the existence of new life forms and despite being told otherwise, takes a rover to Lukrum and starts collecting.  It’s at this point in the show that the drama really begins.

What do you do when you’re running low on oxygen and the temperature is -40? (National Geographic/Richard Donnelly)

Interspersed with clips of scientists working in remote portions of the Greenland Ice Shelf, a solar flare damages a transformer, throwing everything into disarray. Nobody can communicate on either base. Marta loses her navigational system and stubbornly tries to drive back to the base.  This isn’t a good idea when night is falling and temperatures plummet to levels that would kill humans. Since she’s on battery power, she’s limited to what she can do.  It suddenly becomes a race against time to rescue Marta from freezing to death. All that she’s worked for up until this point is seriously in jeopardy.

It’s at this point that a distinctive message arises from the episode of Mars. Scientists aren’t always folks who work in labs, but individuals who are so called to their respective projects that they are willing to sacrifice any and everything to make their goals happen.  The folks in Greenland left family to accomplish their tasks.  Marta was so committed to going to Mars that she put the mission ahead of her boyfriend, who didn’t take the news well.  For those who wish to follow after Jesus and be his disciple, they have to be willing to do the same thing—leave all they’re comfortable with and follow him, no matter what (see Luke 9).  He never said it would be easy, but worth it in the end (see Matthew 19:29).

At the end of the episode, one of the samples Marta collected begins to show movement.  Could this be the start of something big?  Or could it be something else?  Be sure to tune in next week to find out!

Mars S2E2: Can’t We Just Get Along?

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Amelie (photo credit: National Geographic/Dusan Martincek)

The second season of Mars (National Geographic; Mondays @ 9 PM/8 CT) has already had a fair share of tension. When the scientists discover that a drilling company named Lukrum wants to mine the planet for profit, they’re not happy about it.  An uneasy truce is created to share water and electricity, but the miners proceed to take advantage of the scientists at every turn. The second episode picks up with Lukrum using 10 percent more water than allotted. Uncertain as to what to do, Commander Hana (Jihae) makes a plea to the head of the IMSF on Earth, Amanda Richardson (Cosima Shaw), for help. Richardson doesn’t feel she’s getting respect from her colleagues and begins to assert herself in a way that will distance herself from her predecessor.  Hana doesn’t like the bossy, somewhat petulant response that suggests the IMSF and Lukrum have a different relationship outside of Mars.

This concept of being worlds apart provides the focus of the documentary portion of the show.  The folks in the Arctic are drilling for oil, but there are people who want a different outcome to occur—namely, the protestors of Greenpeace. Equipped with their own ships and quick-moving watercraft, they push as far as they can—and then some—to get their points across. The two sides are never going to agree, but is there a happy medium where the two can coexist?

All the animosity between the two groups comes to a head when, at a party to celebrate the arrival of a spacecraft (and to take Amelie [Clementine Poidatz] back to Earth), a member of Lukrum inadvertently mentions their discovery of liquid water.  Marta (Anamaria Marinca) immediately takes a side for science, and before long, a full-scale brawl ensues.  Where is Commander Hana when all this is going on?

You never want to see this. (photo credit: National Geographic/Dusan Martincek)

It turns out she has a few issues of her own to deal with in addition to Richardson’s cold and curt message to her from Earth.  Hana’s sister and former head of the IMSF (also played by Jihae) is on the flight to Mars, but there’s a medical problem she’s kept from everyone. Sadly, it claims her life before she lands on the planet. But as there is death, there is life (in a weird sort of way), as Amelie chooses not to return to Earth at the last minute due to a discovery of being pregnant.

The second episode of Mars reminds me that we are not our own and are simply allotted time on Earth by God. While here, we must learn to “live at peace with everyone,” as Paul noted (Romans 12:18).  That doesn’t mean we always have to agree with others, but we do have to take the initiative to coexist as best as we can.  Making the most of our individual spheres of influence will go a long way to keeping harmony within arm’s reach—even though we may never get to a place where people completely agree with us or our views.

But with all the tension on Mars, the third episode is shaping up to be quite a doozy. Make sure to tune in next week and catch it for yourself!

Science Fair: The Future Starting Now

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Every year millions of students take part in science fairs. The projects may involve fairly simple ideas, or they may be world changing. Science Fair is about those that are head and shoulders above the average science project. It looks at some of the projects that made it to the International Science and Engineering Fair (ISEF). All the projects we see are the kind of things we think should be going on in corporate or university research facilities, but it is being done by high school kids—very amazing high school kids.

Students entering International Science and Engineering Fair at the Los Angeles Convention Center. (Univision)

Co-director Cristina Constantini went to ISEF twice in high school (getting a 4th place as a freshman). That experience allows her to show us this world without it seeming as nerdy as we might think. She introduces us to a number of students—and one amazing teacher—as they seek to change the world through their projects. Among these are Kashfia, a Muslim girl at a high school in South Dakota, who is working on technology to help us understand addiction; Mylenna and Gabriel, two students from a very poor state in Brazil, who are working to develop a treatment to stop the Zika virus which is prevalent where they live; Ryan Harsha, and Abraham, from Kentucky, who brought their different skill sets to design an electronic stethoscope for better diagnoses; and Dr. Serena McCalla, a teacher who has nine students qualify for ISEF (while most schools are justifiably thrilled to have even one). There are others as well who each has their own story.

There is a good deal of contrast between the students we meet. Some come from schools that have strong programs in support of science competition; others come from places that don’t even seem to notice. Kashfia, for example, comes from a school that has lots of trophies from their sports teams, but no one has ever acknowledged the second place award she won the year before. And when she couldn’t find anyone else to serve as her advisor, the football coach stepped up because of the potential he saw in her.

In design this film is very much like other documentaries about students that excel at something, such as Spellbound, which followed contestants at the National Spelling Bee. The difference is that these students are much more multi-dimensional. Their intelligence expresses itself in various ways. And they are not just looking to win (although they clearly are), they are seeking to make a difference in the world. Some of their projects have the potential of saving many lives. Some take existing technology to a new level. It is not hyperbole to  say these students are revolutionizing their fields. And they continue to try to do even more than they have already.

It reminds us that the foundations of the future include the education of future generations. And in the cases of these students, that foundation is already being built upon.

Photos courtesy of Univision and National Geographic

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’)”)

Genius Ep. 7 – The Damage of Sin, Visualized   

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(National Geographic/Dusan Martincek)

Albert Einstein wasn’t in the greatest mood at the end of the sixth episode of Genius (Nat Geo; Tuesdays 9 PM/ 8 CT).  After seeing his life’s work on general relativity almost discredited due to an error on his part and his wife moving to Zurich with the kids, it’s easy to see why this might be the case. The question was a simple one: how would Albert react?

If you’ve watched the series thus far, the answer is a simple one: Albert simply plowed himself more and more into his work on the theory. He even went so far as to say, “General relativity is everything to me now . . . once I’ve solved it, the rest of life can rush in.” But he receives a surprise when he discovers a mathematician named David Hilbert (Adrian Edmondson) is trying to complete it first and claim credit for himself. Thus begins a rush to complete the computations . . . and Einstein loses the race.  However, Hilbert makes a mistake, allowing Einstein to correctly finish the theory.  There is even word a Nobel Prize could be in Albert’s future . . .

But director James Hawes reveals there are three other issues Einstein has to deal with.  One involves the other members of the Prussian Academy, who are asked by the German Army to sign a war manifesto committing them to helping the cause (see photo above). Everyone signs it . . . except Einstein. This becomes as issue when Fritz Haber (Richard Topol) creates a method to take out opposing forces using poison gas.  Einstein can’t justify Haber’s change of heart and has a falling out with him.  So does Haber’s wife, who kills herself.  Max Planck (Ralph Brown) lamented signing the manifesto when he discovers his son died on the battlefield.

The second issue involves Mileva.  It’s easy to see that Albert cares more about the kids more than her, but he still wants the divorce so he can finally be with his cousin Elsa. Mileva is incredibly stubborn, but she’s still trying to make ends meet for the kids by teaching piano (even though Albert is paying her monthly). Unfortunately, her health issues have caused Albert to visit—but the war is exacting its toll by closing the borders and denying Albert the visit.  Eduard is expecting his dad, but he never comes.

(National Geographic/Dusan Martincek)

A few years later, we see the long-awaited transformation of the characters to their older counterparts—Johnny Flynn gives way to Academy Award-winner Geoffrey Rush (Albert); Gwendolyn Ellis is replaced by Emily Watson (Elsa), and Samantha Colley’s fantastic portrayal of Mileva moves to Sally Dexter.  It gives Genius the feel that the events of the past have aged the main characters significantly (even if it feels jarring to the viewer).

Albert is finally able to get Mileva to agree to the divorce, but as he tells Elsa, “it comes at a high price.”  That price isn’t just in the form of money (including the significant sum earned if Albert was to win the Nobel Prize), but a permanent loss of seeing his kids.

Finally, Einstein’s theory is proven, but he has to deal with his own league of scientists, including Dr. Lennard, who, in the name of nationalism, attempt to discredit his work.  In a hilarious sequence, a major lecturer beats up on Einstein, not knowing Einstein is in the audience.  What the scientists will do next is for the final three episodes, but somehow Hitler will be involved . . .

One of the biggest takeaways of the episode involves the damages sin can cause.  The scientists’ decision to support the war effort resulted in significant loss of life—especially with Haber’s poison gas cloud.  Justifying that it saved lives still doesn’t diminish the fact that people were killed to make it happen. Haber lost his marriage (and his wife) in the process. Einstein also lost his marriage–and a whole lot more than he bargained for–as a result of his escapades. Even his cousin Elsa had to endure the humiliation and stigma of being singled out during the divorce proceedings by the judge. Sin can be hidden only for so long, but it will eventually be exposed (see Joshua 7 regarding Achan).  And the consequences can be significant.  It is best, as James 5:16 notes, to confess our sins to God (and others) so we can be restored.  After all, Jesus came to die and forgive us of all our transgressions to the Lord and others.  It doesn’t mean there won’t be aftereffects to deal with, but at least one’s consciousness can be cleansed for the future.

Describing the Divine: The Story of God (Ep. 3)

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Past Articles in This Series: Episode 1| Episode 2
Sunlight through the cloudsDiscussions of spiritual topics, in some way or another, invariably revolve around one single question: Who is God? What are the qualities of the divine?  Why in the world do people choose to live in wonder and adoration of one they cannot see and talk to physically? It’s a question that has challenged people for centuries—and one Morgan Freeman takes up in the third episode of National Geographic Channel’s The Story of God with Morgan Freeman (Sunday, 9 PM/8 Central). In the final analysis it turns out that, despite different belief systems, there are some common elements that people experience as they live their lives on earth. I just wish the episode had gone a bit further in the discussion.

Freeman begins the episode in a blues bar and notes that people’s reactions to music (such as blues) is similar to how people experience God. What are the universal concepts of God? he asks.  From there, he goes on a whirlwind tour around the world to get some answers.  Some of the places he visits are the same as in previous episodes (India; Egypt, Jerusalem), but new wrinkles appear as he takes trips to Stonehenge in England, a Navajo family in New Mexico, and a medical facility in Philadelphia—the latter to discover what happens in the brain when a person has religious experiences (note: the answers, provided by Dr. Andy Newberg, are pretty interesting).

Since the show seeks to compare different belief styles, Freeman hears some very different things about the religions of the world. Hindus have millions of gods with thousands of names for those individual gods. He moves from the polytheistic to monotheistic as he looks at the sun’s role in Stonehenge, King Tut’s father, and Abram (Abraham’s) role in Jewish belief.  It turns out that however well we think we can imagine God, he is always beyond what we can consider (see Ephesians 3:20).

The Navajo section was interesting, as the cinematographers chronicled (with one exception) a young girl’s transformation to a young adult—a time, in their belief system, where God and human become one (a very large corn cake is involved—you’ll just have to see the episode to understand).

Morgan Freeman at Lakewood Church, Houston TX
Morgan Freeman at Lakewood Church, Houston TX (Photo credit: National Geographic Channels/Matthew Paul Turner)

In the end, Freeman seems to realize that the commonalities in faiths are that a) God surrounds us and b) God has the power to move inside people and change them. This takes him to his final destination of the episode—Houston TX and Lakewood Church, a Christian megachurch pastored by Joel Osteen and his wife Victoria. He talks with the two just before their service, which he attends, stating he felt a real sense of joy in the auditorium. Freeman asks Osteen point-blank after the service, “Who is God?”  Osteen responded, “I believe God is our Father, the Creator, Somebody that gives us purpose and destiny . . . Sometimes it’s hard for people to say, How can I believe in something I can’t see? But it’s what you choose to believe, through faith.” Osteen added his goal as pastor was to make God approachable, useful, and helpful to people.

There’s plenty to consider in this episode, but my mind goes back to a passage in Acts 17 where Paul addressed a group of people in Athens and brought up a similar question.  “For as I walked around and looked carefully at your objects of worship, I even found an altar with this inscription: to an unknown god. So you are ignorant of the very thing you worship—and this is what I am going to proclaim to you,” he said (Acts 17:23). He then shares that God doesn’t live in human-made temples, gives life and breath to all humanity, is not far from people, and wants them to seek him and repent of their evil ways. He’s all about justice and will judge in the end through one he brought back to life from the dead (in this case, Jesus).

I wish there had been time in the episode to discuss the justice aspect, as it would’ve provided some levity to what is perceived as a God who could be perceived as touchy-feely and happy all the time.  As it is, the third episode of The Story of God with Morgan Freeman provides some pieces to consider but could’ve gone farther with the discussion.  But at least it’s a start.

God, Faith, and Science: An Interview with James Younger

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Hagia_Sophia_Mars_2013James Younger has an impressive series of credentials to his credit. He’s earned a Ph.D. in biophysics from UC Berkeley, published several academic papers, and written for The Economist. In addition, he’s the Executive VP of Factual Productions at Revelations Entertainment and a documentary filmmaker who’s enjoyed success with the series “Through the Wormhole with Morgan Freeman,” earning seven Emmy nominations in the process.  His latest endeavor is his most ambitious yet—a worldwide journey to see how faith has shaped our lives. It’s a six part series called “The Story of God with Morgan Freeman” and will debut on the National Geographic Channel this Sunday (I’ll have a review of the first episode Saturday).

I recently had the opportunity to talk with him about the new series and faith in general.  When asked about the genesis of the series, Younger said the process started about 6-7 years ago when he, Morgan Freeman, and co-producer Lori McCreary visited the Hagia Sophia in Istanbul, Turkey.  It’s a museum today, but has a unique history—it was a cathedral for nearly 1,000 years and then an Islamic mosque for another five hundred.  The mosque maintained the pictures of Christian faith on its walls, which encouraged them to “show people the connections between faith.” In “The Story of God with Morgan Freeman,” the focus is of God in the most general sense.

(Photo credit: National Geographic Channels/Matthew Paul Turner)
(Photo credit: National Geographic Channels/Matthew Paul Turner)

Younger noted that the main world religions have some main similarities—mainly the basic human need to wonder. Three big questions come from this: “Why am I here?” “How does life work?” and “What will happen after I die?” The latter is the biggest one (and is covered in the first episode).  He adds that everyone has their own way of communicating with God, but one specific way isn’t necessarily right or wrong.

A unique aspect of the show, for those that have seen “Through the Wormhole,” is the use of science in the faith discussion.  People get scared to talk about the two in the same sentence, but Younger says, “Science and faith don’t have to be in opposition.” However, science won’t always get there.  Younger added the main focus of science will be for the people who are left behind after a person passes away. Folks can have conversations with their recently departed that are indistinguishable from a live one-on-one talk with the person (think of the heads preserved in jars in the TV series “Futurama”).  The key issue, however, is the soul—and that hasn’t been figured out yet.

Of course, working on the series with Morgan Freeman (who is also the narrator, in case you were interested) was exciting for Younger.  Movie stars tend to be found immediately by the general public, but not in Northern India.  It was surreal to not have to deal with that.  He also learned more about how people connect to God as a result of the experience.

It’s going to be an interesting journey that you’ll want to take a look at in the upcoming weeks.

(thanks to Lori Heiselman at Different Drummer for securing the interview)