My essay on marriage, intimacy, and getting past our cover stories as appeared on Rare.us, May 10, 2013
Articles and Reviews
My elegy for Clancy and the era of US global confidence his writing both captured and helped to create as appeared in USAToday, October 8, 2013.
My essay about Captain Elliott Nesse, personal drama, and capitalism as appeared on Rare.us, April 23, 2013.
My essay on baby-less marriage and popular storytelling as featured on the Evangelical Channel of Patheos.com on November 15, 2012
My book review of Richard Barnett’s book as appeared in The Washington Times, December 13, 2012.
My essay on how the church could be more Biblical and less defensive in its definition of family as published October 6, 2015 at ChristianityToday.com
How the new HBO murder-mystery series gets motherhood right.
The NBC comedy serves up an unusual take on the afterlife with a side of fro-yo, hold the religion.
The Netflix series focuses on the pressure around the monarch’s marriage.
originally published at ChristianityToday.com December 2, 2016
Both Mary Tyler Moore and Lena Dunham have been TV revolutionaries, but the elder path-breaker, despite being the embodiment of “Minnesota Nice” was probably more effective at moving culture in her direction.
The film Suburbicon begins with a shot of an opening storybook, a convention used at the start of classic fairytale films like Snow White and Cinderella. The kings of these castles, however, are mid-20th century, middle-aged white guys, and their kingdom is a splendorous landscape of freshly mowed lawns, freshly built homes, and freshly waxed sedans…
After seeing the new spy thriller, I still don’t know what a female action hero looks like
Originally published at christianitytoday.com, December 1, 2017. At 31 years old, Charles Dickens was already a novelist of international renown. He’d also hit upon a career slump—a string of three commercial flops—and needed to deliver a hit to escape mounting financial pressures. In the winter of 1843, the author struck on the idea of a…
Sofia Coppola’s Cannes winner is all about the inevitable gap between who we are and who we claim to be.