“I believe six impossible things each day before breakfast,” says the post-modern, 19-year-old version of Alice in Wonderland in the 2010 Disney film produced by Tim Burton. Alice (Mia Wasikowska) is a champion who joins the current generation of young adults in questioning society’s expectations. “Who’s to say what’s normal?” she questions. “Corsets are codfish to me,” The inquisitive, open-minded protagonist journeys through the phantasmagorical Wonderland of her childhood, still remarking, “Curiouser and curiouser . . .”

This version of Alice in Wonderland explores the concept of reality, not as the antonym of illusion or dream, but as the state of mind that truly expresses one’s destiny. Alice seems to feel more alive in the mystical, absurd Wonderland than in the “real” world of high-society garden parties and restrictive corsets. During parts, the viewer is inclined to question the cultural expectations of today and consider more imaginative possibilities. Could it be that this world is truly a dream and there are other worlds on different levels of reality?

Further, the question of fate is brought up when the good creatures of Wonderland urge Alice to fulfill the predictions about her depicted in a scroll that contains their history. She indignantly protests, “But this is my dream! I choose the path,” Despite her will to choose her own adventure, Wonderlanders such as the Mad Hatter (Johnny Depp), TweedleDee and TweedleDum, the White Queen (Anne Hathaway), and others are counting on her to summon the inner strength to slay the dreaded Jabberwocky. The epic battle between good and evil must occur, and good must win.

But what is good? It may be best portrayed by the White Queen, who is beautiful, graceful, and an advocate for world peace. Despite heinous offenses by her evil sister, the Red Queen, she extends a kind hand on the battle line and pleads for reconciliation. But when the wicked ones demand war, the soldiers of the White Queen fight nobly for their cause. After evil is defeated, the good queen is yet merciful, declaring she “would not harm any living creature.” This statement may be reminiscent of the spiritualist Wiccan creed, “Harm none, and do as ye will.” The Red Queen is allowed to live, although she is banished and isolated. Every time the White Queen appears, she demonstrates inner tranquility, regardless of outer circumstances. She frequently holds her hands in a position of spiritualistic meditation and is once seen brewing a magic healing poultice for Alice’s wounded arm.

Another respected character is the blue caterpillar, Absalom. With few words and much mysterious smoke, the wise old creature encourages Alice to discover the strength that lies within and fulfill her destiny as the champion of Wonderland. Later, he is seen in a cocoon, tranquilly preparing for the next step. He explains that he will not die, but simply transform into another life form. The caterpillar may serve as a model who properly accepts reincarnation as a natural cycle of life.

The 2010 Alice in Wonderland often glorifies characters and propose ideas which resemble Pomo Spiritualism.  Western Spiritualism appears through finding inner peace and oneness with all creatures, and in transforming life forms rather than dying. Cruel individuals (e.g. “Off with his head!”) are depicted as villainous; so viewers clearly have a sense of right and wrong. Yet ideas about the uncertainty of truth and reality are in keeping with a post-modern perspective.

— Wendy

Firefly is a science-fiction/western that premiered on Fox in September of 2002. Despite gaining a cult following immediately, the show was cancelled by Fox after only 11 episodes to the outrage of many fans (myself included). The remaining filmed episodes were released on the DVD set. Despite many attempts by fans to get the series revived it never was. Fans did find consolation through the release of Serenity in 2005. Serenity picked up Firefly’s story line and wrapped up many loose ends that were never resolved in the series.

Ironically, it seems that the longer the show is “dead” it continues to gain a larger audience than when it was first aired. Thinkgeek.com continues to sell various Firefly memorabilia and in October of last year, three graphic novels were released that filled in plot gaps between the ending of the series and the release of the movie. Additionally, Firefly continues to show up in pop-culture with references to it in TV shows such as Family Guy, The Big Bang Theory, and Castle. Even as I write this, there is a strong grassroots movement by fans to raise millions of dollars to buy the right to Firefly in order to get the show back in production. Though the show has been “dead” for over a half-dozen years, it has never had a more dedicated and loving following.

The show takes place in a fictional future where the human race has expanded to planets and moons beyond Earth. Many of these planets are ruled by an interplanetary government known as the Alliance. Originally the Alliance only ruled a few core planets but later fought the Unification War as it sought to expand its rule to the remaining planets known as the outer worlds. The Alliance gained victory over an independent faction known as the Browncoats that wanted to outer worlds to remain free.

The show follows Captain Malcolm “Mal” Reynolds and his crew as they try to stay outside the reach and control of the Alliance on board his firefly class ship, Serenity (both the series and the movie derive their name from the ship). Mal prefers to steer clear of the Alliance not only because he enjoys his freedom but also because he fought as a sergeant for the Browncoats in the Unification War. He lost over 4000 soldiers in the bloodiest battle of the war fought in Serenity Valley. As a result of his avoidance of the Alliance, Mal and his crew are forced to find whatever work they can on the outer planets where the Alliance’s reach is weakest. More often than not they find work as smugglers, low-level thieves, and scavengers.

The show works within a mixture of post-modern and existentialist worldviews. This can be seen through the morals displayed by various characters. One of the crew members, Inara, is known as a companion. A companion is basically a prostitute, however, in this future world being a companion is one of the most respected jobs and Inara is the classiest person aboard the ship. Also, the Captain Mal and his crew regularly find themselves stealing, killing to protect themselves, and smuggling. In general, the crew does what they must to survive and hold on to freedom. This freedom is presented as the greatest value. Therefore, the only wrong or sin one can commit is to try and infringe on one’s freedom. This is why the Alliance is portrayed in such a negative light.

The show also has clear existentialist themes. This can be seen most clearly in two scenes involving a character named Shepherd Book. Shepherd Book is a traveling preacher who has decided to stay on Serenity for a while. The values and morals that he derives from the Bible often create conflict with other members. In one episode, River, a mentally damaged but brilliant girl is seen tearing out pages and writing in notes in an attempt to fix a book she see as broken and filled with contradictions. In response to River’s ideas the Shepherd states that it doesn’t matter if the Bible is correct or not, what is important is believing in something and letting that belief change you. In another scene from the movie, Shepherd book tells the Captain that it does not matter what one believes in, so long as they believe in it.

—Scott

C.S. Lewis’ beloved children’s books, The Chronicles of Narnia, have been embraced by Christian adults and children alike since they were published in the 1950s. These stories are known for communicating the principles and stories of the Bible in the context of a magical world with talking beasts. Lewis explained that through his books, he hoped to present the truths of the faith without having to go through the readers’ mental defenses that are so often raised against anything of religious nature.

“I thought I saw how stories of this kind could steal past a certain inhibition which had paralysed much of my own religion in childhood. Why did one find it so hard to feel as one was told one ought to feel about God or about the sufferings of Christ? I thought the chief reason was that one was told one ought to…. But supposing that by casting all these things into an imaginary world, stripping them of their stained-glass and Sunday school associations, one could make them for the first time appear in their real potency? Could one not thus steal past those watchful dragons? I thought one could.” - C.S. Lewis Of Other Worlds: Essays and Stories (1966).

Most would agree that Lewis accomplished this goal masterfully. In The Lion, the Witch, and the Wardrobe, Aslan’s innocent sacrifice on behalf of the traitor Edmund teaches the reader of the love and sacrifice that Christ displayed on the cross. In the reader’s awe of Aslan’s power and love, he or she has either discovered for the first time, or rediscovered, the character of Christ in a new and real way. Lewis does this in each of his seven books – captivate the reader with an engaging story and teach him or her more about God in the process.

So when Disney produced a full-length motion picture of The Lion, the Witch, and the Wardrobe in 2005, the Christian community was excited to see the message of Christ displayed on the big screen for the world to see. Faithful to the book, the movie portrayed Aslan’s death and return to life without major deviation.

The following two Narnia movies also include some Christian themes, although more subtle. In Prince Caspian (Disney, 2008), the characters learned the importance of trusting in Aslan, rather than themselves, even when they could not see him. And The Voyage of the Dawn Treader (Fox, 2010) ends with a powerful quote from the book, in which Aslan tells the human children that he will be with them in their own world, though called by a different name.

For Christian viewers, familiar with Lewis’s Christian message, these elements of the Narnia movies are recognized and appreciated. Yet the adaptation from book to movie has presented these themes in such a way that they are open to the interpretation of the viewer and his or her religious preferences.

Some of Aslan’s speeches can easily be interpreted from either a spiritualist perspective or a Christian one. In The Lion, the Witch, and the Wardrobe, Aslan tells Peter, “There is a deeper magic more powerful than any of us that rules over Narnia. It defines right from wrong, and governs all our destinies - yours and mine.” Christians would likely hear this statement and assume it to be speaking of God the Father. However, this greater power can also be identified as Mother Earth or a general “life force” behind all things. This ambiguity is common to all three Narnia movies. The lines are left open, so that the viewer can understand the spiritual elements to fit whatever brand of spirituality they personally hold to.

In addition to these lines, much more attention is given to spiritual forces of nature and dark magic than is given in the books. Unlike the book, in the movie The Lion, the Witch, and the Wardrobe, Aslan-following tree spirits play an integral role of carrying news of his death to Peter. These tree spirits return in Prince Caspian, along with "attack trees" and a bizarre river god altogether alien to Lewis’ Narnia, who together defeat Miraz’s army (there are two entire battle episodes that are also absent from the book). In The Voyage of the Dawn Treader, evil is represented by a mystical green mist that influences the character’s desires by preying on their temptations. The darker side of spiritualism or magic is also seen in Prince Caspian, when the dwarf Nickabrick urges Caspian to enlist the help of a werewolf and witch to gain aid from dark spirits (a scene described by Lewis, but sensationalized in the film). In these ways, the writers of the Narnia movies bring spiritual and mystical elements to the forefront of the plot to degrees far beyond what Lewis wrote in his books.

Andrew Adamson, the director of the first two Narnia movies, explained that spiritual openness was intended in the creation of the movies. He said, “Obviously C.S. Lewis was a Christian, but to me spirituality and religion are very personal issues and it’s really up to the audience, or the reader, to interpret it as they wish.”

Ironically, Liam Neelson who is the voice of Aslan, chooses not to view his character as an exclusive symbol of Christ. He says, “Aslan symbolizes a Christlike figure, but he also symbolizes for me Mohammed, Buddha and all the great spiritual leaders and prophets over the centuries.”

And producer Mark Johnson is quick to pint out that, “Resurrection exists in so many different religions in one form or another, so it's hardly exclusively Christian."

However, along with these intentional attempts to keep the Narnia films appealing to viewers of all faiths, there have also been incredible amounts of money and effort poured into receiving approval from Christian audiences and church leaders. Fox and Walden Media set up www.narniafaith.com, a website which has sermon outlines and ideas for church leaders, based on The Voyage of the Dawn Treader. All three movies have clearly been marketed specifically to the church, through websites like this as well as a companion CD featuring popular Christian musicians.

It seems, then, that the spiritual message of the Narnia movies really only serves one purpose for their creators – money. They are attempting to walk the fine line between appealing to Christians and not excluding other religions, so as to attract the widest audience possible. As is so familiar with Hollywood, money ultimately trumps the message.

—Sarah J

Julia Roberts stars in Eat, Pray, Love, a recent film about a woman in a mid-life crisis who journeys around the world in order to find her balance and identity. Completely centered on the main character, Elizabeth, the film opens with a depiction of her moderately successful writing career coupled with a mediocre and unfulfilling marriage. Her work brings her to an interview with a ninth generation medicine man across the world. With the great medicine men before her, she asks the question that most plagues her mind. She asks about her relationship with her husband. The following palm reading foretells that she will have a divorce, lose her money, travel the world, and come back to Bali. She is then encouraged by the medicine man to “look through your heart—that way you will know God, which is what you came for, yes?”

And so begins her journey to God through the means of self-discovery…

Upon returning to the states she realizes her complete misery and unhappiness. She then prays for the first time in her life to God and expresses how she is in serious trouble and doesn’t know what to do. God, represented by her own voice, then audibly tells her to go back to bed. It is there that she tells her husband that “I don’t want to be married.” Her own words dictate her destiny.

Later in a divorce settlement meeting she expresses with utter honesty, “I don’t want to live in unhappiness. You will find the person that will give you what you want.”

She then flies out of her marriage and into the arms of a young actor. This seemingly blissful affair last only a short while before discontent and unhappiness begin to creep in. She finds that another man does not satisfy her. “I don’t know how to be here,” she whispers from the floor of her bedroom to her young boyfriend. He responds frustrated, “You want to know to know how to be here—stop waiting for something.” This answer does not sit well with the distraught Elizabeth. Her heart is not at peace here.

And so she begins her journey around the world. As she journeys to Italy she tells a story of a poor man begging a statue every day “Please, please, please, let me win the lottery.” Finally after a long while the statue comes alive and responds, “Please, please, please, buy a ticket.” Elizabeth believes that her happiness is dependent on her actions and how she feels.

In Italy she learns “the sweetness of doing nothing.” She eats, drinks, laughs, and loves. She comes to the conclusion as she walks though the ruins of Italy that it is a terrible thing to settle for misery for fear of being completely destroyed. She concludes, “Ruin is the road to transformation.” She then writes an email to her ex-boyfriend expressing “both of us deserve to be happy—and not just staying together because we are afraid we’ll be destroyed if we don’t.” And so she continues on, leaving ruin behind her, and searching again for happiness and her true self.

In India she is confronted with a very different experience. She is faced with spending a great deal of time completing “selfless devotional work” as well as countless hours of meditation and chanting. Elizabeth is greatly frustrated and cannot seem to still her mind, and to surrender. She expresses to a friend that she has no connection with the Guru Gita. “Well then, pick someone you love. It’s all the same to her,” a friend suggests. She then focuses on forgiving others and wishing happiness for her friends. It is when she has conquered herself and achieved victory in this area of the mind that she has an epiphany. As an elephant walks up to her in a mystical-like experience that she concludes, “It is not about performance. God dwells within me as me.”

With this in mind, she travels back to Bali to visit the medicine man. It is there that the medicine man continues to teach her. “In order to be happy, you have to know where you (mentally) are all the time.” She struggles in this place with letting her heart go. She meets a man who is in a similar place in life but struggles to commit to him. She comes to some conclusions and decides, “Balance is not letting anyone love you less than you love yourself.” When faced with a moment of sheer frustration she shouts at her lover “I don't have to love you to love myself.”

In the end, the medicine man is pleased with the growth that he has seen in Elizabeth. She has learned to meditate, “smile with her liver,” and love. At the conclusion of the movie Elizabeth explains her discovery of the physics of the quest. She concludes that if you are brave, ready to leave behind everything, set out on a journey, regard everything that happens as a clue, accept others as teachers, be ready to face and forgive yourself, that truth will not be withheld from you. Truth is found within.

What is interesting about this film is how much these themes of discontent, doing what makes you happy, finding truth within, being your own god etc. are prevalent within our culture. And yet despite these culturally esteemed values this movie received terrible reviews. Many were repulsed by the selfishness of Elizabeth’s character. Many were astounded that her world was so small that the only thing she could think about was her unhappiness. And yet it is these strong messages that we as human beings are bombarded with in our culture today.

Themes of western spiritualism run through this entire film. This is noticed not only in the specific settings of Elizabeth’s travels (India and the Guru Gita & Bali and Hinduism), but also in the conclusions that Elizabeth comes to in the movie. Elizabeth’s journey begins with her listening to herself “Go to bed, Liz,” and ends with realizing that she is her own god. And yet, strangely, we as a people are dissatisfied with the movie as a whole. We hate the selfishness. We hate the pain that others felt because of one woman’s search for happiness. Do we as humans really want a world where the only god is myself?

—Meghan

Recently I watched Inception with a couple friends. I was somewhat intimidated from the start; I had heard that the movie often left viewers confused and somewhat troubled. Sure enough, the rumors proved to be true. My mind was reeling by the time the credits began to play and I wasn’t sure if my overall impression was more one of pleasure or befuddlement. Needless to say, Inception stretches the mind and plays with our ideas of reality and the very essence of existence. Is all of life a dream? Is our sense of reality merely a façade hiding the truth of an uncertain and unpredictable world?

Christopher Nolan raises these questions in his thought-provoking movie starring Leonardo DiCaprio, Joseph Gordon-Levitt and Ellen Page. Since its release in 2010 audiences have flocked to theatres, inviting the questions and challenges that Inception raises. Like most controversial and disconcerting stories, this drama draws viewers to the edge of their seats and leaves them pondering the hidden ideas that are imbedded in the troubling plot.

Dom Cobb (DiCaprio) is in essence a spy and a thief, though his methods of espionage are somewhat alternative. With the use of cutting edge science and technology Cobb and his comrades enter into the minds of their victims through their dreams. Once there, they search for a hidden and protected safe containing the secrets and deepest thoughts of the dreamer. These they remove, extracting any ideas that might be useful for their own purposes. Although this practice of extraction is complicated and seemingly impossible, there is one thing that is even more difficult: inception. This involves implanting an idea in the mind rather than extracting one, and it is only out of desperation to be reunited with his family that Cobb agrees to attempt to achieve it.

As the plot unfolds and Cobb strives to plant an idea in the dreaming mind of Robert Fischer (Cillian Murphy), a strange and somewhat twisted motif becomes evident in Nolan’s plot. As the movie progresses we find ourselves questioning everything and wondering what is real and what is dream. The idea that what we consider to be sure could in actuality be a mere illusion, and that nothing can be relied upon or counted as certain reflects the postmodern worldview. The human mind is no longer respected but is accessible to all, to be plundered and robbed; life itself has lost its value, its purpose and even its reality. The closing scene of the movie indicates an existentialist perspective as Cobb places his spinning top (an indicator of whether he is dreaming or not) on the table and walks away without waiting to find out whether or not he dwells in reality. It doesn’t seem to matter or be relevant to him in what state he exists, he gives up the struggle to escape from his dreams and simply makes a choice concerning his own reality, regardless of whether it is dream or truth.

—Tamara

Glee is currently one of the most popular shows on the Fox network, and the influence of the show is affecting much of the teenage culture in America. Glee appeals to many different types of individuals, both the “popular” and the “unpopular.” In fact, supporters of the show often refer to themselves as “Gleeks.” The characters in the Glee club are portrayed as being the unpopular students and yet they still do what they love without feeling like they have to change who they are in order to fit in. The message for standing up against peer pressure and just being yourself is quite commendable. In the past year and a half, Glee has won a handful of major awards, and the show is gaining a reputation for breaking established stereotypes and prejudices. The positive diversity messages of the show are far-reaching, and it has done much to break down discrimination and intolerance. Glee has an actress with Down Syndrome on the cast, and they have replaced the word handicap with “handi”capable.

One of the student characters on the show, Kurt, is openly gay. Much of the storyline follows his struggles and there is much sympathy aimed at him. Kurt is also recognized for being the most responsible, caring, kind, open, and self-controlled Glee club member on the show. At the most recent Golden Globe awards, Chris Colfer, the actor who plays Kurt, won best supporting actor.

In determining the worldview of Glee, it is important to note that all religions and belief systems are given credence and are openly talked about on the show. However, after a season and a half on the air, atheism is the overarching viewpoint. Mr. Schuster, the Glee teacher, and Kurt, are both atheists. However, they respect others for having different viewpoints, and the writers make a point to show that this respect makes them very moral people, regardless of whether or not they believe in a higher power. We are all good people deep down and this is shown through how we treat others. There is also a Christian character on the show named Quinn. She is considered to be very conservative and is the president of the celibacy club. Early in the first season she becomes pregnant from a one-night stand, and when her parents find out they kick her out of the house and father refuses to acknowledge her existence. This picture of a conservative Christian family is not positive at all.

In the second-season episode “Grilled Cheesus,” the worldview of the characters are most clearly shown. Kurt, who was mentioned earlier, has two rather deep comments. In the first he says, “I appreciate your thoughts, but I don't want your prayers” when speaking towards his classmates. The second comment hits even deeper into the reasons why he doesn’t believe in God. He says, “God makes me gay and then makes His followers go around saying it's a choice, as if I'd choose to be mocked every day of my life.” In the same episode, Sue, the cheerleading coach, makes a comment about believing in God, “asking someone to believe in a fantasy, no matter how comforting, is cruel.” This episode is very definitive in its final message and solidifies Glee’s status as an atheistic show.

—Ellen

            Behind cool government labs and sneaky cover-ups, the British government hides the biggest secret in human history: dinosaurs are back. Created by Adrian Hodges and Tim Haines (creators of the Walking With Prehistoric Life documentary series), Primeval uses high-end CG effects to bring the prehistoric past to life. The British series launched in 2007 and went on to gain an international audience. Primeval’s fourth season aired in 2011 on ITV, BBC America, and SyFy.

When paleontology professor Nick Cutter discovers an anomaly linking present day with prehistoric eras, the opportunities for scientific discovery abound. But these mysterious, sporadic anomalies also let in dangerous extinct creatures. By stepping into the present, these creatures – a few evolutionary steps behind interspecies tolerance – not only mess up the natural evolutionary order, but also eat whomever they can find. Cutter joins a team of scientists and government officials who set out to return wayward prehistorics (preferably before anyone gets eaten) and discover the secrets behind the anomalies.

Primeval is mostly about people running away from dinosaurs. However, the characters sometimes stop running and discuss deeper questions. The series portrays multiple aspects of atheism. Cutter clearly advocates naturalism, believing that the anomalies must be stopped before they can irreparably damage the natural evolutionary order. Another character takes a relativistic stance, asking if anyone can tell what the natural order is anymore. The show never answers their questions, but it subtly sides with Cutter. Episodes focus on restoring the evolutionary balance and humanity’s survival by being smarter and more evolved than other species.

Besides unquestionably accepting a Darwinian view of the universe, Primeval contains strong naturalistic streaks. All the characters are atheistic; Spirituality or the supernatural is so outside the “natural order” that it isn’t even considered. Nature or evolution is the only guiding force, and survival of the fittest is a central theme. Interestingly, the dinosaurs’ hapless victims are usually the unlikable, greedy, or socially unfit.

Primeval also displays postmodern elements. The show often has a snarky, irreverent view toward prehistoric attacks and situations in general. In several episodes, the team journeys through an anomaly to a bleak, post-apocalyptic future where a highly-evolved species has destroyed the human race. While Cutter accepts this as evolution’s natural course – saying evolution can’t be bent to human will; however, his estranged wife, Helen, says they can change evolution and must because nature doesn’t care about them. Eventually, Helen decides humans are ruining nature and tries to prevent humans from evolving. However, characters usually stay hopeful and positive, believing they can figure out the anomalies and preserve prehistoric life.

Although Primeval dabbles with postmodern relativism and despair, the show clearly presents a naturalistic worldview. Primeval suggests humans are the fittest and will progress, as long as they stay one step ahead of the dinosaurs.

—Alaina

Country Strong is a drama that is centered on the fallen career of music star Kelly Canter (Gweneth Paltrow) compared of the rising country-music songwriter Beau Hutton. Beau and Kelly's career show what was and what is about to come. The audience follows Kelly Canter in her destructive path with her alcoholism and Beau's futile efforts to try and save her.  The movie starts out hopeful, Kelly is released from rehab a month early to begin her comeback tour. Before her first performance she ends up in her dressing room closet drunk and wallowing. A few months prior she has fallen off the music stage drunk, she was five months pregnant and she ended up killing the baby. The guilt of her addiction and the effect it has had on her husband and their unborn child leaves Kelly incapable of getting over her addiction. At the end of the movie before Kelly's last and only successful performance on stage Beau tells her that she can't live with both love and fame, she has to choose. Kelly makes her choice and gives the best performance of her life, and at the end commits suicide in her dressing room. Kelly chose fame, and in her suicide note to Beau told him to choose love. Beau makes this choice of love and moves to California giving up his fame to work on a farm. The movie ends with Beau and the love of his life, rising country-music star Chiles Stanton, in love and singing music in a bar. Their concept of happiness was to be together, doing what they love, away from fame.

            Fame in Country Strong is depicted as the worse type of demon, the kind that causes you to ruin yourself. Kelly couldn't handle the pressures of fame, her career and herself became her love. She made the sacrifice of her life because she couldn't handle who she had become, and in hopes that Beau wouldn't make the same mistake. By committing suicide she almost forces Beau to make the choice of love. It is a story about following you heart, not your ambitions. It is a simple but postmodern story of choices, it is either or. The concept of being yourself and being famous isn't even an option. Either you choose to follow your heart or to follow others. A postmodern allusion to Christ in sacrifice and choice, only this time his image is depicted in the broken heart of a drunken country-music star.

—Heather

(1)

Another world. Breathtaking landscapes, iridescent color, a new culture and people; a place unspoiled by man’s destructive influence and greed. Welcome to Pandora, a planet designed by three-time Oscar winner James Cameron and celebrated by audiences worldwide. With his recent release, Avatar, Cameron has captured the hearts of viewers and left them pining for a way of life that is not only unreal but also deeply misguided.

To begin with, Avatar’s portrayal of our world is harsh and unflattering. Although it is true that our modern culture is often selfish and depraved, Cameron intentionally strips all the light from society and paints a picture that is cold, rigid, and unfeeling. He does this in order to provide a sharp contrast to the vibrant, pulsing, wild and colorful world (in 3D no less) of Pandora and to bring to our attention the beauty and innocence of the Na’vi people when compared with our own cynical and disrespectful race.

Our protagonist Jake rolls onto Pandora in a wheelchair and is welcomed by mocking soldiers, towering robots and a bleak, gray landscape. In fact, every scene is virtually colorless until Jake steps outside in his avatar body for the first time. His exuberance is contagious as he begins to run, unsteadily at first, overwhelmed with excitement at the strength in his legs and overjoyed with his sudden escape into freedom. Grace Augustine hands him a plump fruit which he bites into with abandon as juice trickles down his chin. All this is contrasted with the cold atmosphere of the human world where heartless individuals relentlessly seek after Unobtainium, regardless of the harm they cause to the Na’vi in the process. In fact, in one of the most striking scenes of the film, Colonel Quarich sips his coffee in a carefree manner while his pilot drops explosives and destroys the Na’vi home.

There is a purpose behind Cameron’s decision to portray our world in this way. He artfully includes a blatant western spiritualist message that is overpowering at times, though always alluring. The Na’vi are deeply spiritual, worshipping Eywa and at one with the world, connected to all that breathes and aware of the ebb and flow of energy around them. This seems to be the source of their profound yet simple peace and strength. In contrast, humanity is seen as bitter, cynical, greedily opportunistic, and heartless, striving after fulfillment but never really attaining it. Cameron seeks to open our eyes to mankind’s need for a higher purpose in life by allowing us to walk alongside Jake as he is slowly changed and awakened by the beliefs of the Na’vi people. As he discovers his new strength and vitality Jake becomes less impressed by our world and eventually fully commits to the Na’vi tribe and leaves behind his crippled body and mind. The closing scene of the film leaves us wishing we could do the same, shedding the mindset and surroundings of our hurting world and exchanging them for the free, simple, and peacefully unhindered life offered on Pandora.

Sadly, this transition is not possible. Nevertheless, audiences are left pining for a more enhanced spiritual and physical life, utterly disenchanted with the world around them. This was Cameron’s purpose. Avatar’s message is designed to shake us out of our culture’s self-infatuation and greed and to make us revere and even worship the natural world around us instead.

In the closing scenes of the movie the (human) “aliens” return to their “dying world” (earth). And we are left with a choice. Will we follow? Or will we join the Na’vi in seeking a higher spiritual reality in our surroundings, embracing the spiritualist view that our essence and purpose can be found in the worship of the earth around us?

—Tamara

Avatar (2)

(Hidden Messages)

After only being in theaters less than two months Avatar got the attention of over 200 million people. Avatar is a movie set in the future about two worlds colliding. A corporation tries to mine a rare mineral on the planet and ends up clashing with the peace-loving natives there.

The story is like that of Dances with Wolves and Pocahontas,except instead of First Nation people there are 7-foot tall, blue-skinned people-like beings called the Na'vi. Even with a predictable plot, there is much more behind the meaning than what meets the eye. Movies are made with a point in mind. There are many different messages portrayed in this movie.

First, the message of anti-technology is shown in this film. Some accuse the movie itself of being highly anti-technology. However, only part of the humans, which include the big corporate and military people wanted to use technology for their selfish gains. The scientists, on the other hand, wanted to use technology to get to know the indigenous inhabitants. (And of course, the film itself incorporates state-of-the-art cinematic technology.)

Secondly, the movie contrasts two different cultures. It contains a “retrospective condemnation of the ‘white man’s’ treatment of North American First Nations people” in its plotline. The corporation and military behave in ways comparable to the Europeans’ reactions when they encountered the new world; all they really cared about was for their own greedy land-grabbing, not in making peaceful, cooperative relationships with the indigenous people. Some critics further assert that the movie attempts to “reflect the cruelness of western.” The movie is especially critical of the corporate and military branches of western society. The director “only condemns a destructive culture which has made people becoming ignorant by losing the respect for what is beauty, what is sacred and even what is a peaceful life.”

This leads to a third message portrayed in this movie, that of western spiritualism. Accordingly, all living things in nature are connected and those that take advantage of nature will be destroyed. Even the meanings of some of the names reflect the spiritual worldview of this movie. For example, avatar are “divine beings who view the sacredness of all life and the soul of all beings as eternal - meant for freedom and made of divine essence,” The Indian term for avatar means “one who comes to open the way for humanity to a higher consciousness.” In popular Hinduism and some modern cults people worship “avatars,” i.e. “one who descends” (incarnated) or “manifestations (literally ‘descendents’) of god that periodically intervene to fight evil and ensure that the universe functions in accordance with dharma.”

The movie Avatar picks up on some of these Hindu elements, which believes in the essential unity of all reality including people, animals, and plants. There are many similarities with Hindu teachings, symbols and concepts and the movie Avatar. The main belief of Hinduism is that there is a single energy source which is thought to be god or Brahman. All living and non-living things result from this source. This is like the Na’vi who believe they are connected with the energy source of all things. The Na’vi believe in a benevolent goddess called Eywa who is their guiding force and deity of Pandora. This is very similar to the way pagans view Gaia and the way some believe we are connected through the mother god. The movie shows a strong connection between the tree and the people through the holding of hands.

Some of the characters also have names that sound Indian or Hindu like Ikran and Neytri which in Hindi sounds similar to 'netri,' meaning 'eyes. Another association between the movie and Hinduism is the chanting of mantras which are “symbolic sounds causing internal vibration which helps to concentrate the mind and aids self-realization.” This is very similar to what the Na’vi were doing in their worship and calling on their goddess. It is believed that chanting a specific phrase helped to liberate or set free, as Hinduism and Buddhism believe.

Another striking aspect is the use of the color blue. In the book Introduction to World Religions, the photographs depict many Hindu gods in blue. A site online said that “blue is the color of the infinite and symbolizes immeasurable and all pervading reality – formless Brahman.” Another concept found in Hindu Puranas is Parakaya Pravesham, which is the belief in leaving one’s body for a time and entering another person’s body. Besides being the premise behind the entire movie with Jake living out his life vicariously through his avatar, this also happens when the tribe tries transfer the body of the female scientist, Grace, into a Na’vi body. Later Jake does the same thing towards the end of the movie.

There is also a “born again" theme, which is done for boys in India and is considered as second birth, which is brought out when the Na’vi have Jake do a certain ritual truly to earn his place among the people. I believe this movie speaks very much to the western spiritualism worldview and is very appealing and popular in our western culture today when so many people are in search of peace and harmony. In an article published in Science Fiction called “Avatar: Unveiling Its Stunning Hidden Messages,” Chan Lee Peng writes, “No matter how people think negatively about Avatar, I see Avatar differently as it carries positive and strong messages to the world. Interestingly, Avatar has touched the sensitivity side of life in terms of destruction versus healing, war versus peace, simple versus complexity, isolation versus connection, good versus evil and balance versus imbalance.”

—Jaime

Avatar (3)

Effects on Culture

Avatar is a live-action movie, intensified when watched in 3D. It is vividly lifelike with its amazing visual effects. The director even said in an interview, “my challenge as director is to make it as real as possible for them. And their challenge as an actor is to imbed it with a sense of emotional veracity.” He did exceptional job! Many people want movies to come alive—maybe that is why 3D is so popular. But with a make-believe world that seems so lifelike and live-able, many people are leave the theater jolted back to reality. I read online that “Movie-goers have admitted being plagued by depression and suicidal thoughts at not being able to visit the planet Pandora.” This depression has been labeled the “Avatar Blues.” I also read that “fans have flooded the internet with confused feelings. On the site Avatar Forums, the topic ‘Ways to cope with the depression of the dream of Pandora being intangible’ has more than 1,000 posts.” One user wrote, “when I woke up this morning after watching Avatar for the first time yesterday, the world seemed grey. It just seems so meaningless.” Another person said, “I still don’t really see any reason to keep doing things at all. I live in a dying world.” In the movie, Earth’s resources have been depleting and Earth is dying. Pandora, on the other hand, is a new, beautiful, exotic planet inhabited by blue aliens. Viewers are drawn into this fantasy world, with its strange yet beautiful plants and creatures, yet at the end they are left back in their theater seats with the make-believe world vanishing in front of them as the movie credits roll. Mike Stoklasa, is an independent filmmaker of the movie production company RedLetterMedia in Milwaukee, commented that the director made a “really effective film that really pulls on the audience’s heart strings, using almost every trick in the book. People even want to be commit suicide to be reincarnated as a Nav’i.”

The 3D aspect of this movie makes this fantasy world more enticing and appealing. It transports the viewer onto the planet itself. However once the moviegoer takes off the 3D glasses there is a disconnection. It is like that for some girls who watch a Romance movie and escape to that fantasy world but then are hit with reality when it is over and are sad because that life isn’t or can’t come true. Many say they are depressed after watching movies but people are forced to look at that unrealistic life and revaluate what is important in life. One psychologist said a lot of these people who are depressed over Avatar are lonely to begin with, so seeing Avatar touches elements of their depression, seeking to a community of other people who feel the same way. This depression is a widespread phenomenon, with thousands of posts on one fan forum. People are sucked into this “perfect” world and don’t see how manipulative and simple the story really is. The bad guys are made out to be less then human with little depth so the viewer will build up dislike or even hatred for them. It was ironic that real scientists were actually involved in helping to design the Navi’ to make them more appealing and perfect to the viewers. The Na’vi are presented as peaceful people who are beautiful, though almost fatally-naïve about their intruders. They were designed with Disney eyes because they are more inviting, show honesty and vulnerability and they also mix in an animal element like a nose similar to a cat’s or dog’s because people are drawn to those creatures and they represent innocence. The world of Pandora is embellished with vibrant colors and contrast and exotic creatures and plants. By contrast, the earthling military appears to be dull, lifeless, cold, and profane. It strategically draws audiences to long for the world that isn’t, desiring to trade their earthly experience with a magical existence in Pandora. We know from Greek mythology the dangers that are posed by Pandora and her magical box. The message of this movie may also be similarly enticing yet deceiving!

—Jaime

©2005-

Since its introduction in 2005, NBC’s The Office has soared to public and critical popularity and altered America’s expectations of primetime TV and the comedic genre. On a deeper level it has struck a chord with the postmodern, even post-postmodern, bent of today’s society, especially its young professional demographic. In this review, I will overview the show, discussing its introduction and premise and conclude with my perspective on its impact upon modern culture and thought.

The Office falls into a production style commonly referred to as a “mockumentary” meaning it poses as a real-life documentary but in actuality is entirely scripted and acted. This style is not unprecedented – movies such as This Is Spinal Tap used the style to great success several decades ago – but has never been used in a primetime sitcom.

From a philosophical/cultural point of view it is, perhaps, most interesting to look at the show as the successor of the reality TV phase (craze). In the last ten years primetime TV has experienced a significant shift from sitcoms – such as Friends and Seinfeld to reality shows such as Who Wants To Be a Millionaire? and Survivor. The public was fascinated by reality shows, suddenly able to relate to the characters on the screen as fellow “normal” people. But it has become apparent that simply placing regular people in situations – however extraordinary – doesn’t consistently provide great plotlines and hilarious interactions. Real life people just weren’t capable of the humor and wittiness we demand every night from 7 pm to 10 pm prime time.

Enter The Office onto the scene. Although inspired by the BBC show of the same name, NBC’s version is sufficiently original in its characters and scripting to be considered its own show; free of any accusations of imitation. The Office succeeds where a real documentary never could. The characters on the show are so perfectly created and cast and the humor so wholly driven by personalities that even within the most mundane of contexts – a paper supply company – it provides a consistently fresh, engaging product. In fact The Office’s success is most apparent in the fact that its target audience is also the most jaded and cynical one – America’s young professionals.

An example of the show’s remarkable brand of humor is the running use of personal interviews. Every episode features the taped insights of various characters, which typically amount to monologues rehashing the day’s events. These interviews are free of any scripted jokes, gags, or punch lines; they are simply the “candid” observations of “normal” people. But the result, due to the familiarity of the characters and the potency and uniqueness of their personalities, is, in my opinion, some of the most hilarious moments ever offered by a TV sitcom.

In terms of evaluating its world-story, viewers are left after episode wondering, “now what was that about?” It’s stories offer no “message,” no social commentary, no subtext point, much like the earlier sitcom Seinfeld. It feels like there is ever any real point to what happens. And in fact, that’s the point. The point is that there is no point—no point to the episode, no point to the series. In fact, it’s just like the way all of our ordinary lives are lived out: there is no overarching point. Activity and characters and stuff that randomly happens is not only the makeup of the show itself, but reflects the writers’ view of how life is. As such, it would be best described as simply postmodern. Belief in God is neither encouraged nor discouraged—each individual gets to choose whatever, none is better, none is worse, and it’s entirely up to each individual to cope with the randomness of life and lack of direction.

In conclusion, the most fascinating element of The Office is not its plotlines, characters, or values; it is it place in the progression/evolution of America’s primetime sitcoms. America demands humor; and we demand new, funnier humor every television season. When America wanted reality – it got reality TV. America wanted funnier reality – it got The Office. What’s next I wonder? A fake mockumentary?

—Zac