A Temporary Alignment of Politics and Religion: The U.S. Senate Sanctions Russia after a Funeral

It is easy to point to instances in which elected government-officials stage political theater for effect, for in the domain of politics, perception has a political currency that can leave a real imprint almost as if the staged were actual rather than pretense. When the leader of one group takes over as Speaker of the U.S. House of Representatives from a person of another partisan group, for example, it is customary for them for the mallet literally to be handed over. In the U.S. Senate, its president, who is also the Vice President of the U.S., may sit in the presider’s chair during a vote if a tie is expected; the Senate President can vote only to break a tie. A certain depth of political meaning can go along with the actual presider presiding. Sometimes, however, an arrangement can have a depth of meaning as well as carry actual political weight. The Senate’s vote on additional economic sanctions on Russia on July 28, 2026 is a case in point, for the synchronicity itself could have caused goose-bumps on exposed skin. Even so, even profound political meaning (and fulfilment) is a far shot from religious belief and experience. Distinguishing these is important in this case, for the day of the vote included a very relevant funeral at the National Cathedral that many senators no doubt attended, and could be expected to ponder their own mortality and what may lie beyond.

The full essay is at "A Temporary Alignment of Politics and Religion."

Awake

Although no overtly theological or religious material is in the film Awake (2007) because greed itself is the real antagonist, idolatry (self-idolatry actually) can be imputed, and in this sin the underlying sordid foundation of the vice can be grasped. In in his letter to the Colossians, Paul ends his list of sins with greed, “which is idolatry.”[1] The easiest way to interpret this classification of greed being a case of idolatry is to assume that the idol is money (or wealth). The idolatry of wealth is enunciated and perhaps even personified by Gordon Gekko in the film, Wall Street (1987). No amount of personal wealth is enough. “Greed, for lack of a better word, is good,” greed being the desire for more. Gekko delivers the line during his speech to Teldar Paper stockholders. Left unsaid in his speech is the tremendous toll that greed can take not only on other people, but also oneself, for a very circumscribed, as to benefits, selfishness goes along with greed and may even be its foundation. A greedy person would presumably think nothing of betraying a friend if doing so would increase the person’s wealth, especially if no future financial benefit is likely from the friend. To be sure, greed need not be oriented to more money; a selfish person addicted to sex (i.e., in the sense of being regularly driven to have more of it) would have no problem betraying a even a spouse, and even demand of him or her that the addict’s outside sex with others, even with a romantic connection, must and even should be accepted in order to stay. Such extreme, unrepentant callousness can apply to greed for money too, and this is evinced in Awake. The vice of greed as ultimately self-idolatry has an evil connotation, given how much pain and thus harm self-idolatry can easily inflict on other people. The virtue of self-sacrifice is farther than the farthest star from such greed, and the sheer pathos of distance between self-sacrifice out of love and self-idolatry as greedy selfishness is palpable in the film, which arguably intimates and may even stimulate religious sensibilities without being explicit or preachy.

The full essay is at "Awake."

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1. Col. 3:5 (NIV)

All of Me

The transmigration of souls is usually associated with reincarnation. In the film, All of Me (1984), at the moment of death, a person’s soul can be put “into” another person who is alive such that both people “co-exist” consciously and can control the same body. The comedy is at its best when Steve Martin, who plays Roger Cobb, into whose body the dying millionaire, Edwina Cutwater, is transferred, physically enacts an alternating struggle between Edwina’s feminine movements and Roger’s masculine movements. Martin’s physical talent is amazing. The tension within Roger’s (and Edwina’s) shared body is gradually resolved as the two “souls” become friends—attesting to the underlying goodness of Edwina in stark distinction to the sordid character of Terry Hoskins, who has falsely agreed to let Edwina share her body—two souls and one body—instead of Roger’s in exchange for $20 million. It is the goodness of Roger and the unfolding of Edwina’s goodness up against the absolute badness of Terry that underlies the film’s narrative. In the end, the good win out, and Terry’s soul is put into a horse when Edwina’s soul is transferred by a Hindu guru from Roger to Terry. With Terry’s body all to herself, Edwina is free to become romantically involved with Roger. The good souls win and the squalid one is put in a horse. The upshot is that justice does indeed apply to souls.

The full essay is at "All of Me."

Passengers

In line with the films, The Sixth Sense (1999) and The Others (2001), Passengers (2008) centers on the (hypothetical) question of whether the walking dead have to be convinced that they are indeed dead rather than still living. In all of those films, and even Ghost (1990), the dead who stick around as ghosts rather than immediately pass on to another realm have something to come to terms with, or work out. The astute viewer of these films is apt to wonder whether in the story-worlds of the films, as well as in real life, all that is going on is really just in the dying brain of the dead person, which is the case in Jacob’s Ladder (1990). We know that a dying brain secretes a hallucinatory hormone. As for whether there is even an actual afterlife, such a question is still beyond our reach, at least before death. I contend that Passengers hinges on whether the entire movie takes place in Claire’s mind. The answer hinges on the nature of the existence of the other characters who are dead. If they have their own agendas rather than are around to help Claire come to terms with the fact that she is actually dead—that she was on the plane that crashed with no survivors—then the film posits the existence of ghosts in our world rather than just in dying brains. The issue, in short, is existential and metaphysical.

The full essay is at "Passengers."

Eternal You: AI after Death

The documentary, Eternal You (2024), is one film that zeros in on the use of AI to contact loved ones who have died. As the marketing departments of the tech companies providing these products say, AI can deliver on what religion has only promised: to talk with people beyond the grave. Lest secular potential buyers be left out, AI can provide us with “a new form of transcendence.” Nevermind that the word, transcendence, like divinity and evil, is an inherently religious word. Nevermind, moreover, that the product is actually only a computer simulation of a person, rather than the actual person direct from heaven or hell. The marketing is thus misleading. In the film, a woman asks her dead husband if he is in heaven. “I’m in hell with the other addicts,” he answers. She is hysterical. Even though people who write computer algorithms cannot be expected to anticipate every possible question that AI could be asked and every response that it could give, government regulation keeping the marketing honest and accurate can significantly reduce the risk that is from AI’s use of inference (inductive) and probability that are beyond our control to predict and even understand. 

The full essay is at "Eternal You."