Black-ish: Let’s Get Real (TV Review)

First off, I doubt I was the demographic that writer Kenya Barris or star Anthony Anderson was aiming for with black-ishBut I’m a big fan of Anderson’s and the publicist offered me the screener, so of course I was down for a half-hour shot at the show airing tonight on ABC. If the pilot is anything like the rest of the season, folks are in for some serious laughs- and a serious dose of self-examination, as the show unpacks what it means to be authentic in a sea of changing convictions and perceptions about race and life.

Like other sitcoms, this one stars a put-upon father figure, Andre Johnson (Anderson), who longs to be recognized as a leader in his advertising firm but grinds against his promotion to “urban director.” His doctor wife, Rainbow (Traci Ellis Ross), and “Pops” (Lawrence Fishburne, playing against type) do their best to keep him from crashing and burning, but he’s also struggling with the failures he sees in his children  to be truly black. [His son wants to excel at field hockey; his eldest daughter (Yara Shahidi) isn’t clear that Barack Obama is the first black president of the United States.]

This is going to get into some serious stuff, but don’t forget, this is Anthony Anderson we’re talking about – and he’s hilarious here. Sure, the pressure builds like an episode of Modern Family where Phil is making moves he shouldn’t be making or Home Improvement where Tim wants to make sure his family “understands” something. Johnson tap-dances on the edge of sanity… and somehow never falls the whole way over.

But this isn’t about “just” race. While I can’t claim to know what it’s like to grow up black in white America, I can say that black-ish translates well to asking what it’s like to grow up different from those around you. Given that it was sent to me to examine from a religious perspective, I find that it segues nicely into a conversation first presented in the twentieth century by H. Richard Niebuhr about how the church and Christians should relate to culture (over culture? through culture? away from culture?) In the process of examining his son’s identity, Johnson has to ask questions about his own, and figuring out what it means to be genuine, unique, upstanding, providing for his family, and true to himself.

My only regret here is that I saw the pilot and have to wait for the second episode. Kudos to Barris and Anderson for leaving me anticipating another chapter in Johnson’s quest to “keep it real.”

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One-on-One with Black-ish’s Kenya Barris (TV/Interview)

Raised in Inglewood in Los Angeles, CA, screenwriter Kenya Barris grew up knowing what it was like to be black. But years later, married to a doctor and the father to five children, his expectations for what it meant and how he’d be a father were disrupted when his daughter described a fellow classmate one night over dinner (a vignette from the pilot of his hit show Black-ish). Now, he’s unleashing those situations on the ABC audience, premiering after Modern Family this week.

“I had a version of black growing up, what that looked like,” Barris told me over the phone. “But I looked around at my kids and realized that they were black-ish, and that my friends were experiencing the same thing with their kids. They were black-ish, Jewish-ish, etc., just the homogeny of the youth culture.”

I asked him what he was doing to preserve culture, to keep a genuine set of beliefs with his children. “It’s days-by-day, kid by kid,” Barris says. “You have to know what you believe in. Were all trying to give our kids more than we had. But what do they lose out on then, and how does it affect them?”

I asked the father-writer-comic how he arrived at the dynamic between Andre (Anthony Anderson) and Pops (Lawrence Fishburne). Ultimately, Barris told me the show is about “generational conflict. We can never quite impress our parents the way we want to, because we’re not doing it the way they did it. And we’re trying to protect our kids but they don’t hunk we’re doing it right, and we don’t know how that will work out.”

Barris told me that he’s always been a fan of Fishburne’s but he was a huge fan of 30 Rock, and how Tina Fey used Alec Baldwin, who no one expected to be funny. Having seen how a grandparent at home impacted the family dynamic, he writes Pops as a “de escalation” of Andre, who also curbs what the kids learn from Pops.

I asked Barris about the way he has worked masculinity in the pilot, and how he’s raising boys [two out of his five children are boys]. “I’m trying to lead by example. We’re harder on our sons, not in a malicious way, but to raise strong men with kind hands. I want them to be immersed in love, and I think that’s displayed in Andre.”

Andre is just trying “day by day. He’s flawed and making mistakes,” says Barris. But in the end, it’s all about love that Baris has for his kids, and his desire to be everything a father should.

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Gotham- First Reaction: Into The Darkness (TV Review)

I promise you however dark and scary the world right might be right now, there will be light.–Jim Gordon, before he was The Commissioner

What first grabs your attention is how visually stunning the night shots of Gotham are, with dark grays and blues mixed with splashes of yellow (seriously, is it a coincidence that they echo the Batman uniform of yesteryear?) But this a genuine whodunit, a story that would make Greg Rucka proud, with a breadth of characters and backstories, all of which we’re sure will get delivered to us bit by bit.

Before the first commercial break, Bruce Wayne’s (David Mazouz, Touch) parents lie dead in the alley with pearls falling all around them in Bruno Heller’s (The Mentalist, Rome) rendition of The Dark Knight legend before Wayne was Batman. But this is a different view of Batman’s Gotham than we have seen before, and the city is populated with nefarious characters in and out of police uniform, and few of them wear masks.

We’ll meet Oswald “Penguin” Cobblepot (Robin Lord Taylor) who is the errand boy of Fish Mooney (the deliciously psychotic new villain played by Jada Pinkett Smith), nightclub owner and criminal extraordinaire, who has more than a passing knowledge of the police force, in the person of Harvey Bullock (Donal Logue), who serves as a shadowy Obi Wan. It’s Bullock’s new partner, Jim Gordon (Ben McKenzie) who becomes our eyes and ears in this Gotham, as the moral compass by which we’ll see the downfall of a city and the rise of a hero (or two).

When a criminal grabs a cop’s gun, you shoot him.–Harvey Bullock

While we know this is the Batman universe, the pilot focuses on the human story of Gordon, laced with the woman who will be his first wife, Barbara Keen (Erin Richards), fellow cops like Bullock and Renee Montoya (Victoria Cartagena), the characters who will be Poison Ivy, Catwoman, and the Riddler, the (at least initially) underused Alfred Pennyworth (Sean Pertwee), and plenty of name dropped elements of the DC backdrop that has developed over the last fifty years.

Whose mentality will win out in Gotham, Bullock’s or the more genteel Gordon’s? We watch him refuse to shoot a man who resists arrest– and settles a hostage situation without gunfire… but that doesn’t get him very far in the first episode. How will the anger and frustration of the city be settled? What would it have to become, how badly would it have to spiral out of control, for a little orphaned boy to grow to be the one who will dawn the cowl of a bat? One has to believe that there would be darkest night before the dawn…

Sometimes you have to do a bad thing to do a good thing.–Harvey Bullock

Really? There’s no way… wait, we’re talking about a show that sets up the breeding ground for Batman, the vigilante without a policeman’s badge, who takes the law into his own hand. But what if Gordon gets there first? What if this really is a war, between good and evil, fear and justice, truth and … reality? What if this war in fictional Gotham relates to the way that we make decisions, compromising our morality and beliefs, in the day-to-day reality of our own lives? Maybe, just maybe, this is one more time when superhero stories prove to be more than just colorful streaks on a page for teenagers and fanboys.

I’ll admit it: I couldn’t wait to see the premiere of DC’s latest, but that was its biggest problem. I was never a Smallville groupie; I’m still not sure about Arrow. But this is Batman, my favorite superhero, the best example of a ‘normal’ human being who chooses to do good on behalf of others. And one of the unsung heroes who has stood beside Batman for years? Commissioner James Gordon, unsung no more.

[Catch the encore on Friday at 9 p.m.]

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Forever- First Look (TV Review)

An explosive subway collision throws medical examiner Dr. Henry Morgan (Ioan Gruffud) into the path of New York City’s finest, Detective Jo Martinez (Alana de la Garza). They’re out to figure out who caused the subway crash, but there’s one very different thing about this case: it’s wrapped around Morgan’s apparent immortality and the two hundred years of experience that lends to his examination of the clues.

For the most part, you have a serial where a British guy helps an American cop solve cases; if that happens to remind you of ABC’s Elementary, well, you can’t be faulted for that. But the show airing tonight (and moving regularly to Tuesdays tomorrow), shows a less irascible Brit in Morgan’s character, and the nuances between Morgan and Martinez are different. Gruffudd’s performance gives the show gravitas, and moves us to see a man who cares about answering big questions- and caring for others. Ultimately, it’s more about an exploration of life, loss, and eternity than it is about the actual cases.

I’ve seen a lot of pain, a lot of death, a lot of suffering. But I’ve also seen a lot of life, a lot of beauty, a lot of wonder.– Morgan

You might not be able to die, you haven’t lived for a very long time.–Abe

Every show needs a Wilson (Home Improvement) and Forever’s is Judd Hirsch as Abe. When the heat gets turned up in the overarching storyline, as someone knows Morgan’s secret, he wants to flee. Abe tells him that maybe, just maybe, figuring out what it means to really be human would give his life meaning, even as he’s watched loved ones come and go.

That’s the thing about all of our lives, even if ours are shorter than Morgan’s: we fear dying instead of living forever, but we still get caught up in that fear instead of actually figuring out how to live well. But Morgan’s sadness is tied up in the loss of a woman from a long time ago…

You were made like this for a reason, but it wasn’t for me— Abigail

Morgan still hasn’t figured out his purpose and it’s that search for meaning that makes him want more for life. Sure, he ends up helping the city out, and saving a bunch of people, but as he struggles with his own loss (while counseling others in the midst of their own loss), he tries to find a way forward. This is ultimately about dying and living, loving and grieving, and while there’s a police procedural going on here… there’s so much more.

 

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The Blacklist: Recap… And What Comes Next? (TV Review)

I’m not ashamed to admit it: I binge-watched all of The Blacklist over the last ten days.

Throughout the season, my parents and one of my good friends would periodically email me after an episode they liked with the question, “Why aren’t you watching this?”

I guess my DVR was full. Or something. Seriously, I don’t have a great excuse for why I missed the stellar Boston Legal and Stargate star James Spader’s debut as uber-criminal Red Reddington, who turns himself into the FBI in the first episode and negotiates a deal where he will report only to newbie profiler Elizabeth Keen (Megan Boone, Law & Order: LA). What happens each episode will keep you guessing– and watching periodically through your fingers– as the two tackle the toughest cases and the most violent of criminals.

These criminals are no joke, and there’s absolutely no guarantee that some well-known character won’t get gut-shot. Villains with nicknames like “The Stewmaker” and “The Good Samaritan” do nefarious things, including kidnapping and torturing their victims, and it’s the darkness of the show that sets the backdrop for the ongoing story about who Reddington is to Keen, and what the overarching conspiracy really is. And that’s where this really gets good.

Like the conspiratorial stories told by J.J. Abrams’ Alias and Fringe, or the older The PretenderThe Blacklist lets us know early on that Keen might not actually know where she’s from or who her father is. She’s a woman who thought she was on the peak of something great (joining the FBI) and suddenly finds the rug pulled out from underneath her. She’s staggering– and Boone captures this influx position perfectly– mostly around wanting to know where she’s from and who her dad is. Is it Red? Is it Sam (William Sadler)? And if Red is her father, are we supposed to see him sympathetically, as we’ve watched him kill for Keen… and to protect his own interests?

Of course, Red isn’t the only …questionable character character as previews alerted us to the fact that Tom (Ryan Eggold), Keen’s husband, has some darker business. Is he for Keen or against her? Is it related to Red or not? I’ll spoil this: we’re not sure even at the end of the first season! But we did get some questions answered, and we have the perfect set up for the second season with the emergence of the always nasty Peter Stormare as something more than he seems who obviously has a connection to Keen as well.

In seeing the whole picture (so far), I find myself looking at Red’s ‘gifts’ to the FBI as a kind of penance: yes, the taking down of the different people may be for his own good as well, but they seem to be a ridding the world of some truly evil people. It helps that many of his late-season conversations, confessions if you will, occur in houses of worship: it’s as if Red has to get them off his chest and Keen is the only one ‘pure’ enough to receive them. She’s his confessor, his priest- but by the end of the season, it appears that she is starting to get her hands dirty, too.

So what comes next? Will Keen fall from grace? Will Red be redeemed? I still think that it will ultimately revolve around Keen’s … mother. I’m betting the fire has something to do with it- maybe it’s Red’s fault- and in the process, Keen’s mother died….But we’ll see. Maybe tonight, when The Blacklist returns to NBC.

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A Walk Among Tombstones: Working Through Penance (Movie Review)

Liam Neeson’s latest isn’t what you were expecting: it’s not Taken 3. Instead, it’s a violent, spiritual walk through the twelve steps, as retired Matthew Scudder (Neeson) works to make right a decade-old mistake by solving a series of abduction/murders in New York City just before Y2K. Adding to the nuance is the unexpected friendship Scudder strikes up with TJ (Brian “Astro” Bradley, Red Band Society, Earth to Echo), a down-on-his-luck kid seeking his way in the world. The film’s vibe is more Mystic River than Expendables but that gives us another side of Neeson to appreciate, and the film is better for it.

Taken from Lawrence Block’s novel of the same name, drug trafficker Kenny Kristo (Downton Abbey’s Daniel Stevens) hires Scudder, now working as a private investigator after leaving the police force, to track down the men who abducted and brutally murdered his wife. We soon find out that the two men are making a pattern of kidnapping the loved ones of known drug dealers, getting the ransom money, and sending back the women in parts. It’s not technically a whodunit, even if it feels that way, because it’s more about Scudder determining their motivations and drawing them out than figuring out who they are.

The moodiness of Dennis Lehane mixed with the familial feel of Edge of Darkness give this an ethereal feel even as the city is painted in shades of drab grey. It’s the color of Scudder’s soul: he’s been sober for eight years and he’s proud of that, but the wrestling inside his soul over what he’s done won’t leave him alone. Many of us can relate, because the truth is that repentance doesn’t always mean someone can forgive themselves.

Honestly, I went to see this for Neeson, not knowing much about the story or Block prior. X-Factor’s ‘Astro’ is a scene stealer, and his hilarious vibe gets channeled in spots [seriously, for outrageous exposure, check out the pilot of Red Band Society… right now]. What we haven’t seen a Neeson character do before is mentor someone; sure, he cared about his wife and daughter in Taken/Taken 2 but this is different. It’s like his Scudder wants to not only serve his own penance learned through Alcoholics Anonymous, but he also wants to keep TJ from making the same mistakes.

[As an aside, I’d have to give credit to Stevens: his role is dark, dark brooding. He… smolders. And having never seen an episode of Downton, I’m not talking McSteamy-ish smoldering, but real acting chops. Where did this guy come from? And how many more of his 2014 films can you catch before they leave the theater? The Guest… Night in the Museum 3… The Cobbler…]

This one isn’t for the faint of the heart- there’s a fair amount of torture for sure (but not as bad as Prisoners). But the way that the twelve steps are worked in, the way that confession and change and growth occur in Neeson’s Scudder? Those make this a wonderful, terrible ride, when you count the cost of his soul and how he’s ended up in this place. [It also makes me realize I need to check out Block’s other works, which are under-read in my fiction experience.] Go for the adventure, stay for the soul, but either way, buckle up.

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The Song: Story-Driven vs. Message-Driven, Interview With Writer/Director Richie Ramsey (Movie Interview)

Having seen The Song, I was impressed by the story, the acting, and cinematography. How were you able to achieve that level of quality in all three phases? That’s quite the trifecta.

Thank you very much! This is ultimately the result of being surrounded by a great team of very professional and gifted people. I was fortunate to have qualified outside and honest input on the script early on. That was tremendously helpful in shaping it over several drafts. Our director of photography, Kevin Bryan, is just incredible. He has a great combination of technical expertise, artistic giftedness, and an eagerness to take creative risks. As far as the acting, it was largely a matter of casting the right people, and we’re very fortunate to have found them.

Alan Powell seems to be a real revelation as the protagonist/antagonist. How did you come to select him as your leading man?

Yeah, I think the three lead actors, Alan, Ali, and Caitlin, will give the audience a sense of discovery – that they’re seeing gifted actors on the cusp of great careers. It was basically the standard audition process for all the roles. Our casting director, Regina Moore, sent out audition notices. Tapes poured in. She narrowed them down, and we watched and sifted through the dozens of actors that were left. When I saw Alan’s tape, I knew I needed to see him audition in person. He came in and nailed it and had great chemistry with both actresses. And, it’s also been tremendously helpful that he and I are philosophically like-minded. From the beginning, he really “got” the movie and believes in the story and what it ultimately communicates.

How did City on a Hill go from the episodic not a fan videos to a released-in-theater production? How did you get involved? [Were you responsible for the contextualizing of Kyle Idleman’s sermons into a fictional universe where the themes played out? If so, bravo! That’s still one of the most haunting book/studies I’ve ever lead as a pastor.]

Thanks! Yeah, I wrote the dramatic content for “not a fan.” And, I think when we sat back and watched that as a staff, we felt we were ready to take on a feature film.

How did you settle on the Song of Solomon as your ‘text’? What other sources did you look to in writing and producing the story in addition to Song and Ecclesiastes?

As you mentioned, we frequently partner with Kyle Idleman on our projects. He’d been teaching Song of Solomon for years, and he and the leadership at City on a Hill felt the time was right to undertake a project tackling its various subjects – marriage, romance, and intimacy. So, when the leadership of City approached me about it, I started researching anything affiliated with Solomon. This brought me back to Ecclesiastes, and, because of things I was going through at the time, that book deeply resonated with me. I thought it not only had a very discernible and compelling narrative – a man of means searching for meaning in all the wrong places – but, I also thought it spoke powerfully and profoundly to the human condition. So, I was determined to incorporate it as well.

A few drafts into the screenwriting process, the direct texts of Solomon – Song of Songs, Proverbs, and Ecclesiastes – became the film’s narrative voice-over, and they just immediately elevated the whole story. There’s such power in those words.

In the visual delivery, I found myself seeing a mashup of Mumford & Sons with Johnny and June Cash. Where did you get the ideas for the way that you wanted the film to look and feel?

Having lifelong ties to Kentucky, I’ve always loved roots music. And, in recent years I’d become a fan of the Avett Brothers and other artists in the Americana genre. I’ve also noticed how God is an acceptable topic of discourse in this kind of music -one can sing about Christian themes, and mainstream audiences still dig it  (Mumford & Sons is an excellent example). So, once I settled on the idea of our modern day Solomon being a singer-songwriter, I thought this should be his genre.

When we were in story development, my wife recommended that I use Pinterest to create photo boards for all my characters and locations. We printed these out and they were made into a giant collage in our production office. For Jed, our main character, there were lots of pictures of Mumford & Sons, the Avett Brothers, Old Crow Medicine Show, etc. For Shelby, we had Nicole Atkins, Cat Power,

(though they’re not exactly in this genre) and a few others. We even had photos of Waylon Jennings, Townes Van Zandt, and Emmylou Harris (She has since joined our soundtrack, and I’m just absolutely thrilled!) to help us design Jed’s parents, who were also Country Music stars in the previous generation. This helped our art team get on the same page about what the characters, sets, and concerts should look like.

And, yeah, there’s no denying that Walk the Line was an influence.  It’s arguably the greatest music biopic ever made.  That or Coal Miner’s Daughter. Though I will say Alan’s remarkable resemblance to Joaquin Phoenix is purely coincidental. It wasn’t the reason I cast him. If there’s anyone I wanted him to resemble, it was Scott Avett. But, I also heavily studied Once, Crazy Heart, O Brother Where Art Thou and several other really good music movies.

What do you hope audiences take away from it? Did you have a target audience in mind?

I want audiences to take away from the film what Solomon wants readers to take away from Ecclesiastes: “Remember your Creator,” who is the only hope you have that life has any objective meaning, and “delight in the wife of your youth.”

Jesus ended many of His stories by saying, “He who has ears to hear, let him hear.” That’s my target audience – “He who has ears to hear.” I think movie-goers will resonate with the acting and musical performances and the cautionary tale/love story. I think Christian audiences will further appreciate the frequent references and tie-ins to the lives of Solomon and David.

You’re married with four kids (snooping on your blog found that). What advice would you give to a couple setting out on the first stages of marriage? Does any of your advice change after parenthood? Ten years in?

Congratulations on asking what is by far the most difficult question I’ve been asked in an interview! I think my wife might laugh at the idea of me giving marital advice, but, hey, that’s some advice right there: make your spouse laugh. I’m certainly not a perfect husband, but I think one thing my wife and I do well is we’re best friends. Obviously, it’s important to be more than that, but it’s important to be that. And, I think it’s important to give your spouse a place in several areas of your life that no one else – especially, no one of the opposite gender – can have. And, I think it’s important to maintain that after children. Our children know they’re loved, but they know that their parents’ relationship takes top priority.

I’m intensely critical of “Christian” films, and this one strikes me as one that would transcend categories if people hear about it. What choices did you make to keep the message the main thing and yet appeal to the masses?

Yeah, we like to say The Song is descriptive rather than prescriptive, conversational rather than conversional, and story-driven rather than message-driven. The film has a controlling idea…a message, if you will…but, it’s still story-driven.

As far as deliberate choices that were made: Like I said before, the music was a deliberate choice. And, I really wanted the stakes in the story to be universal and primal. Everyone, on some level, cares about love and meaning. Often in Christian films, what’s at stake if the hero succeeds or fails are things that are only meaningful and valuable to Christians. In The Song, things that even non-Christians care about hang in the balance if our character ultimately fails.

And, finally, I think it’s really important that Christian filmmakers and audiences ultimately take to heart that Christianity is not a genre, but the truth. There have been many very successful Hollywood productions that carry a message or very big worldview idea. But, they’re successful because they’re still story-driven rather than message-driven, and the filmmakers are able to stay story-driven because they believe their worldview is actually true. So, they don’t feel they have to sacrifice story or quality to accommodate message. In their minds, they’re just keeping it real.  If Christianity is true, then it follows that everything that is true is Christian. And, everything that happens every second of every day has Christian significance. I think it’s crucial that Christian filmmakers, Christian leaders, and Christian audiences realize that the primary responsibility of a Christian artist is not to adhere to arbitrary “Christian” genre requirements or to pander to the sentiments of a subculture, but to skillfully and graciously tell the truth.

What’s your next project?

I’m in development on a film based on a true story, but unfortunately I’m not at liberty to say more than that at this time. I’d love to spill the beans, but I just can’t.

Thanks so much for your time. I watched The Song weeks ago and still find it coming to mind as I consider marriage… and God’s love for us.

Thanks so much for having me and for your encouraging words!

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Red Band Society- First Look (TV Review)

Everyone has two stories: the one they want you to hear and they one they don’t.–Charlie

Within the opening vignette of FOX’s premiere of Red Band Society, I’m hooked. I’m talking belly laughs…and a deep perspective on life that makes sense when you consider that no one wants to be in the hospital, and often, they’re facing their biggest fears, often death. Often the humor reserved for mortuaries, prisons, and… pastor support groups.

And our semi-omniscient, comatose narrator, Charlie (Griffin Gluck), has us set up to recognize that what we’re about to see and hear is only half the truth about what is really going on inside the hearts and minds of the kids and physicians/nurses working in a pediatric ward, not limited to angry/stuck-up, popular girl Kara (Zoe Levin), bulimic and edgy Emma (Ciara Bravo), and stuck between them, cool-and-experienced Leo (Charlie Rowe).

Life is full of black holes- we can all fall in at any time.–Nurse Jackson

The seemingly most jaded character (so far) is Nurse Jackson (Octavia Spencer) who delivers this pithy warning to one of her charges. It’s the only nice thing we hear her say because she’s been hardened by the suffering she’s seen… Or at least we’ll assume until we learn otherwise.

It’s true though, right? We all get lost sometimes, and we can’t always see the potholes, or black holes, and we need someone to point them out if they’re able. Thankfully, the kids in this ward have Nurse Jackson, even if they aren’t always thankful, and even if they don’t always know how much she cares.

When you’re in a hospital trying to get better, the most important part of you that needs to survive is you.–Charlie

As I’ve provided pastoral care to people in hospitals, I’ve seen patients treated like they were their condition by friends and family. It’s like they lost their identity outside of being sick. Sure, what the kids are going through is serious, but the sickness isn’t all they are. We often get stuck in parts of our lives where we think our mistakes or our sin or our situation or are job is what we are. But these kids, and our lives, are waaaaaay more complicated.

If no was in my vocabulary, why would I be asking you to say yes?–Jordi

One of the more enterprising new patients, Jordi (Nolan Sotillo), checks himself in and comes after the doctor who he thinks can fix him, Dave Annable’s Dr. Jack McAndrew, a kindhearted McSteamy-ish lead. Jordi’s determination earns him a spot– and I found myself thinking that his approach was a lot like prayer. In fact, there’s the story Jesus tells about a persistent widow and a judge where she refuses to give up and he finally gives in (Luke 18:1-8). I’m not saying that there’ll be a pro-God treatment in this show, but the way Jordi’s heart and asking with no hope of a yes for a yes end up working? Yeah, I think we should pray more.

Overall, Red Band Society proves to be worth a second watch, to see where they take this. Charlie is right, life doesn’t end by entering a hospital – but too often we think we can’t make it past the crisis we’re facing. Hopefully, this show will let us learn a little bit about ourselves.

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Aliens & Strangers (Sunday’s Sermon Today)

The question in the psychological evaluation went something like this: “When you arrive at a new place, do you barge right in and take over or do you lurk at the back until you’ve assessed everyone?”

Somehow, neither answer sounds great, does it? “Barge” versus “lurk”? Take over or assess? Both of them obviously show off something about you based on the way that you answer! Often, as we get older, it’s been so long since we entered something new, or since we felt like an actual outsider, that we’ve forgotten what we would do in that setting! But most of us fall somewhere on the continuum.

Abram AKA Abraham is clearly a lurker- he’s seventy-five-years-old and he’s still living in his father’s basement! Well, okay, they didn’t have basements back then, but we get the impression that he’s the kind of guy who would still be living at home, playing World of Warcraft online with his friends, ordering pizza as the only basic food group, and working at a comic book store. [Hold on, that doesn’t sound all bad…]

It says in Genesis 12 that the Lord showed up to Abram and told him to go – that God would make Abram into a great nation and that he would be a blessing to all the world. It’s here that I think we can see what must’ve been working on Abram’s heart for … seventy-five years.

It’s the kind of thing that makes Luke stare off into the dual sunset of Tattoine; it’s the kind of thing that made Peter Parker wonder what awesomeness awaited after the spiderbite; it’s why all of those women in Jane Austen novels ventured off to the big city.

It’s the belief that there’s something more, something better, something not yet. That this isn’t home, that there’s more that could be, that this isn’t the best there is. It’s the kind of thing that only God would know about a person because it’s not the kind of thing Abram’s behavior is showing off– and it’s not like they had support groups set up for people to talk about their feelings.

But God showed up and tells Abram to go…

And Abram and his wife, Sarai, take off, and they end up first in Egypt.

You can read about this fun little side story in Genesis, but here’s the important point: Abram gets scared that someone will think Sarai is pretty, and that they’ll want to bump Abram off to get to Sarai, so that they could marry Sarai… so he claims to be her brother.

Amazing. Definitely not a take-charge-and-dominate sort of personality. Not someone we’d peg to be a leader, or to even exhibit qualities of a God-following leader. But God chose Abram, not us.

Abram and Sarai leave Egypt, and after some family drama, the two of them are still wrestling with what it is that they are going to, because they know what they left. The safety and security of hundreds of years of living with family, the extensive understanding of what it meant to be shepherds and farmers there.

And into this mess of what is surely some confusion, and some doubt, and some isolation, and some frustration, it says in Genesis 15, that the LORD appears to Abram again in today’s scripture.

Consider the main points of this vision.

  • The LORD tells Abram not to be afraid.
  • The LORD tells Abram that God alone is all Abram needs.
  • The LORD tells Abram that even though he and his wife are really old, that they’re going to have a baby.
  • The LORD tells Abram that his offspring will be many and they will inherit the land.
  • The LORD is going to bless the world because of Abram.

Flip with me to Hebrews 11, and check out what the writers in the New Testament had to say about Abraham (the new name God gave him). It’s the way we can figure out how Abram responded to God’s four promises above.

Abraham by faith went somewhere he didn’t know obediently, even though he didn’t know where he was going.

Abraham by faith was a stranger in a strange land without a home, enduring life in tents while waiting for a place with a foundation.

Sarah, even though she was old—Abraham gets it worse because he “was as good as dead”—knew God was faithful because she became a mother.

And they, Abraham and Sarah, join a list of saints who lived by faith who didn’t see how everything would play out but believed anyway. They knew how the story was supposed to end but didn’t get to actually read the final chapter. They were foreigners and strangers.

Have you ever been a foreigner or a stranger? Do you remember what that feels like?

I have to admit that I haven’t been homeless often. I’ve lived in twelve different places in 37 years, but they’ve mostly been legitimate. There was this one time I broke my leg and a house full of female seminary students let me sleep on the couch, but I digress…

But some of us here, some of us outside of the circle of accepted ‘normal,’ they probably understand how things can be when you don’t fit in or have a real home.

I recently had a conversation with the woman who regularly cuts my sons’ hair. I don’t always end up in a hair salon but one day that was on my soccer dad to-do list, and I ended up surrounded by giggling kids, lollipops, and televisions turned to Barney, and Scooby-Doo, and Mario Kart.

And I had a deeper-than-average conversation with a woman I’ll call Mara. While I don’t remember how we got there, I know that Mara told me that she had fled the country of Lebanon at 1987 as a civil war that had wracked the country was winding up. She told me that she’d often raced home from school because of the bombing but she didn’t remember being scared.

Mara told me that she and her parents had emigrated to West Virginia, and that she’d ended up in Virginia, now raising a senior high student by herself. She nearly broke down in tears as she told me how her son loved the United States so much, and how, her voice dropping to a whisper, he wanted to be a Marine and help protect the freedoms he’d come to know here.

That’s when Mara told me that she’d also been threatened, told she was taking a job from an American. How because of her darker skin and thick accent, that she didn’t ‘belong here.’

Mara understands what it’s like to be a foreigner and a stranger in a strange land.

And I would argue that if we are to be faithful followers of the LORD of Abraham, of Jesus himself, then we must admit that we should feel some of that, too.

In I Peter 2, the author urges his listeners, “as foreigners and exiles, to abstain from sinful desires, which wage war against your soul. Live such good lives among the pagans that, though they accuse you of doing wrong, they may see your good deeds and glorify God on the day he visits us….Live as free people, but do not use your freedom as a cover-up for evil; live as God’s slaves. Show proper respect to everyone, love the family of believers, fear God, honor the emperor.”

I wonder sometimes if we’ve grown too comfortable in the midst of the world that surrounds us, too knee-deep in culture. It’s a fine line, as someone who appreciates what we can learn from others, even people who disagree with us. But if we’re going to be like Jesus, then we should look different. We should consider what it means to be like Jesus—especially in a world that doesn’t understand how Jesus could win by losing, why God would send his son to die on the cross…

We need to recognize that we weren’t always “in” but sometime ago, we were out, too.

Seriously, how many of you have Native American Indian blood? Okay, you all are the originals, the people ‘from here’ (if you’re reading this inside the U.S.)

Everyone else? At some point, you were an illegal immigrant’s son or grandson or great grandson! You came here… illegally. Probably avoiding religious persecution, and you ended up here in the melting pot called America.

But the thing is, we’re so far removed from that – I don’t even know who my first ancestor in America was—that we’ve lost sight of what it was like to be on the outside looking in.

Check out Ephesians 2: “Therefore,” writes Paul, “remember that formerly you who are Gentiles by birth and called “uncircumcised” by those who call themselves “the circumcision” (which is done in the body by human hands)—remember that at that time you were separate from Christ, excluded from citizenship in Israel and foreigners to the covenants of the promise, without hope and without God in the world. But now in Christ Jesus you who once were far away have been brought near by the blood of Christ.”

We were once outside of the love of Christ—because we were in our sin. We were once outside of the covenant of Abraham because it was made with his line, to the Jews, and frankly, we’re all technically Gentiles. But Paul continues, “Consequently, you are no longer foreigners and strangers, but fellow citizens with God’s people and also members of his household, built on the foundation of the apostles and prophets, with Christ Jesus himself as the chief cornerstone.”

You were a stranger, but Jesus introduced you around.

You were an illegal alien, but Jesus gave you an eternal green card.

You were an alien, and Jesus kept Will Smith from phasing you with that thing that wipes out your memory.

You were a sinner, stuck in your selfish, arrogant, misguided, self-destructive behavior, and Jesus showed up and died on the cross for your sins.

The cross, the great equalizer. It’s like Jesus nailed to the cross hung there on Calvary and said, “Give me your tired, your poor, your huddled masses yearning to breathe free” or maybe it was, “all of you who are weary, come home.”

That’s the thing, isn’t it? We all want to find a home. Whether it’s the place to live that we call our own, or the place that’s safe to raise our kids, or the spot in someone’s heart where we finally know that we’re loved unconditionally, we yearn to be home. To be someone and mean something.

And Jesus shows up, just like God showed up in the life of Abram, and says, “you matter, you are loved, you are MINE.”

Some folks reading this don’t know that. They might’ve heard it before, but all of the stuff they’ve done or had done to them makes them think that they don’t really matter. Unfortunately, in a world where domestic violence and child abuse are daily entrees into the news, there are people here who can’t imagine that they would matter.

To those people I say, “believe it. You are loved by the great and powerful God of the universe.” And I will keep saying it until the day I die.

Other folks reading this don’t remember a time when they weren’t aware that they were loved. They have heard it so often or internalized it to the point where they have an understanding and they no longer worry about it anymore.

To those people I say, “remember when you were alone, held down by your sin or your isolation. If you’ve never felt that, imagine what it would be like to be there, unable to imagine that you could be free. Now channel that to be compassionate toward those who don’t know Jesus yet…”

I saw it summed up really well in one of those Facebook posts this week. Some of you saw it because I shared it.

Jesus says, “Love one another.”

A series of questions are asked: “What if they’re immigrants? What if they’re gay? What if they’re poor?”

It goes back to Jesus, and he asks, “Did I stutter?”

We make this way too complicated. I believe that the church will really be the church when no one worries about whether they matter or whether or not they’re included anymore. I believe the church will be the church when we’ve put down our preconceived ideas about who matters to God, who is saved, and what God is looking for, and recognizes that God loves everyone.

In a week, our District Superintendent is going to stand up here at Charge Conference and ask us as a church the three questions that Adam Hamilton said are most important to the church being the church (from his book Leading Beyond the Walls).

Why do people need Christ?

Why do people need the church?

Why do people need this church?

People have questions; Abram had questions. It’s in seeking the answers to the questions faithfully that Abram grew to be the man after God’s own heart, the one who would faithfully pick up and move, the one who would lead his people out of the known and into the unknown, into something better.

I hope today that you will faithfully wrestle with these questions– and that you will help the church be the answers. Remember when you were an alien and stranger; remember when you lived condemned by your sins.

If we can’t answer why a person would need Jesus or why a person would need church, or why a person would need this church then maybe we’re not doing church right, and we need to change.

Or maybe it’s just been so long since we considered those basic questions that we need to fall in love with Jesus, and with church, all over again. Maybe we need to get out from behind our computer, or (figuratively) out of our parents’ basement, or up from behind our pew, and be the church the way that Jesus did.

Take heart in the fact that he that lives in you has conquered sin and death and reigns eternal. We live in the now and in the not yet, like Abraham, having not quite made it to the eternal- having not yet been perfected– but recognizing that the God who spoke in visions also spoke through Jesus and speaks to us today, with a simple message:

“This is home.”

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Mike Yankoski’s The Sacred Year: Old Practices For A New Day (Book Review)

Using a framework of divine practices, centuries old yet ultimately vital to today and tomorrow, Yankoski moves through a series of chapters that are anecdotal and practical all at once. Reading the book IS hearing his story, but it’s also a method toward experiencing parts of your life you haven’t before. And it all started with a speaking engagement where the author saw something in someone else that reminded him of himself… and he didn’t like it.

The Sacred Year is the third book I’ve read this year encouraging me to slow down and enjoy the ride. Like the first two (Hands Free Mama and The Well-Played Life), The Sacred Year inclines me to think that the book reflects a growing discontent in our culture’s busy-ness, but also the moving and breathing of God’s spirit in my own life, seeking to catch my attention. As a pastor, I find myself pushing the boundaries of what it means to be fully available at work and at home- some people find this astonishing because I am doing ‘God’s work.’ But Yankoski’s book asks us if doing more actually makes us more blessed, if we’re not confusing what we do with who we are.

From “single tasking” to baking bread to Lectio Divina and daily examen, Yankoski explores methods you’ve heard of before, but sometimes might experience in a new way. For the longtime Christian or a new person to exploring faith and themselves, the Sacred Year allows us to consider how big the world is around us, how sacred our calling is, and how much more there is for us to experience— if we’d just slow down.

Having read the Sacred Year for review, I’ll admit a rarity: I’m highly tempted to buy the book for myself, to revisit and consider, to digest and meditate on, and finally, to put into practice these sacred methods that are as old as the Church. And which ultimately have been drawing people closer to God for years.

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