The word ‘monster’ comes from the Latin for ‘to warn.’ The idea is that a monster suggests something amuck in the cosmic order.
Can science alone explain depraved criminal actions? Producers Robert and Michelle King examine big questions in their new show ‘Evil.’
The evils of slavery are too great to be fixed with cash. Forgiveness cannot be bought, and no number of government commissions will make things right.
‘This president has radicalized so many more people than ISIS ever did.’ ‘We’re going to see if this reign lasts for thirty days, or two years, or a thousand-year Reich.’
The point of ‘Halloween’ is that there is no point. The Shape is simply and purely evil. You can’t counsel it, medicate it, heal it, or kill it.
The universal hatred of human death is a unifying force. Let’s not use it to divide. Instead, let’s take some time to rejoice in common ground.
Taken at face value, the problem of evil appears to be a devastatingly convincing argument against the existence of the Christian God.
While we have a moment of unity in our feelings of disgust and judgment upon the Las Vegas murderer, let’s engage our minds to make that common ground last.
We should not listen to the foolish voices that surround us, begging us to despair or buck up. We have been called to Job’s journey.
We log hundreds of hours of couch time with heavy-handed romanticizing of sin and darkness. It’s bad for TV and for our souls.
A reasonable interpretation would be not that the terrorists believe in nothing, but rather that they believe, deeply and radically, in the affirmative commands of the Quran.
‘Legion’ has shown filmmakers and showrunners how to make a bad guy very, very good.
It is one of the core beliefs of western culture that a man’s worth is measured, not by what happens to him, but by how well he faces it. Milo Murphy embodies this idea.
The latest Mike Pence furor is not really a clash of political ideologies. It’s a clash of anthropologies, a clash of two incompatible worldviews about human nature.
Complex yet reverent, ‘Silence’ explores the meanings and dilemmas of the Christian faith, and decisively sets a new benchmark for religious films.
Insisting that people vote for the lesser evil is essentially saying the end justifies the means. And to abandon what we think is right is to throw standards of right and wrong in the trash.
Emma Cline’s ‘The Girls’ is a novel reminder that the moral legacy of the 1960s could be downright evil, and it still haunts us today.
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