Every once in a while Christianity Today gets it in their minds to publish something.
Worse still, every so often I actually read what they publish, and then I get annoyed
when it turns out to be hogwash. I quite understand that Christianity Today is writing for the broader evangelical audience,
including (unfortunately) those more liberal elements, so I can’t really
complain when they publish things which I think very wrongminded. But it’s when
they publish something that is just plain silly that I start scratching my head
and wondering how the editors ever let this sort of thing in their magazine.
So, a couple weeks back, they published a piece in the
“her.meneutics” (not my doing, don’t blame me) section about the wildly popular
English Sci-Fi show Doctor Who. I
read it, mostly because I actually like Doctor
Who, but I was very disappointed by the article. Fast forward a bit, and I
was reading some Francis Shaeffer, when something he said reminded me of that
article, so I figured it was time to bust out the old ink and vellum, and here
we are.
If you were eagerly anticipating a post in which I
nerd out over Doctor Who, I’m afraid
this might not be fun for you.
I’m not going to argue that Christians can’t watch or
like Doctor Who. It’s fun, and funny,
and exciting, and clever, if sometimes downright corny. There are certainly worse
things on TV these days, and Doctor Who is
relatively benign. But, as with all art, it is the product of a certain
worldview and as such it is based on certain presuppositions. If a Christian
decides to watch it, fine, but he should do so knowing where the show's writers
are coming from, and he can then enjoy that which is fun, and dismiss that
which is heathen. What we mustn’t do is pretend that it espouses a Christian
worldview when it clearly doesn’t (and I say this as one who has given Charlie
Daniels’ Devil Went Down to Georgia a
rigorous treatment as theological allegory).
Here’s a quote from the article:
The concept of the show
involves Christian symbolism; the series reboot gets referred to as a
“resurrection” and each new Doctor an “incarnation.” As the central character,
he’s a mysterious and powerful hero who travels through space to earth (and
across the universe) to help and save . . . Theologian fans use the
Doctor’s stories to contextualize the gospel with small group studies on how
the sonic screwdriver is mightier than the sword or how we are both inside and
outside of time.
Right. Except it’s not Christian symbolism. These are
words which have relevance to Christianity, yes, but in context they are
completely divorced from any sort of Christian meaning. Implicit in this
paragraph is that the Doctor is portrayed almost as a type of Christ. Now, we
have such types in Scripture. Moses and David typify Christ. I will be so
generous as to assume that the author is not intending to reduce Christ to “a
mysterious and powerful hero who travels through space to earth (and across the
universe) to help and save.” I was going
to pass over the sonic screwdriver is
mightier than the sword bit, but it’s really bugging me, so I shan’t. “The
pen is mightier than the sword” is a phrase coined in 1839 by Edward Bulwer-Lytton for a stage-play, so
why exactly we’re adapting it to Doctor Who
and designing small group studies around it is frankly beyond me. If Solomon
had said it that would be one thing, but alas, he did not. As old Leonidas
would say, much to the point, elsewhere.
Also, we’re not “both inside and outside of time.” Like,
at all. We’re inside time. God is outside of time. God, the creator, is outside
of time, and we, the creation, are in time, where he placed us. Right? Right.
What do they teach in these schools!
The real problem here, however, is that the Doctor
personally, and the show generally, espouse a cosmology that is very un-Christian.
It is naturalistic in its presuppositions and existential in its philosophy. Far
from promoting Christian ideas, the thrust of the show’s philosophy is an
attempt to take a strictly naturalistic cosmology and somehow derive meaning
and value from it.
C.S. Lewis once gave a lecture called Is Theology Poetry? in which he
considered the argument that Christianity is merely poetic in the same way that
Greek or Norse mythology is, and that this is the attraction to it. In the
course of his argument, he also considers the poetic merit of evolutionary
naturalism, which he compares favorably to a good Elizabethan tragedy: against
all odds, life emerges from the primordial goo, against all odds it develops over
millions of years. We see the caveman, mastering fire, striving with the
elements and with beasts much stronger than he. We see the emergence of modern
man, using brain rather than brawn, subduing nature. But then, the universe
runs down, and man is powerless to stop it. After emerging the conqueror against
all odds, man finally succumbs, with everything else, to nature.
Lewis remarks that such a narrative deserves a better
treatment than it’s gotten. Doctor Who endeavors
to give it just such a treatment. Through the Doctor’s travels, we are shown the
beginnings of the universe, human history across the ages, great advanced
civilizations, and then, finally, the very end of the universe, as time itself
runs out, and the remnants of humanity struggle against the inevitable, seeking
to hold out as long as possible before everything breaks down and there is
nothing left except darkness and silence and nothingness.
Where do we find meaning in such a futile universe?
The nihilist rightly concludes that there can be none. But Doctor Who is crafted around the desire to snatch meaning from the
jaws of futility. How? In the chance of it all. In one season Seven episode,
the Doctor is trying to talk a young girl out of sacrificing her life, saying:
Hey, do you mind if I
tell you a story? One you might not have heard. All the elements in your body
were forged many, many millions of years ago in the heart of a far-away star
that exploded and died. That explosion scattered those elements across the
desolations of deep space. After so, so many millions of years these elements
came together to form new stars and new planets. And on and on it went. The
elements came together and burst apart forming shoes and ships and sealing wax
and cabbages and kings. Until, eventually, they came together to make you. You
are unique in the universe. There is only one Mary Galel and there will never
be another. Getting rid of that existence isn't a sacrifice, it is a waste!
Meaning is thus to be gleaned from the extraordinary
unlikelihood of existence, the temporary nature of life, and the uniqueness of
each person. The chance and futility of it all is part of the beauty. Indeed,
the writers of Doctor Who have done
an admirable job of making their cosmology seem attractive.
The problem is that Doctor Who is fantasy, and the sense of meaning propounded by its philosophy
is also fantasy. It lasts just about as long as the music continues to swell.
When credits roll and the orchestra clears out, so do the bubbly feelings.
Glorying in one’s random uniqueness is all well and good until one is actually standing
face to face with the real world, and finds that there is no screwdriver-wielding hero to
set things right. Such a random universe is, at its core, futile, and, as the
nihilist properly concludes, totally meaningless. “Let us eat and drink, for tomorrow
we die.”
Entre
Shaeffer. I’m going to quote him at length, but it’s well worth
reading the whole quote. If I could write like Shaeffer, I would, and then you
wouldn’t have to bother.
The two alternatives are
very clear cut. Either there is a personal beginning to everything or one has
what the impersonal throws us by chance out of the time sequence. The fact that
the second alternative may be veiled by connotation words makes no difference.
The words used by Eastern Pantheism; the new theological words such as Tilich’s
‘Ground of Being’; the secular shift from mass to energy or motion, all
eventually come back to the impersonal, plus time, plus chance. If this is really the only answer to man’s
personality, then personality is no more than an illusion, a kind of sick joke
which no amount of semantic juggling will alter. Only some form of mystic jump
will allow us to accept that personality comes from impersonality . . . No one
has presented an idea, let alone demonstrated it to be feasible, to explain how
the impersonal beginning, plus time, plus chance, can give personality. We are
distracted by a flourish of endless words, and lo, personality has appeared out
of a hat! This is the water rising above its source. No one in all the history of humanistic rationalistic
thought has found a solution. As a result, either the thinker must say man is
dead, because personality is a mirage; or else he must hang reason on a hook
outside the door and cross the threshold into the leap of faith which is the
new level of despair (The God Who is There, 88).
Got that? Doctor
Who presents us with a random, impersonal universe. This presents us with
the dilemma outlined by Schaeffer, and the Doctor’s solution is the latter
option, to ignore the fact that this system doesn't allow for meaning or rationality or personality, and to continue on as though it did. It is the philosophical equivalent of knocking back half a bottle of Smirnoff
and pretending your troubles don’t exist.
For the Christian, on the other hand, there is an
actual basis for meaning. There is an actual source for personality. The
Christian is not condemned to the futile exercise of attempting to squeeze
purpose out of randomness, for he worships a God of order. The Christian is not
subject to futility, for God works all things together for good.
My turn to tell a story. You may have heard it, but it
bears repeating: the Word became flesh and dwelt among us, and we have seen his glory, glory as of the only Son from the Father, full of grace and truth. (John bore witness about him, and cried out, “This was he of whom I said, ‘He who comes after me ranks before me, because he was before me.’”) For from his fullness we have all received, grace upon grace. For the law was given through Moses; grace and truth came through Jesus Christ.
Edward Bulwar-Lytton also contributed the line "It was a dark and stormy night" to English literature. He was almost Shakesperean. But not quite.
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