Pop Culture

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R-rated 'Game of Thrones' is also grist for debates about a second 'R' -- religion

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Last week, the New York Times magazine produced a fawning piece about George R.R. Martin, fantasy’s “reigning king” because of his seminal “Game of Thrones” series, now at five (immense) books.

I say “fawning” because the story was only on the series’ amazing success and not on the major problems Martin is having at finishing up his series. More on that in a bit. The goal, eventually, is to discuss whether the Times or any other publication has has shown any interest in the role of religion in this global hit.

These books started coming out in 1996, then continued in a (sort of) steady clip until 2011 with the release of book five. Book six, “The Winds of Winter,” was supposed to be out by 2016 at the latest, but the writer got caught up with helping produce the HBO drama (starting in 2011) Game of Thrones.

I read the first two books some years ago, but, annoyed with non-ending violence, I dropped them. I picked them up again in the fall of 2014 and finished the series while teaching in Fairbanks so as to have something to occupy me during that cold, dark winter. Now I’m making my way through the HBO drama and am nearly finished with the fourth season. As the Times says:

After the HBO show premiered, the world Martin had created became a global phenomenon, and his readership reached heights few authors have ever found — his American peers now include other household names of genre fiction, such as Tom Clancy and Stephen King.

The plot of “ASOIAF,” as fans call it, is concerned largely with events unfolding in and around the continent of Westeros around the year 300 A.C. (“after conquest” of the seven kingdoms in the books). The inciting incident of the series is the death, under suspicious circumstances, of Jon Arryn, who had been serving as hand of the king (chief of staff, basically) to a royal named Robert Baratheon. Arryn’s demise sets in motion a chain of events leading to the murder of King Robert himself, which in turn creates a power vacuum, destabilizing the prevailing political order. After centuries of relative calm, chaos erupts into a full-blown war, involving several of the realm’s great family houses.

Millions of people, of course, knew all of that already.

One reason it’s been taking me so long to get through the HBO series is because I can’t watch the stuff while the kiddo is awake because the violence/gore/explicit sex content is off the charts. Maybe that’s why — of the reams of material written about the book and wildly successful series — comparatively little has been written about the role of religion in the Game of Thrones books.

Not to say there isn’t any.


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Walking in the maze of labyrinth wars? This USA Today Network story sits out that debate

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Here is what I have learned about prayer labyrinths, during my decades on the religion beat.

Progressive Episcopalians love them, big time.

Evangelical Episcopalians hate them or, at the very least, worry about how they can be abused.

Progressive Catholics love them, big time.

Conservative Catholics hate them or, at the very least, worry about how they can be abused.

You may have noticed a pattern.

The arguments about labyrinths center on church history, theology, ancient myths and trends in modern “spirituality,” especially the many innovations that came to be labeled “New Age.” When writing about this topic, I have learned that it helps to focus on the doctrinal contents, and the origins, of the prayers that people are taught to recite while walking inside a labyrinth.

It’s hard to do a basic online search on this topic without hitting waves of information by those who embrace the use of labyrinths (examples here and then here) and those who reject them (examples here and then here).

This brings me to a long recent USA Today Network-Tennessee feature that ran with this headline: “Set in stone or brick, East Tennessee labyrinths are meditative walks for prayer.” This article, literally, could be used in a public-relations release about this particular labyrinth, since it contains ZERO information from critics. Here is the overture (this is long, but essential):

It's dusk on a September Tuesday as two dozen people step, silently and deliberately, around a twisting brick courtyard path at St. John's Episcopal Cathedral.

A few walk barefoot. Some carry candles or glow sticks. Most bow their heads in silent meditation or prayer as they follow the turns of St. John's brick and mortar labyrinth.

Candles and spotlights set among the garden surrounding the labyrinth cast shadows.


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That U.S. Senate race in Bible Belt Tennessee: What matters more, Trump or cultural issues?

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Let’s see. What was going on in America before public discourse went totally bonkers, once again?

Oh, right. The mid-term elections are coming up, with Democrats hoping to win enough seats in the U.S. Senate to put Mike Pence in the White House.

To the shock of just about everyone here in the three cultures of Tennessee (think Memphis, Nashville and Knoxville), this Bible Belt state has a real, live U.S. Senate race on its hands in 2018. This is what happens when Democrats are willing to nominate an old-guard politico who has a track record as an economic centrist, back in the days before religious, moral and cultural issues took complete control of American politics.

On top of that, megastar Taylor Swift has even jumped into the fight, with a blunt endorsement of an old, white guy, saying he is the best way to defend Tennesseans from a female candidate’s conservative beliefs about gender and sexuality.

In other words, it’s absolutely impossible to talk about the Tennessee U.S. Senate race without talking about religion and culture.

So, how did The Washington Post political desk do in its recent feature — “In deep-red Tennessee, Republicans are anxious about the U.S. Senate race“ — on this topic? Here is the overture, with the lede set right here in my back yard:

KNOXVILLE, Tenn. — Jeanie Brakebill voted for President Trump. But when a conservative canvasser showed up at the 63-year-old’s door here recently, she confided that she had grown tired of Trump’s confrontational brand of politics and was leaning toward voting Democratic in the upcoming midterm election.

“I would vote for Bredesen, to help out Tennessee — even if it means giving Democrats the majority in the Senate,” said Brakebill, referring to Democratic Senate candidate Phil Bredesen.

The sentiments expressed by Brakebill and voters like her have raised fresh worries for Republicans in this deep red state, which overwhelmingly supported Trump in 2016 but where voters remain divided just weeks before a midterm election that could determine which party controls the Senate.


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What are we to think of 'religious' TV shows that sidesteps the whole God issue?

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A late September headline at the Esquire magazine website proclaimed “There Is No God on TV, Only The Good Place.”

Indeed, the clever sitcom of that title, which launched season No. 3 last week, plays around with good and evil, heaven and hell, and even portrays supernatural demons. But God is missing.

This NBC fantasy is just the thing to lure the eyeballs of America’s growing legion of young, religiously unmoored “nones,” in a carefully multicultural fashion that also ignores religious beliefs and practices. Instead, the proceedings are all about a hazy moral philosophy about what makes a good person.

CBS makes a different audience bid with “God Friended Me,” which premiered Sunday. The drama’s lead character Miles (played by Brandon Micheal Hall) is a preacher’s kid turned outspoken atheist. Is the “God” who becomes his Facebook “friend” the actual cosmic God or some human or otherworldly trickster? To find out, Miles enlists his devout bartender sister, a hacker pal, and a journalist, and experiences coincidences that just might be miracles.

Judging from one episode, there may not be much here for religion writers to ponder, and it's hard to guess whether “Friended” can even survive. (Ratings prospects are dimmed by CBS’s inability to set predictable Sunday start times following sports events.) This seems inspiration-drenched programming in the varied tradition of “Highway to Heaven,” “Joan of Arcadia,” “Promised Land,” “Seventh Heaven,” “Touched by an Angel,” or last season’s short-lived “Kevin (Probably) Saves the World.”

“The Good Place,” by contrast, has somehow managed to establish a niche and win critics’ acclaim by probing Big Questions with a droll touch. Here salvation is earned strictly by performing good deeds instead of faith. That conflicts with an historic 1999 Catholic-Lutheran accord that insists Christianity believes that “by grace alone, in faith in Christ’s saving work and not because of any merit on our part, we are accepted by God” who equips and calls us to “good works.”


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Friday Five: Top religion journalists, Christian rock, rainbow-cross flag burning, Sarah Sanders doctrine

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We’ve mentioned a few of the winners in the Religion News Association’s annual Awards for Religion Reporting Excellence — including Ann Rodgers, Kimberly Winston and Rachel Zoll.

But be sure to check out the entire #RNA2018 contest list for more familiar, deserving names. Some names I recognized: Peter Smith, Peggy Fletcher Stack, Tim Funk, Sarah Pulliam Bailey, Emma Green, Elizabeth Dias, Bob Smietana, Jeremy Weber and Ted Olsen.

Congratulations to all of those honored for their work on the Godbeat!

Now, let’s dive into the Friday Five:

(1) Religion story of the week: Seriously, a story on Christian rock music is the story of the week!?

Hey, when GetReligion editor Terry Mattingly refers to a New Yorker piece on the Christian rock wars as “stunningly good,” pay attention. And as his post urged, read it all.


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Read it all: The New Yorker offers a stunningly good take on the 'Christian' rock wars

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First, here is yet another tmatt confession: I am so old that I attended one of the original “Jesus music” rock festivals held in Texas in the early 1970s. Then I went to Baylor University during the era when various branches of Word Records in Waco were releasing early albums linked to what would become Contemporary Christian Music.

There’s more. Anyone digging into the roots of “folk” and later “rock” music inside church doors will eventually hit a 1967 landmark — the “Good News” folk musical by Bob Oldenburg. Who played the role of the “skeptic” the first performances? That would be my big brother, Don, who was playing a ukulele before it was cool.

As a journalist, I have been covering the “Christian music” wars since the late 1970s and, of course, that topic ended up in my book “Pop Goes Religion: Faith in Popular Culture.” The key theme: CCM is music defined by unwritten rules about lyrics and the belief that all “Christian art” should, in reality, be evangelism in disguise.

Hold that thought. I wrote all of that to add punch to my praise for an almost unbelievably good New Yorker feature by Kelefa Sanneh that just ran with this epic headline:

The Unlikely Endurance of Christian Rock

The genre has been disdained by the church and mocked by secular culture. That just reassured practitioners that they were rebels on a righteous path.

It opens with a quotation that left me stunned. I have read shelves full of books about “Christian rock” and have never been clubbed over the head with these words.

Try to guess the minister who had this to say in 1957, addressing whether gospel music could be wedded to rock ‘n’ roll. This Baptist pastor from the South was blunt:

Rock and gospel were “totally incompatible,” he explained: “The profound sacred and spiritual meaning of the great music of the church must never be mixed with the transitory quality of rock and roll music.” And he made it clear which he preferred. “The former serves to lift men’s souls to higher levels of reality, and therefore to God,” he wrote. “The latter so often plunges men’s minds into degrading and immoral depths.”

Who said that? That would be the Rev. Martin Luther King, Jr.

Take it away, Aretha Franklin.

It’s hard not to quote every other passage in this must-read piece, which punches all the right buttons — from the copycat “Jesus is my boyfriend” style of worship music to battles over loud drums and heavy-metal guitars. Yes, U2 is in here. Ditto for Bob Dylan.


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Hot Trump-era issue: Should national flags or patriotic songs be allowed in church?

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Hot Trump-era issue: Should national flags or patriotic songs be allowed in church?

THE QUESTION:

Should national flags be displayed, or patriotic songs be sung, during Christian worship?

THE RELIGION GUY’S ANSWER:

This issue comes to mind amid the seasonal fuss over professional football players’ political protests during the pregame National Anthem. Not to mention veterans organizations’ indignation when non-veteran Donald Trump temporarily refused to lower the White House flag to half-staff in honor of the late prisoner of war John McCain.

Considering the emotions in such secular situations, it’s unsurprising that the perennial religious questions above continually provoke lively comment on the Internet and elsewhere. Some weeks ago, a friend in The Religion Guy’s own congregation (Christian Reformed) asked why we don’t display the American flag up front like other churches do. I didn’t know but that brought to mind other situations.

The Guy’s daughter was flummoxed by a Southern Baptist service in North Carolina on a July 4th weekend. It began with a military color guard marching forth with the American flag, whence the worshipers recited the Pledge of Allegiance. She asked the old man, isn’t Christian worship about a different allegiance?

The Guy is familiar with an evangelical summer camp that parades the U.S. flag along with other nations’ flags at worship to symbolize foreign missions. The ceremony gives Old Glory prominence above the other flags, which disregards protocol in federal law and military regulations requiring equal respect.

The Guy has visited innumerable churches that give the U.S. flag the place of ceremonial honor to the pastor’s right with the Christian flag (a 1907 American invention) relegated to the left.


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That Aretha funeral sermon: AP offers quick look at the painful issues behind the furor

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During the two decades that I taught journalism in Washington, D.C., the team at what became the Washington Journalism Center did everything it could to help our students -- who came from all over the country -- see a side of the city that tourists rarely see.

We urged them to visit local churches, black and white. For two years, our students lived in home-stay arrangements all over the city, with families we met through church ties. We sent them on research trips into neighborhoods, using the buses rather than the subways (ask any DC resident what that's all about). Students served as tutors in urban after-school programs and as helpers and babysitters for mothers linked to a crisis-pregnancy center.

In discussions with students I heard one question more than any other: Where are the fathers?

That's the subject looming in the background of media reports about the controversial sermon delivered the other day by the Rev. Jasper Williams Jr., during the epic Aretha Franklin funeral. We will come back to that.

In many ways, this topic has been a third rail in American journalism ever since a 1965 report -- “The Negro Family: The Case for National Action" -- by Daniel Patrick Moynihan rocked American politics (click here for Washington Post backgrounder). Here is the key stat (see this stunning chart), undated to reflect what has happened since: More than 70 percent of all African-America children today are born to an unmarried mom, a stat 300 percent higher than in the mid-1960s.

Here is the overture to the Associated Press story about the Aretha funeral. The key question: Was the heart of this sermon religious or political?

A fiery, old-school pastor who is under fire for saying black America is losing "its soul" at Aretha Franklin's funeral stands firm by his words with the hope critics can understand his perspective.

Rev. Jasper Williams Jr. told The Associated Press in a phone interview ... he felt his sermon was appropriate at Franklin's funeral Friday in Detroit. He felt his timing was right, especially after other speakers spoke on the civil rights movement and President Donald Trump.


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What does it mean when a member of Pussy Riot shows up at a Christian arts festival?

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You’ve all heard of Pussy Riot, the defiant all-female Russian punk band that got headlines back in 2012 when several of them interrupted a prayer service -- invading the altar area -- at the Christ Our Savior Orthodox Cathedral in Moscow with anti-Vladimir Putin chants. (Tmatt covered that here). 

Since then, these anarchist/feminists have been known for disrupting everything from a World Cup game to the Moscow subway. But they haven’t been particularly known for any religious sentiments, other than a song addressed to the Virgin Mary called “Punk Prayer: Mother of God, Drive Putin Away.”

So I was amazed to read a Religion News Service story about one of its members appearing at Greenbelt, a famous Christian music festival held in the U.K.

From its shock-effect name to its defiant activist tactics, little about the Russian band Pussy Riot would suggest that the punk group is on a holy mission.

But after an appearance last weekend (Aug. 26) at Greenbelt, the U.K.’s foremost Christian arts festival, Pussy Riot’s co-founder Maria Alyokhina explained that the act, beginning with the 2012 protest that resulted in two years in a labor camp, should be understood as a “Christian gesture.”

Pussy Riot is better known in the West for its feminism and political resistance -- which almost prevented Alyokhina from making her date at Greenbelt. The Russian authorities had barred her from boarding a plane earlier this month as she headed on a tour of British arts events, telling her she was forbidden to leave the country until she completed a 100-day community service sentence for taking part in an unauthorized protest in April.

But Alyokhina, 30, is not easily deterred. She drove instead, crossing at an unsecured section of the border, and kept going until she reached Lithuania, where she boarded a plane to Britain.

What the festival-goers in England got was Alyokhina and other members of her band putting on a show, called “Riot Days.”


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