ArteFact

Girls have always had dolls. These dolls were models of little girls. Playing with dolls, real girls would play at being mothers. That is, until Barbie: a doll that is simply a woman. In the opening scene of Greta Gerwig's Barbie (2023), Barbie appears (as a ninety-foot-tall Margot Robbie) and we watch as all the little girls smash their girl dolls on the ground. Upon seeing this, I thought to myself: this is abortion, this is contraception, this is independent womanhood opposed to motherhood: this is life (independence, self-standing) against death (separation, motherhood, letting be, being fruitful in another).

Last summer, Netflix released the fourth and penultimate season of the sci-fi horror drama Stranger Things to widespread rave reviews. Many fans saw this latest installment as a return to the exceptional storytelling of the show’s first season. For those of us with an interest in theology, it provided a compelling exploration of the age-old battle between good and evil that resonates with Catholic spirituality.

Reviews of HBO’s remake (2021) of Ingmar Bergman’s Scenes from a Marriage have been lukewarm. While heaping praise on Jessica Chastain and Oscar Isaac—whose chemistry as a couple can make even divorce seem enviable—critics have questioned whether the five-part miniseries, created and directed by Hagai Levi, really adds anything to our understanding of marriage in modern life.

Although the title of Peter Morgan’s The Crown suggests a story about the monarchy and politics, the driving force of the Netflix original series is marriage. And, considering how the latest season ended with the breakdown of the marriage of Prince Charles and Princess Diana of Wales, it is beneficial to explore the theme of marriage thus far in the series, in order to enter thoughtfully into the anticipated fifth season’s treatment of the subject this coming fall.

“Look, see a world that holds more wonders than any since the earth was born . . .”

So begins writer and director David Lowry’s The Green Knight (2021), an adaptation of the 14th century Arthurian legend, Sir Gawain and the Green Knight. This first line establishes the theme that animates the film: that our world is stranger than we can ever fathom, full of mystery and enchantment, and it is how we respond to this mystical order that occupies our lives.

Naoki Urasawa’s 74-episode anime series Monster (directed by Masayuki Kojima) provides a slow, graphic, confronting, blow-by-blow account of a person’s relationship with past, future, and others. In keeping with the title, the series provides a visceral portrayal of both the personification of monsters, and of how close a person—even one we consider “good”—can be to becoming a monster themselves.

Most anime offerings are shallow or crass, which makes the good ones stand out all the more. They not only provide magnificent artwork, storytelling and character development; they also give unexpected insights about the human condition, the virtues, and faith. Violet Evergarden, Taichi Ishidate’s quiet and beautifully animated adaption of the steampunk light novel series by Kana Akatsuki, does all of these.

A review of Denis Villeneuve's Arrival (2016).

By all normal “rules” of the world of television, a sitcom about the afterlife and moral philosophy should not have worked, but it did, not least because the writing is quick, clever, and smarter than most anything I’ve seen.

A Review of Trevor Jimenez’s Weekends.