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In the passage above, Paul speaks of our alienation from God resulting from the work of our hostile minds, an alienation ended at the crucifixion of Christ. Until we understand the reconciling work of the cross, we will remain stuck in our patterns of alienation—from God and others.
“I’m a liberal, pacifist, atheist, and if you don’t like it, you can leave,” the professor said as he began the first day of Renaissance history at the University of Colorado. Joni Raille, who grew up in a conservative Christian home, was taken aback and wondered what her professor’s bluntness had to do with Renaissance history. I asked her if she ever considered dropping the course. “No,” she replied, “I can learn from anybody, even if he is an atheist.”
I am that rare Jars of Clay fan who does not hold their debut album in highest esteem. It is not a bad album by any means–”Worlds Apart” is a classic–but it never reached me the way If I Left the Zoo (my first Jars album), Who We Are Instead and Good Monsters did. Those three are the albums by which I judge their output. In certain circles, that statement would have me discredited. So I may not be the best person to write this review. Of course, that has never stopped me before.
Superman has changed, and there’s no denying this. Although he wears the same iconic “S” on his chest, the Superman we see in the film Man of Steel embodies a very different psychological makeup than in past versions of this DC Comics hero. He questions whether humanity is worth saving. He is driven by emotions like anger and desperation. He seems reckless, destructive, and impulsively violent. This article, which includes some spoilers, examines why this new Superman represents a more psychologically realistic version of the iconic character, and asks us to question whether a more morally fallible Superman makes more sense in a post-9/11 society.
Derek Webb first appeared in the Christian music scene with the Texan folk-rock band Caedmon’s Call. On their 1996 self-titled record, Caedmon’s Call (their first national release), he was the angst-ridden voice, expressing doubts and agony that weren’t common threads in CCM. Some instantly identified—people who’d always felt a bit out of place in the church, for whom doubts and struggles were constant. For other listeners, Webb was like the outspoken skeptic in your small group, the one who seemed suspicious of sentiment that were a little too warm and smiles that were a little too plastic. In nearly 20 years since, he’s maintained that posture, agitating and provoking the very world his music inhabits.
Following any Wonder Woman project isn’t unlike reading some gossip rag about producers and directors dealing with a talented, but demanding actress. “Challenging” is the reason filmmakers give when Wonder Woman projects fail. “We are still trying right now, but she’s tricky,” is a DC Comics executive Diane Nelson’s explanation of why the company hasn’t moved forward with a film. In a self-perpetuating cycle, studios constantly wonder if enough people will buy tickets to a Wonder Woman movie, or if she has enough star power to anchor a film on her own. Inevitably, the first question journalists usually ask hopeful producers is why they’d ever take on such a “hefty” project.