Get ready for a theology nerd fiesta with Greg Boyd. Greg is the co-founder of Woodland Hills Church, where he currently serves as senior pastor, and the founder of Re|Knew. Greg is on talking about his new, two-volume book, The Crucifixion of the Warrior God. Over two volumes, Gregory A. Boyd argues that we must take seriously the full range of Scripture as inspired, including its violent depictions of God. At the same time, he affirms the absolute centrality of the crucified and risen Christ as the supreme revelation of God.
In this episode, Tripp and Greg talk about:
- how to understand the “violent God” of the Old Testament
- the revelation of God and the role the cross plays in it
- the role the warrior God passages played in the Roman empire
- the cosmic conflict narrative, where the cross is the final battle between God and cosmic powers
- plus, how we fit the demonic into our worldview today
Goodbye to the Scaramouch
In his total absence of dignity and decorum, his violence and his vulgarity, he was the emblem par excellence of the Trump White House. That reports of his wife filing for divorce surfaced during his brief apotheosis completed the picture. Fast-talking and fatuous, self-important and servile, he embodied the “commedia dell’arte” of Trump’s dysfunctional crew.
.. Sebastian Gorka, a deputy assistant to Trump, who recently told the BBC that, “The military is not a microcosm of civilian society. They are not there to reflect America. They are there to kill people and blow stuff up.”
.. The Scaramouch was just a stand-in for the president he professed to love. The real “braggart and poltroon” sits in the Oval Office.
.. What but some profound sense of inadequacy could explain the neediness and the nastiness, the pout and the pettiness, the vanity and the vulgarity, the anger and the aggression? This president gets off on the humiliation of others. He is inhabited by some deep violence to which self-control is a stranger. It is almost painful to watch the degree to which he pursues self-aggrandizement. He confounds masculinity with machismo. As J.K. Rowling put it in a tweet: “You tiny, tiny, tiny little man.”
.. The transgender decision .. was, in the words of Stephen Burbank, a professor at the University of Pennsylvania Law School, “an engine of malice.” It illustrated how, “In the realm of moral leadership, President Trump is leading a race to the bottom.”
.. The police department in Suffolk County also pushed back; it would not tolerate brutality.
.. But this is the president we have: turbulent, chaotic, boastful, cowardly and violent.
Acting DEA administrator says Trump ‘condoned police misconduct’ in remarks about handling suspects
The head of the Drug Enforcement Administration said in an email to staff members over the weekend that President Trump had “condoned police misconduct” in remarking to officers in Long Island that they need not protect suspects’ heads when loading them into police vehicles.
.. Cox said the group’s view is the president’s remark “wasn’t funny. We were not laughing.”
.. “Even if it’s an attempt at humor, it sends the wrong message,” said Darrel Stephens, a former Charlotte police chief and now executive director of the Major Cities Chiefs Association. “Officers are expected and almost always do act within a framework of their policies and procedures and within the law. … It’s not something that you should joke about.”
Is ‘Game of Thrones’ a Dystopia?
And so I snarked on Twitter that “the porn-y side of Game of Thrones helps keeps liberals deluded about why they like the show,” letting them tell themselves, “Oh, I like it because it’s deconstructing this patriarchal pre-modern world and showing how it’s sex and power all the way down.” But not so, liberals: “You like it because it lets you escape the flat dreariness of liberalism for a little while. Because deep down you want a king or queen.”
.. I think that dystopian exaggeration is in fact key to the show’s appeal to liberals in many ways. It lets you fantasize about the negation of your principles while simultaneously confirming their rightness. GoT presents a vision of a world in which illiberal instincts can be freely indulged, in which the id is constrained only by physical power. All the violent, nasty stuff liberal society (thankfully) won’t let us do, but that’s still seething in our lizard brains, gets acted out. And not just acted out — violence and brutality are the organizing principles on which the world is based.
.. the show chides you for harboring the very fantasies it helps you gratify. It wallows in their destructive consequences — makes that wallowing, in fact, simultaneous with the fulfillment of the fantasies. Will to power leads to suffering and chaos, which lead to more opportunities for the will to power to be acted upon, etc. This is a vastly more complex and interesting emotional appeal than “people secretly want kings.”
.. These shows invite liberal viewers into various illiberal or pre-liberal or just, I suppose, red-state worlds, which are more violent and sexist and id-driven than polite prestige-TV-viewing liberal society, and which offer viewers the kind of escapism that Phillips describes … in which there is a temporary attraction to being a mobster or hanging out with glamorous chainsmoking ’50s admen or leaving your put-upon suburban life behind and becoming Heisenberg the drug lord.
.. But then ultimately because these worlds are clearly wicked, dystopic or just reactionary white-male-bastions you can return in relief to the end of history, making Phillips’ “reconciliation with the existing order” after sojourning for a while in a more inegalitarian or will-to-power world.
.. But what the shows properly understood are doing isn’t a celebration of illiberalism; it’s an exploration of its attractions that ultimately confirms the liberal world and all its norms.
.. fundamentally “The Sopranos” was a story without any heroes, a tragedy in which the only moral compass (uncertain as Dr. Melfi’s arrow sometimes was) was supplied by an outsider
.. fantasy from Tolkien to the present (in both its fictional forms and role-playing varietals) partakes by its nature of romantic and reactionary themes, often scratching the same anti-modern itch as certain forms of far-right and New Age lefty politics — and perhaps the same monarchical itch as certain forms of Macron-esque centrism as well.
.. it’s a world in which the fabric of a feudal society gets rent and you root for a very particular set of noble families to regain their rightful place and help weave it back together
.. whatever their politics in this world, both the show’s bad fans and its good fans are rooting a queen or for a king.