Hollywood

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Norman Lear: An iconic mass-media seeker who evolved past secularism

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Norman Lear: An iconic mass-media seeker who evolved past secularism

Early in the premier of Norman Lear's sit-com "Sunday Dinner," the beautiful environmentalist T.T. Fagori raised her eyes to heaven and, with a sigh, entered a spiritual minefield.

"Chief?", she asked God. "You got a minute?"

In addition to praying out loud in prime time, this character offered a theological reverie at dinner while meeting the family of her fiancé, a 56-year-old widower nearly three decades her elder. The problem: His granddaughter heard Fagori mention God during a science lecture.

"You see, I talk about extending 'love thy neighbor' to include animals, plants, stuff like that. I say that the natural world is the largest sacred community to which we all belong," Fagori explained. "I talk about cosmic piety because the same atoms that form the galaxies are in all of us and it's the universe that carries the deep mysteries of our existence within itself.

"You see how all that sounds pretty spiritual. … So, when the kids hear me say these things, some of them think they hear the word 'God,' but they don't. I don't actually mention it. Interesting, huh?"

This 1991 comedy flopped, but it was an important statement from Lear, whose December 5 death at 101 years of age closed his career as lightning rod in popular culture and politics.

For decades, Lear described himself as a cultural Jew who didn't practice any traditional form of faith. He also founded People for the American Way, an old-school liberal advocacy group on church-state issues. But this television icon became more and more intrigued with religious faith, both as a force in American life and as a topic ignored by Hollywood.


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It's hard to avoid the theology in 'A Christmas Carol,' but some movies do just that

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It's hard to avoid the theology in 'A Christmas Carol,' but some movies do just that

On his way to becoming a Hollywood superstar, Bill Murray demonstrated great skill at delivering rants that blurred the line between lunacy and pathos.

In the 1988 flick "Scrooged," he belted out lessons learned from visits with the ghosts of Christmas past, present and future, as well as occupying his own coffin in a crematorium.

"I'm not crazy. It's Christmas Eve. It's the one night when we … share a little more. For a couple of hours, we are the people we always hoped we would be. It's really a miracle because it happens every Christmas Eve," proclaimed Murray's character, a greedy, arrogant TV executive.

"If you waste that miracle, you're gonna burn for it. I know. … There are people that don't have enough to eat and who are cold. You can go and greet these people. Take an old blanket out to them or make a sandwich and say, 'Here!' l get it now. … I believe in it now."

"Scrooged" is a fascinating Tinseltown take on the Charles Dickens novella "A Christmas Carol" because of what the film contains and what it leaves out, said English literature professor Dwight Lindley of Hillsdale College in Michigan.

This dark comedy contains miracles, ghosts, angels, sin, judgment, penance, purgatory, damnation, the Grim Reaper and eternal life. What it lacks is any meaningful role for God or a Holy Babe in a manger.

"Scrooged" is as "far as some people in Hollywood can go with Dickens," by "domesticating his message and making it more comfortable," said Lindley, who is teaching a six-lecture online course about this 1843 text.

The class, he added, was created for "anyone who loves the story, but doesn't know how to dig deeper into it than what they have seen in the somehow superficial versions that are around. … Some people have a sense that there is something deeper, something moving underneath the surface."

For many, watching "A Christmas Carol" on video is a holiday ritual. These movies usually include the basic story, while ignoring the narration in which Dickens frames his parable.


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Podcast: Norman Lear's America was liberal, but not totally secular (correction)

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Podcast: Norman Lear's America was liberal, but not totally secular (correction)

In 2021, the Fellowship For Performing Arts in New York City — which produces “theatre and film from a Christian worldview” — released an ambitious movie with a title that made no attempt to hide its religious content.

To no one’s surprise, “The Most Reluctant Convert: The Untold Story of C.S. Lewis” was popular with the vast audience that reads and supports the work of the Oxford don who was one of the 20th Century’s most influential Christian apologists.

However, FTA founder Max McLean — who played the older Lewis in the film — also received support from a source that many would consider surprising. Here’s a key quote:

“God knows we need more intriguing, faith-oriented films like this. Noble is the right word; I would also add courageous and powerful. Thank you for all you do and bravo! You are a true artist.”

The email came from Hollywood legend Norman Lear and his wife, Lyn.

Lear’s death at age 101 has received waves of mainstream news coverage, all of it deserved. The question, explored in this week’s “Crossroads” podcast (CLICK HERE to tune that in), was whether this coverage explored Lear’s complex relationship with the role that religion plays in American life and culture.

Lear considered himself a cultural Jew with no ties to the practice of a traditional religious faith. In response to the rise of the Religious Right, he also founded People for the American Way — a liberal think tank and advocacy group on church-state issues.

However, in the final decades of his long life and career, Lear wrestled with the powerful role that religion played in mainstream American life and was intrigued with the fact that faith issues and stories seemed to be anathema to the powers that be in mass media.

In other words, Lear was an unbeliever who was both appalled and intrigued with people of faith and he wrestled with why liberal forms of faith seemed to have little appeal with ordinary Americans. These tensions could be seen in one of his final, failed attempt at a new sit-com, the six episodes of “Sunday Dinner.” Hold that thought.

This matters, in large part, because the legend of Norman Lear is based on the valid praise he received for dragging real-life issues into American entertainment, especially with his trailblazing TV comedies.


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Podcast: Any religion ghosts in Writers Guild silence on bloody Hamas attack on Israel?

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Podcast: Any religion ghosts in Writers Guild silence on bloody Hamas attack on Israel?

If you look up a standard definition of “antisemitism,” and commentaries that apply the term to public life, you will probably find references to mass media.

Consider, for example, this language from the “Working Definition of Antisemitism” commentary from the American Jewish committee. The definition itself: “Antisemitism is a certain perception of Jews, which may be expressed as hatred toward Jews. Rhetorical and physical manifestations of antisemitism are directed toward Jewish or non-Jewish individuals and/or their property, toward Jewish community institutions and religious facilities.”

The case-study material begins with these explanatory notes, the first two in a list of 10:

* Calling for, aiding, or justifying the killing or harming of Jews in the name of a radical ideology or an extremist view of religion.

* Making mendacious, dehumanizing, demonizing, or stereotypical allegations about Jews as such or the power of Jews as collective — such as, especially but not exclusively, the myth about a world Jewish conspiracy or of Jews controlling the media, economy, government or other societal institutions.

The phrase “controlling the media” loomed over this week’s “Crossroads” podcast (CLICK HERE to tune that in), which focused on a Los Angeles Times story with this double-decker headline:

How the Israel-Hamas war is dividing Hollywood

Nerves are fraying. Relationships are being strained to the breaking point. Words are being wielded like weapons.

For decades, claims that Jews “control” the media have included chatter about Jews “controlling” Hollywood.

The key word is “control,” as opposed to decades of writing — often by Jewish scholars — about the strong and unique role Jews have played in Hollywood life, in terms of creative skills and business clout. Consider this classic book by Neal Gabler, “An Empire of Their Own: How the Jews Invented Hollywood.”


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Concerning that 'Barbie' sermon about what it means to be incarnated as a woman

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Concerning that 'Barbie' sermon about what it means to be incarnated as a woman

Hollywood worships big movie franchises, so fans can expect "Barbie" sequels.

One plot proposal quickly emerged from an unlikely source -- Sister Mary Joseph Calore of the Society Devoted to the Sacred Heart of Jesus in St. Cresson, Pennsylvania.

"'Barbie becomes a nun' would be a great sequel," she wrote, on the X platform. Her post contained this pitch to Warner Bros. executives: "Dissatisfied by endless parties and user friends, an eating disorder, spending addictions with clothes and shoes, and cohabitating with the shallow & unemployed playboy Ken, Barbie's sportscar has been parked more and more at an adoration chapel. She is seriously giving thought to draining the pool, putting her condo on the market, cutting her hair and donning the religious habit."

That would be a twist, after a cinematic manifesto arguing that life as a real woman is painful and complicated, but it's better than being an iconic plastic doll.

"This movie should have been silly and fun, but it ended up being preachy and earnest," said Barbara Nicolosi Harrington, a former Catholic nun who became a screenwriter and Hollywood script doctor. "I mean, how far can you go with a story about Barbie?"

Writer-director Greta Gerwig's previous work has been impressive, stressed Harrington, who teaches at Regent University in Virginia Beach, Virginia. With "Little Women," Gerwig showed the ability to offer a fresh take on a familiar story. Now, "Barbie" will draw intense scrutiny, since she will direct at least one movie in the upcoming Netflix take on "The Chronicles of Narnia" novels by the Christian apologist C.S. Lewis.

"Barbie" contains ambitious attempts to mix serious, even if tongue in cheek, social commentary with pop-culture mythology -- such as a shot-for-shot homage to Stanley Kubrick's legendary dawn-of-consciousness scene in "2001: A Space Odyssey."

The big "Barbie" question, noted Other Feminisms writer Leah Libresco Sargeant, is stated in a soundtrack ballad -- "What Was I Made For?"


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Beyond Barbie and the Bomb: It's time for religion-beat pros to prepare for #BarbAslan

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Beyond Barbie and the Bomb: It's time for religion-beat pros to prepare for #BarbAslan

Hey, religion-beat professionals and news consumers.

I know that it’s hard, right now, but try to ignore the whole “Barbenheimer” phenomenon. That tsunami is really a business-beat story — as Disney and Hollywood hang on for dear life (post-Snow White 2024) in a bitterly divided America.

I am talking about #BarbAslan.

Let’s start here, with the double-decker headline on this totally haunted little story at Entertainment Weekly:

Greta Gerwig says she's 'properly scared' about directing new Chronicles of Narnia movies

The filmmaker is going from Barbie Land to meeting Aslan.

OK, why is she “scared”?

Well, it is a big franchise and the financial risk to Netflix will be substantial. And then there is the fact that Narnia believers rank right up there with Lord of the Rings fans, when it comes to long attention spans and a fierce dedication to sweating the details.

What kind of details? Well, consider this headline from The Guardian, during an earlier Chronicles of Narnia media storm: “Narnia represents everything that is most hateful about religion.”

Thus, how does the EW story handle the obvious Christian images and themes in Narnia, when writing about Gerwig — Barbie, Little Women, Lady Bird — guiding the latest video version of these classics by C.S. Lewis? Think of it this way: What would Screwtape say?

That’s easy. The editors totally ignored it. Here is the overture:

Greta Gerwig is sharing her nerves about leading the charge on a new series of Chronicles of Narnia movies.

The Barbie director has been tapped to write and direct at least two films for Netflix based on the beloved C.S. Lewis novels, and she admitted during a recent podcast appearance that she's "terrified" to start developing them. 


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Latest angle in covering 'The Chosen?' It's a journalism thing -- follow the money

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Latest angle in covering 'The Chosen?' It's a journalism thing -- follow the money

Sometime in 2024, filmmaker Dallas Jenkins will release season 4 of his very successful “The Chosen” series. It’s the first multi-season cable-television series about the life of Jesus Christ.

Now, think back a few years — to when 74,346 people raised $10 million for Season 1, which came out in 2019. That amount made “The Chosen” the largest crowdfunded mass-media project –- ever.

For the first year or so that the runaway TV hit series “The Chosen” ran on its own private app and on YouTube, it was hard to get journalists to take it seriously.

Now, most of the big media have covered it, and its success and that of “Jesus Revolution,” the surprise indie hit about the 1970s Jesus movement and one of its leaders, Lonnie Frisbee, is being touted as the big new success story in filmography.

Yes, we know. Hollywood discovering that religious believers care about values, and entertainment, is a “new story” that reporters have “discovered” once a decade for quite some time now.

RealClearInvestigations, a site not known for its religion coverage, remarked upon this trend recently.

"Jesus Revolution" and "The Chosen" are not just Christian dramas but the avant garde in a revolution in faith entertainment. The former – a feel-good movie about hippies who returned to Christ during the 1970s, starring former "Cheers" and "Frasier" star Kelsey Grammer – has grossed more than $52 million since its debut just a few weeks ago, making it the most successful film released by studio heavyweight Lionsgate since 2019.

But the instructive parable may be its predecessor, which made Hollywood sit up and take notice. Since its release in 2017, "The Chosen," portraying a charismatic Jesus and his youthful disciples, showed it didn't much need Tinseltown's blessing. Through crowdfunding, its producers have raised millions of dollars from thousands of fans and the show is now in its third season. It is thus a case study in outflanking Mammon – the biblical term for debasing riches – in the modern entertainment tempest. 

Again — 74,346 people raised $10 million for Season 1. Some $45 million was raised for Season 2.

A year ago when I wrote this article about all of this, for Newsweek, the show was closing in on 390 million views.


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Raquel Welch: The bombshell who became a quiet, sincere Presbyterian church lady

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Raquel Welch: The bombshell who became a quiet, sincere Presbyterian church lady

The statuesque film legend didn't call attention to herself as she shared a pew with other conservative Presbyterians in their small church not far from Hollywood.

She was articulate when discussing theology and church matters and, from time to time, would offer advice on finances. She had learned a lot in the movie business.

Raquel Welch wasn't trying to hide, during the later decades of her life when she faithfully attended Calvary Presbyterian Church in Glendale, California. She was simply looking for people she could trust.

"She was careful. … She wasn't going to one of those 2,000-member churches where everyone would look at her. That wasn't her style," said the Rev. Christopher Neiswonger, who grew up in that congregation and attended nearby Fuller Theological Seminary. He now leads Graceview Associate Reformed Presbyterian Church in Southhaven, Mississippi.

"She also wasn't trying to stick her thumb in the eye of a Hollywood culture that she knew would denigrate this kind of faith commitment. … She was Raquel Welch, but she just wanted to be part of our church family."

Welch died on Feb. 15 at the age of 82, inspiring waves of tributes focusing on her iconic beauty in "Fantastic Voyage," "100 Rifles," "The Three Musketeers" and dozens of other movies and television programs. The legendary poster from "One Million Years B.C." framed her as a bombshell babe image for the ages.

In a Facebook tribute shared with other believers, Neiswonger called Welch a "wonderful lady and a fine Christian" whose "faith grew more powerful and practical with age. It's often true that the most important things become the most important to us as we've matured personally."

At the end of her 2010 memoir, "Raquel: Beyond the Cleavage," Welch described the hard questions she asked after the death of her mother, a faithful Presbyterian, and a sister's struggle with cancer. After decades away from church, Welch offered an "awkward inept prayer" to the "God of my childhood and, lo and behold, he was still there."


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Thinking about God and Hollywood: Raquel Welch became a faithful Presbyterian?

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Thinking about God and Hollywood: Raquel Welch became a faithful Presbyterian?

I have to admit that it never would have entered my mind to think there were religion “ghosts” in the life, career and death of Raquel Welch, who would have to be on anyone’s list of the iconic bombshell beauties in Hollywood history.

Then I started getting some emails.

Who knew that Welch evolved into a churchgoing and, by all reports, quite modest and mature Presbyterian church lady. In particular, people pointed me toward The Aquila Report, a blog for “conservative, orthodox evangelicals in the Reformed and Presbyterian family of churches.” The headline: “A Tribute to Raquel Welch’s Life and Testimony — She was a wonderful lady and a fine Christian.” Here is a sample of that feature:

As with many, her faith grew more serious and practical with age. It’s often true that the most important things become the most important to us as we’ve matured personally. That’s just to say that spiritual and personal maturity are often coincident age and life experience.

Second, she fully embraced the Reformed and Presbyterian faith as described in the Westminster standards. She would never burden others that they must because she did — but that she did isn’t really a question. She was of the old, rugged faith. She never felt the need to pressure anyone in regard to matters of faith but she also didn’t have a great deal of patience for cute or pop cultural theological moods. This was part of her strength.

Third, she was just another lady of the church. She didn’t put on airs or expect special attention (although she could hardly avoid even with the best of intentions being the most glamorous person in the room). And she often advised churches and ministries on practical and business matters because she was brilliant in those things. You didn’t think she survived and thrived 60+ years in the public eye by just being a pretty face?

There was one more point that I found interesting, because it linked to material I had encountered through the years about some “conservative” superstars.

It helps to know that my favorite actor of all time is the late Jimmy Stewart and I’ve read quite a bit about his life. I was set up to interview him, years ago, at the Presbyterian church he attended, but he came down with the flu and had to cancel.

Anyway, the Aquila Report piece noted that Welch’s faith journey was linked to her friendships with “other conservative Presbyterians Jimmy Stewart, Ron Reagan and Chuck Heston.” Interesting.


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