Arts

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Believe it or not: The New York Times has quietly returned to its 'Jesus is dead' theme

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Let's start with a flashback.

Perhaps you remember a 2014 piece at The Federalist by one M.Z. "GetReligion emerita" Hemingway that ran with the headline, "Will Someone Explain Christianity To The New York Times?"

It focused on a travel piece that, once corrected, included the following material about tourism in the tense city of Jerusalem. The crucial passage stated:

On a recent afternoon in the Old City of Jerusalem, while fighting raged in Gaza, Bilal Abu Khalaf hosted a group of Israeli tourists at his textile store in the Christian Quarter -- one of Jerusalem’s tourist gems.
Dressed in a striped galabiyya and tasseled red tarbouche, Mr. Abu Khalaf showed his visitors exotic hand-loomed silks and golden-threaded garments from Syria, Morocco and Kashmir that adorn Israel’s most luxurious hotels and ambassadors’ homes. ...
Nearby, the vast Church of the Holy Sepulcher marking the site where many Christians believe that Jesus was buried, usually packed with pilgrims, was echoing and empty.

Yes, that was what the Times piece said after it was corrected. What did it say before that? Believe it or not, it said, "Nearby, the vast Church of the Holy Sepulcher marking the site where many Christians believe that Jesus is buried, usually packed with pilgrims, was echoing and empty."

In this case, it's easy to discern what the meaning of the word "is" is.

Hold that thought.


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Fending off Trump: Where did Nancy O'Dell get the moral spunk?

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When we were all watching the infamous Donald Trump video last week, the first question to pop into many of our minds –- well at least mine –- was: Who was this mystery woman who fended him off? 

Now we know her name is Nancy O’Dell, 50, host of Entertainment Tonight. I began thinking that many women out there might not have said no to Donald Trump and the fact that O’Dell did refuse him might, just might speak to some moral underpinning. 

But do we see this in a ton of pieces out that simply rehash the tape and her part in it? Nope. For example, here's a CNN.com piece that included some bio. 

(CNN) -- Nancy O'Dell is the married woman who rejected Donald Trump's advances, as described in lewd comments he made in a 2005 conversation that surfaced Friday.
"Access Hollywood," the NBC show O'Dell co-anchored in 2005, identified her Friday as the woman Trump vulgarly discussed with Billy Bush, O'Dell's co-host at the time.
Today O'Dell is the co-anchor of CBS's "Entertainment Tonight."

After repeating her public statements about the matter,

O'Dell is an accomplished entertainment journalist and author with a career that includes awards and honors for her work and her beauty.


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From Crystal Cathedral to Christ Cathedral: It's a complicated story

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In an enlightening piece about how one can transform a glassed-in megachurch into a Catholic worship space, the Los Angeles Times has presented us with an update on the church formerly known as the Crystal Cathedral.

When the original was completed in 1980 at the cost of $18 million, its most singular feature was its 12,000 panes of rectangular glass. It was quite the landmark in Orange County for many years.

However, the congregation inside the famous church went bankrupt in 2010 and was bought by the Catholic Diocese of Orange for $57.5 million in early 2012.  The church’s founder, Robert Schuller, died last year. The article picks up from there:

The Crystal Cathedral was for decades a powerful symbol of a certain kind of church.
The landmark church was built by the Rev. Robert H. Schuller, the famed pastor who brought the drive-in church to Orange County during the beginning of the postwar suburban boom and preached an upbeat, modern vision of Christianity.
The Philip Johnson-designed structure made of steel and more than 12,000 panes of glass became world famous and was a forerunner to other so-called mega churches.
But more than a year after Schuller’s death, the Crystal Cathedral is undergoing a major transformation in both design and ownership. The makeover will transform the building into Christ Cathedral as the Catholic Church takes it over. 

After discussing upcoming tours of the place, the article continues:

Estimated costs for the cathedral are about $72 million, according to the Rev. Christopher Smith, rector and episcopal vicar of Christ Cathedral who is leading the design project.


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Baltimore Sun attempts to navigate complicated world of Orthodox iconography

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What we have here is a beautiful little feature story about a subject that is, literally, close to the heart and soul of any Orthodox Christian -- icons. The story ran in The Baltimore Sun, the newspaper that landed in my front yard for a decade, which means that it's about an Orthodox congregation that I have actually visited.

Iconography is a complicated subject on several levels, both in terms of the theology, the history and the craft itself. This story gets so many details right that I hesitate to note an error or, maybe, two -- one of mathematics (I think) and the other is, well, just a strange hole that would have been easy to fill.

First things first: Here is the overture.

As  Dionysios Bouloubassis picks up his paint brush at Saint Mary Antiochian Orthodox Church early one morning, the large canvas before him is blank but for the outlines of an angel he has sketched in pencil.
Swirling on reddish-brown pigment, he brings its wings to life. He fleshes out a Bible, then two hands to hold it. By nightfall, the cherub seems alive, its eyes gazing down from heaven.
The angel, a figure from the Book of Revelation, is one of 16 that Bouloubassis, a master iconographer from Greece, plans to paint and affix to the 60-foot dome inside Saint Mary, part of a years-long project in art and worship the Hunt Valley congregation launched in 2013.

So far so good. However, the very next paragraph contains a crucial error of history.

If all goes as planned, Bouloubassis will leave the interior of the year-old church covered in icons -- mural-sized renderings of Christ, the saints, angels and other religious images that have been part of the Orthodox Christian worship tradition for more than 1,200 years.

Where did that reference to 1,200 years come from?


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And this just in: The young, male, video-games crowd doesn't remember the great Ben-Hur

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And this just in: The young, male, video-games crowd doesn't remember the great Ben-Hur

First, sorry for the delay on this week's "Crossroads" podcast. We had some technical difficulties, which happens every now and then in the Tower of Babel environment that is the Internet. Every now and then the software gods just don't get along.

The topic of my chat this week with host Todd Wilken (click here to tune that in) was, on one level, the box-office problems of the latest version of "Ben-Hur: A Tale of the Christ." But my earlier post on this topic also focused on the ongoing interest, in the mainstream media, in Hollywood's quest to tap into the "Christian" movie market, in the wake of the $611 million box office haul taken in by Mel Gibson's "The Passion of the Christ."

It's a great story and a very timely one. Basically, the folks behind the new Ben-Hur made a big-budget religion-niche movie, thinking that the young, male, action-movie demographic would show up for the chariot race scene.

What chariot race scene, you ask? Well, the one that movie scholars -- but not, it's safe to say, today's video-game fanatics -- remember with awe from the 1959 classic.

What were the producers of the new flick thinking?

That would be a great hard-news story, methinks, as opposed to a kind of no-sources analysis thumbsucker like the Atlantic piece I previously discussed.

Well, what do you know? The Los Angeles Times team produced a real news story about this bad, bad summer in Hollywood. The headline: "Hollywood's summer problem? Reboots people don't want."

The opening is pretty brutal:


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The Atlantic covers (sort of) the Ben-Hur flop and the epic quest to sell Christian films

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Let me start with a question: I do not know if the following piece from The Atlantic is a news report, an opinion essay or a movie review.

It addresses a topic that is certainly worthy of a news report -- the box-office flop (so far, I guess) of the latest version of Ben-Hur: A Tale of the Christ. Lurking behind this movie is a larger topic, which is Hollywood's ongoing attempt to tap into the "Christian audience" that turned out for Mel Gibson's The Passion of the Christ in 2004.

Studio executives have been chasing Gibson's Passion demographic for a decade and major newsrooms have been covering those efforts over and over and over. Like I said, this is a topic worthy of serious reporting.

Here's the crucial question: Is this "Christian" niche a $50 million or so marketplace for low-budget movies or a place where Hollywood players can find the magic formula that produces big box-office bucks for major releases that cost $100 or so? So that's what is going on in this Atlantic piece, that ran with this headline:

Ben-Hur Was Hollywood’s Epic $100M Mistake
The film flopped hard at the box office after studios tried to copy the success of 2004's The Passion of the Christ.

The following summary material is long, but you need to read it to understand my main point in this post.

The fifth film adaptation of Lew Wallace’s 1880 novel Ben-Hur: A Tale of the Christ was a $100 million co-production between Paramount Pictures and MGM. It starred the relatively unknown British actor Jack Huston in the title role, was directed by the mid-tier action maestro Timur Bekmambetov (Wanted, Abraham Lincoln: Vampire Hunter), and drew largely negative reviews. Many critics noted the film’s supreme inferiority to William Wyler’s 1959 version of the tale, which won 11 Oscars and is widely viewed as one of the greatest classic Hollywood epics. Just the idea of remaking Wyler’s film feels like a colossal error in an age of tiresome franchise reboots -- but when you consider how studios tried to belatedly capitalize on religious audiences to save the movie, the existence of Ben-Hur seems all the more cynical.


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In story about Muslim women art exhibit, follow-up questions are not on the menu

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Ever taste only part of a good meal? An article on an art exhibit on Muslim women in the Tampa Bay Times feels like that.

The Times raises several tantalizing questions about Muslim women -- their garb, their self-image, their public image -- but doesn't follow up most of them. The result reads less like dinner and more like a canape. 

It's a timely and urgent topic because traditional Muslim women  face more profiling than so Muslim men. With headdresses variously covering their hair, or wrapping around their necks as well, women are instantly identifiable as non-Jews or non-Christians -- and non-secular people, for that matter. So "Loud Print," the show at the Carrollwood Cultural Center, has the potential to open some eyes.

The artist, Ameena Khan, seems acutely aware of the issues herself:

Khan uses her artwork to initiate conversations about Muslim women. Her paintings portray a diverse group of women wearing hijabs, a cloth wrapped around their heads. One of the most striking paintings shows a woman struggling to keep her head up because her yellow hijab is so big. It's meant to represent the struggles Muslim women face wearing a hijab in public.
Meant to keep Muslim women hidden, the hijab seems instead to draw unwanted attention and sometimes hateful comments, Khan said. 
"You have this burden that you're carrying around," she said. "That's all people see."

Sounds pretty evocative, but it stops short. If a woman's most prominent garb is a symbol of her religion, and if a hijab is meant to keep women hidden, how are people to see the individual underneath? How is she to express herself otherwise? The Times doesn't say.

It does explain the idea of starting a conversation about Muslim women -- partly. Interestingly, the artist did it via social media:


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Confederate flags and stained glass: Why can't journalists run more than one point of view?

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Years ago, I used to be a tour guide at the Washington Cathedral. We were called “cathedral aides” back in the mid-1970s and we wore purple gowns in the winter with cute purple berets. In the summer, we retained the berets, but wore summer garb with some purple in it. It was always a challenge to find the right color blouse I could wear with my outfit, but I loved memorizing the facts about all the gargoyles, chapels and the amazing stained glass the illuminated the place.

Some of those windows depicted scenes from U.S. history. What drew the most eyes was the blue, green, orange, red and white Space Window showing the universe with a tiny piece of moon rock embedded therein.

Meanwhile, my personal favorites were the brilliant-hewed windows by Rowan LeCompte who designed some 40 of the cathedral’s 200+ windows.

However, let it be noted that LeCompte did not design two windows that were in the news yesterday. I’ll begin with an account by the Washington Post:

Washington National Cathedral, one of the country’s most visible houses of worship, announced Wednesday that it would remove Confederate battle flags that are part of two large stained-glass windows honoring Confederate generals Stonewall Jackson and Robert E. Lee. Cathedral leaders said they would leave up the rest of the windows — for now — and use them as a centerpiece for a national conversation about racism in the white church.
The announcement comes a year after the cathedral’s then-dean, the Rev. Gary Hall, said the 8-by-4-foot windows have no place in the soaring church as the country faces intense racial tensions and violence, even though they were intended as a healing gesture when they were installed…

Next comes a quote about the windows being installed in 1953. Then there is this very significant information, if one is looking at this story from a journalistic point of view. Please read carefully:


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A stunning (and haunted) work of public art in honor of Cairo's famous garbage collectors

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Now, here is a very beautiful and unusual story set in Egypt, one describing an astonishingly ambitious work of public art in a highly unusual place.

When I saw the headline -- "Sprawling Mural Pays Homage to Cairo’s Garbage Collectors" -- I immediately wondered if foreign desk at The New York Times was going to nail down the obvious religion hook in this story. Yes, this story contains a powerful religion ghost.

The headline raises two questions right off, one very obvious and one not so obvious: Who are the garbage collectors of Cairo? The second question: The implication of this tribute is that there is some organized or even natural mass of people who collect garbage in one of the most important cities in the Muslim world. Why is this?

Sure enough, there is a strong hint at the religion content at the very top:

CAIRO -- The intricate mural took shape over the past few weeks, little noticed at first, spreading across a harried quarter of Cairo where Egypt’s garbage collectors live, amid overflowing bundles of this overcrowded city’s trash.
By the time the painting was finished two weeks ago, it stretched across more than 50 buildings, making it the largest public work of art here anyone can recall. The mural, a circle of orange, white and blue in Arabic calligraphy, quotes a third-century Coptic Christian bishop who said, “If one wants to see the light of the sun, he must wipe his eyes.”
When the first photographs of the mural circulated, reactions ranged from astonished delight to disbelief. Some people, struck by its seemingly impossible scale, seemed convinced that the images had been digitally altered, according to the man behind the project, a Tunisian-French artist known as eL Seed.


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