Jews and Arabs in 1930s Palestine

Writing on theology and ethics and their application to politics and economics in An Interpretation of Christian Ethics, Reinhold Niebuhr runs the risk of fusing the respective domains, which I maintain are qualitatively different, and thereby minimizing or losing outright what is unique to each domain. Besides occasioning category mistakes, such as in labeling divine love as ethical rather than as distinctly theological, overreaches from one domain onto another even at the expense of the other’s own criteria can occur from the underlying error. Besides being extant in Niebuhr’s text, the conflation of distinct domains and the related overreaches of their respective criteria has exacerbated the long-standing conflict between the Jews and Arabs in what was Palestine when Niebuhr was writing his book on Christian ethics in which he discusses the sheer intractability of the conflict.

The full essay is at "Jews and Arabs in 1930s Palestine."

Distinguishing Theology from Ethics: A Critique of Waging War

Whereas an ethical critique of war appeals to an ethical principle, typically that is against humans being harmed, especially the innocent, a theological critique can be based on a divine degree or on the nature of the divine in contradistinction to human nature as anything but. That is, a distinctly theological critique of war itself or people who wage war is typically based on some obfuscation of the divine and human wherein the latter has sought to appropriate divine nature or attributes to what is in Nietzsche’s famous phrase, human, all too human. Although Kant’s “kingdom of ends” formulation of his categorial imperative looks a lot like Jesus’s Golden Rule, for example, offending rational beings by treating them only as means to one’s own goals is distinct from offending God by violating the divine command of universal benevolence, or “neighbor love,” which is Jesus’s second commandment, which is like unto the first (i.e., to love God). Having probably just now lost, or “blown away,” just about every normal reader, I want to illustrate my point of distinguishing the ethical from the theological by analyzing pertinent comments made by Pope Leo, the first Midwestern (Illinois) pope, in April, 2026.

The full essay is at "Distinguishing Theology from Ethics."

Devil’s Advocate

In the film, Devil’s Advocate (1997), human free-will plays a very important role. It has implications not only for whether humans tend to be good or evil, but also on how culpable God is for the evil that committed by humans. One of the devil’s sons by a mortal woman, Kevin Lomax, must choose whether or not to impregnate his half-sister, Christabella Andreoli, to produce the Anti-Christ, which John Milton, who is the devil, wants so much. In Christian theology, both the extent of free-will and how tainted it is from the Fall have been debated. Even within Augustine’s works, his thought changes. The one thing that cannot be asserted is that free-will both does and does not exist. Also, that so many greedy people have been so destructive of democracies and even the planet does not necessarily mean that God is responsible or that humans are not capable of choosing to do good over evil.

The full essay is at "Devil's Advocate."

The Apocalypse

In the film, The Apocalypse (2002), the Apostle John is a prisoner at an island-prison because he is a Christian. He is having visions of heaven in the last of days and Valerio, another prisoner is dutifully writing what John dictates so various church congregations can know of John’s revelations. He is esteemed so much by other Christians that he feels pressure to steer them to God’s truth. Too much esteem, I submit, is being directed to John, as he is, as he admits, only a human being, though he does get caught up in his own direct access to God, as in being able to know the will of God. This is a temptation for any religionist, especially religious leaders. Although subtly, the film conveys John’s over-reaches though without having another character explicitly refer to them as such.

The full essay is at "The Apocalypse."

The Crow

Considering the amount of screentime devoted to raw violence, it may come as a surprise that The Crow (1994) is actually about love. Not that the film is about an abusive romantic relationship, for the respect that is necessary for love is instantly expunged as soon as violence enters into the equation. The infliction of violence is a manifestation of self-love in the sordid sense of self-idolatry, rather than of love that is directed to other people. So, it may be difficult to fathom how violence can serve love, and even be a manifestation of love, as The Crow illustrates.

The full essay is at "The Crow."

The Omen

Released in 1976, The Omen reflects the pessimism in America in the wake of the OPEC gas shortage and President Nixon’s Watergate cover-up, both of which having occurred within easy memory of the two notable assassinations in 1968. Additionally, the drug culture had come out in the open in the anti-Vietnam War hippie sub-culture, and the sexual revolution, which arguably set the stage for the spread of AIDS beginning in the next decade, was well underway, both of which undoubtedly gave evangelical, socially-conservative Christians the sense that it would not be long until everything literally goes to hell. The film provides prophesy-fulfillment of a birth-narrative (i.e., myth) and a supernatural personality known biblically as the anti-Christ, who as an adult will set man against man until our species is zerstört. It is as if matter (the Christ) and anti-matter (the anti-Christ) finally cancel each other out at the end of time. Economically during the 1970s, inflation and unemployment were giving at least some consumers and laborers the sense of being in a jet trapped in a vertical, free-fall dive of stagflation that not even fiscal and/or monetary policy could divert. The pessimistic mood was captured in another way in another film, Earthquake (1974), in which a natural disaster plays off the mood of utter futility throughout the decade. It is no wonder that Ronald Reagan’s “Morning in America” resonated so much as a presidential-campaign slogan in 1979 as Jimmy Carter was mired in micro-management inside the White House.  The optimism of a resurgence in political energy overcame the decade’s sense of pessimism. That Damien, the anti-Christ in The Omen, survives the attempt on his life by Robert Thorn, his adoptive father resonates with that pessimism. Satan’s plan is still “game on” as the film ends, and this ending fits the mood in America during the decade. With this historical context contemporaneous with the film laid out, a very practical, manifestation of evil subtly depicted in the film and yet easily recognized by customers frustrated with corrupt and inept management of incompetent employees will be described in the context of pessimism from utter frustration. Such frustration survived the squalid decade of the 1970s at least decades into the next century.

The full essay is at "The Omen."