Spoiler Alert
Images: Paramount Television
I have not been as conflicted about a show as I am about the Netflix series, 13 Reasons Why, a series based on the novel “Thirteen Reasons Why” by Jay Asher which details the reasons a high school student comments suicide. Initially cast in the starring role, Selena Gomez championed the project as a co-producer.
Suicide is perhaps the most devastating event for a family and community. In addition to the grief over the sudden loss of a loved one or friend, there are also feelings of anger toward the deceased as well as guilt and tremendous self-examinations over “what I could have done.” Suicidal ideation is one of the most complex and difficult conditions to experience, treat and understand. The decision to end one’s life is usually the result of a blizzard of often competing emotions in response to life circumstances. Theses situations and resulting emotions can alter brain chemicals that lead to, or compounds the effects of depression which, over a period of time, leads to distorted perspectives of life and one’s situation.
The taking of one’s life is objectively illogical and the worst option available. However, subjectively, to someone who has borne the pain and weight of extended depression, and entered the tunnel where things that bring light to life and reasons to live have faded away, ending one’s life can be a logical action. People often say that the deceased had so much to live for. While this is true, to them, it wasn’t their experience was not that truth. Not only is there distortion regarding the reality of their life and the options available to them, persons who choose suicide often believe that those in their life will also be better off without them as the deceased will no longer be a burden. All of these factors are compounded for teenagers whose brains, and therefore emotions and impulse control, are not fully developed.
13 Reasons Why is a story in which a high school junior, Hannah Baker (Katherine Langford) has killed herself, but rather than leaving a note, she left tapes in which she detailed the reasons behind her suicide. The tapes depict the behavior of 11 classmates whose treatment of her resulted directly or indirectly in her becoming the object of shame and ridicule in her school. Two other tapes are for two persons whose inactions prevented her from pulling out of the tunnel in which she saw suicide as the only option to find relief from the pain she was experiencing.
In the story, each of the 13 persons is directed to listen to all the tapes and then pass them on to the next person on the list. The story begins with her friend, and on again off again object of her affection, Clay Jenson (Dylan Minnette) as he receives and begins listening to the tapes which are presented visually in flashback.
Producers of the program believe that the subject of teen suicide and many of the resulting triggers, bullying, peer, and family pressure are important subjects to present to teens, parents, and others. The devastation for Hannah’s parents, though present, is thought by many who are critical of the program to be understated. The heartbreak of Clay, who had hidden his true feelings for Hannah, is presented more effectively as he agonizingly listens to each tape. Some of the impact of the effects of Hannah’s suicide on others is lost in the overly dramatic presentation of the other persons on the tapes trying to conspire with one another to keep the reasons, and their involvement in the suicide secret. This portion of the series plays more like a mediocre detective show and takes away from the expressed desired effect of the program.
The program is more effective in informing parents, whose high school experience did not include the realities of cyber bullying, where there is no safe zone nor opportunities to escape the harassment and shame. Unlike the impact of rumors whispered from ear to ear, in the cyber age, unflattering photos, taken casually, with little or no knowledge of the victim, can be distributed to everyone in the victim ’s community and circle of friends and classmates in an instant. Today, one surreptitious snapshot is the basis for digital rumors, the evidence of which is easily retrieved, replayed, and kept in the forefront of thoughts and conversations in a school or other community for days, weeks or even years. Explicit subject matter and instant availability of cyber bullying can lead to predatory actions including sexual assault, two of which are presented in the series.
13 Reasons Why can offer teachable moments, when adults/parents and teens watch it together. Teens can experience a reality of the devastating impact suicide has on families and communities. Parents can experience the unrelenting social pressure to avoid becoming a target and subject of bullying, and the unimaginable difficulty it is to have a target removed. The program shows the all too common reality that, for many students, the chosen method of not having a target on yourself is to put one on someone else. Where there are these and other benefits of communal viewing , that the program is 13 episodes makes watching the program with youth difficult, something requiring intentionality and, one of the other things around which there is incessant pressure, time.
One area of conversation that could be engaged as a part of watching the program with youth or adults is the place of faith in living life. Resurrection hope and life is at the core of the Christian faith. While resurrection life includes the everlasting life in God’s Kingdom, it is something that is and should be a part of life here and now. Resurrection faith is that which helps one get through the valley moments in life. Belief that God raised Jesus from the dead and defeated the death of Good Friday offers persons of faith the Easter hope and assurance that God can help one overcome or endure the challenges of life here and now. If God could overcome death there is hope that even the most challenging periods of life can be endured and overcome. 
The resurrection demonstrates that in God transformation of life and circumstances are possible. Faith in God’s transforming grace and power can be a ray of light that cuts through the darkness that is depression and suicide ideation. This reality can be powerfully communicated when discussed in community or groups, and should be a part of a faith group’s viewing or discussion of the topics of the program. Parents and leaders should watch the entire series prior to deciding whether to watch with their youth or youth groups.
My primary concern about the series is for those teens who will watch the program in isolation and not have the benefit of sharing and processing with others. This concern would be for any program dealing with this topic. Teens that are in the midst of crisis, especially those who have distorted perceptions of their reality and have, or are at risk of developing suicidal thoughts, may misinterpret the actions of the characters and story plots and experience them as validation for their thoughts and perhaps plans. Offering to watch, or re-watch the program with teens who may watch, or already watched the program alone could be a way to help address such misperceptions.
One last observation. Hannah’s suicide depicted final episode. It is very graphic, and after spending 13 episodes getting to know Hannah, it is among the most difficult scenes I have viewed in some time. Netflix has signed for another season of 13 Reasons Why.
The suggested rating is TV-MA LSV, mature audiences for Language, Sexual situations, Violence. There are disclaimers for the episodes containing the graphic scenes.
If you or someone you know is considering suicide please call a local suicide hotline or call 800-273-8255
My thoughts on the Academy Awards Best Picture nominations. At the top of my list is Fences. I thought it was by far the strongest ensemble with two great performances by Denzel and Viola. It is a story that speaks to the degenerating power of anger and frustration and he restorative power of love, grace, and forgiveness. Director Denzel Washington effectively stages and shoots the film to have the intimate and connected feel of the stage play it was based on.
My second favorite was Lion. While I would have trimmed some from the second half, the first half was truly riveting. At times it was epic and vast, showing the Indian countryside and inner city of Calcutta, and at other times it was profoundly intimate. While Dev Patel gave a strong performance, Sunny Pawar, portraying the 5 year old Saroo who gets separated from his family by 1600 miles is one of the stronger child performance in recent years. The fact that it was a true story adds to the power and celebration of hope and love The film speaks to building awareness that 80,000 children in India go missing every year, most of whom end up in the sex trafficking industry.
the third film is Hacksaw Ridge, which shows that Mel Gibson is truly a skilled filmmaker. Yes it’s brutal, but it would be a disservice to portray combat in any other way. As with Lion, the fact that it was a true story adds to the poignancy of the film. Showing a man stand up for his faith and belief even in the hell that is war is humbling. It’s not quite up to Saving Private Ryan, but it is close.
Hell or High Water was an enjoyable and solidly written, directed, and acted film. It had the feel of a Coen brothers film with impressive cinema photography of west Texas via New Mexico. The dialogue was top-notch as were the performances of the down the line cast members. “What don’t you want?”
Manchester by the Sea took time in letting the story and plot unfold. Some might say too long, but it was effective. The point about not getting stuck in the mourning is important especially as it can be so difficult. Afflect’s subtle and minimalist performance, always a challenge to pull off, shows his wide range as an actor.
Arrival has solid performances by Amy Adams and Jeremy Renner. The story has interesting nuances regarding the importance of communication and an unexpected ending that speaks to the joy of living life even in the midst or prospects of loss and pain.
Moonlight has been described as symphonic in telling the story of a life in three chapters. There is power in the understated script and performances. There are certainly powerful and profound moments, but, as with Boyhood, those there was a lack of momentum carried throughout the vignettes resulting in a film where the sum of the parts did not add up to a spectacular whole.
Hidden Fences was a very good and profound story that did not translate into as profound and special film. While the three leads, Taraji Henson, Octavia Spencer, and Janelle Monae gave strong performances including Octavia’s Oscar nomination, the supporting cast did not provide the necessary intangibles to lift the film to the level of being something truly special.
Silence is based on the Shusaku Endo, 1966 historical novel of the same name. In the novel and film the main character is the Portuguese Jesuit missionary priest Fr. Sebastiao Rodrigues ( Andrew Garfield), a character Endo based on the 17th century Italian Jesuit missionary Giuseppe Chiara. Fr Rodrigues and another priest, Fr Francisco Garupe ( Adam Driver) insist to their superior Fr. Alessandro Valignano ( Cerian Hinds) they be allowed to travel to Japan to find their teacher and mentor Fr. Cristovao Ferreira (Liam Neeson) after they have received reports that after being tortured he committed apostasy during persecutions of Christians in Japan.
that of the surviving, “hidden Christians” living on the islands of Japan. Although the priests bring tangible reminders of God and the Church, crosses, Scripture, rosaries, and the Mass, in the eyes of the villagers they have brought God. The priests who wonder about God’s silence, are themselves God’s answering the prayers of the Japanese Christians. Yet even as they bring reminders of salvation in Christ, the priests, by their presence on any island or any village, bring danger to the Christians near them.
Viewing Silence is a humbling experience. One is humbled by the faith of those depicted on the screen who have suffered beyond measure. One is then humbled by the reminder of all the millions through the centuries who suffered and were martyred for their faith. I was humbled because prior to the screening I spoke with a clergy colleague and we discussed the challenges and difficulties of ministry today, where there is a rise in apathy and commitment within congregations and bureaucratic challenges and frustrations at the denominational level. Two minutes into the film, I felt shame at what I had just voiced. Were laity to watch the film, they may feel humbled at complaints and conversations they have had regarding worship wars, the color of carpeting, or not “being fed.”
Some viewers may choose not to attend because of the heaviness of the film. It is heavy and while few would describe the film as escapist, if viewed with keen eyes and an open mind and spirit, Silence offers the opportunity for true escape. For the majority of viewers, the film will allow them to escape their troubles with the realization that what they currently consider suffering is perhaps more an inconvenience or disappointment. And if one is truly suffering, there can be comfort in knowing they are not alone, now nor through the ages, in their struggles.
Persons of faith who choose not to see the film will miss an opportunity to reflect upon what faith, suffering and apostasy is, and what they are not. They will also miss out on the reminder that the times they step on Christ or reject God, there is grace to hold them and for them to hold on to. As the final scene in the film indicates; like faith, grace, even the size of a mustard seed, is all that is needed.
Troy shines the brightest light or casts the darkest shadow to every gathering and conversation. Troy is known for his gift of gab and storytelling as well as his passion for baseball. His good, and perhaps only friend Bono tells Troy he “has some Uncle Remus in him,” as he has the ability and seeming compulsion to mythologize and spin any life event or experience. While blessed with talent reserved for only the best of the best baseball players of his time, Troy had the misfortune of barely missing out on the integration of the major leagues. The result of this loss for Troy (and so many others black baseball stars who never made the majors) is that the game that defines his life no longer brings joy, but rather renewed resentment. Each season, if not every game in each season, when he sees much lesser players succeed he is reminded of what could have been as well as what should have been.
As Troy often says, the finest woman he knows is his wife Rose (Viola Davis) who requires all the strength of the “steel magnolia” she is so as to stand with, and when necessary, up to the force that is Troy. Because of her relationship with and proximity to Troy, Rose, more than anyone including Troy himself, must live out Maxson’s maxim for baseball, which provides Troy the setting and secrets to understanding life itself; “you got to take the crookeds with the straights.” When Troy is a “straight,” no one makes life more alive, and when he is a crooked, no one makes life more delicate or complicated. Throughout the film, Rose enjoys more “straights” as well as endures more “crookeds” than most persons would ever hope or expect.
Troy believes it is his “duty” as a father to prepare his younger son Cory for life in the same world in which he grew up. Even though the world in the mid-1950’s to early 1960’s, far from perfect, it had and was continuing to change from Troy’s world in the 1920’s to 1940’s. In addition to what could be considered emotional abuse toward his son and wife, Troy believes his life challenges have entitled him to selfish indulgences. Though he knows his action is a betrayal, he also believes he is owed something in life, and when offered, he accepts it without ambivalence.
On the other end of the spectrum of choices in response to life’s challenges are Rose’s choices. Rather than responding to pain and anger by inflicting pain onto others and living off anger, Rose responds with grace and hope. As with Troy, Rose has had challenges and disappointments in life. Rose has fears associated with living continually on the financial edge. She worries about the world her son is about to face on his own.Yet, Rose chooses to look and live for the positives and possibilities in people and situations. Even when betrayed and asked to do the unimaginable, Rose seeks to find and model grace so as to bring beauty even into ugly circumstances. Rose matches and exceeds the selfishness of Troy with a selflessness that brings light into the darkest shadow cast by her husband.
the manner and delivery of the dialogue, Fences has the feel of a play rather than a film which suits this material very well. August Wilson is indeed credited as the screenwriter as Denzel Washington used a screenplay Wilson had written before his death in 2005. The setting, script, staging and performances allow viewers to fully experience the transformational arcs of Troy, whose decline and weakness emerge from his demonstrations of strength, and Rose whose growth and strength are unveiled through her Kingdom living by grace and meekness.
One can describe Collateral Beauty as a film that is powerful cubed. It has powerful performances of a powerful subject that can have a powerful impact on viewers. Collateral Beauty is a film about profound loss, pain, and the restorative power of love. Viewers may have the temptation to skip the film so as not to be reminded of the pain that is a part of life. For some, it may take them back to a time and place of loss, or it may speak to those who, as of yet, have not experienced tragedy but realize and fear their vulnerability to being caught in its wake. For those who have been through the tunnel that is tragedy and come out on the other side, the film offers reminders of the struggle as well as the reality that wholeness can be achieved even in the most broken of situations. For those still in the tunnel, the film offers hope that though not the same, a new life with joy and happiness is possible.
Will Smith stars as Howard, a founder, and CEO of a successful advertising firm who suffers perhaps the most feared and painful loss imaginable. Set three years following his loss, Howard is paralyzed by his mourning and is in danger of now losing his business. In the years since his loss, his only contribution to his firm is his spending days and weeks setting up elaborate domino designs which he then knocks over with but a push. Howard has stopped building and maintaining relationships in a business built on his talent and magnetism. While initially patient, clients are now moving on to other firms and the only out is a buyout offered by a larger agency.
The only true connection to life Howard has is through his writing letters to those whom he believes are responsible for his pain, Love, Time, and Death. Howard’s friends and co-workers, Whit (Edward Norton,) Claire (Kate Winslet,) and Simon (Michael Pena) seek to reach Howard before it is too late by employing actors to personify these characters and connect with him so Howard can confront those whom he blames. The hope is that he will either snap out of his condition so he can close on the sale of his company or have him declared incompetent and be able to finish the buyout and avoid everyone losing everything.
After accepting the gig, Brigitte/Death (Helen Mirren,) Amy/Love (Keira Knightley,) and Raffi/Time (Jacob Latimor) read the letters Howard has written. After further debriefing from one of the friends, each approach Howard allowing him to confront them as well as hear from them about the full nature of the characters they are playing. As it turns out, Howard is not the only character who is experiencing trials of life. Because of some comedic moments and a broadening of focus, Collateral Beauty is not as intense, burdensome, or heavy as other films addressing loss. Will Smith’s 2006 The Pursuit of Happiness was much heavier and more difficult to watch.
relationships. Howard’s preoccupation with the domino structures is symbolic of his life. With one action, an entire chain reaction of collateral destruction occurs. For Howard, this chain reaction following his loss is now taking down his business and impacting the lives of everyone in his life and business.
Reversing the concept of collateral damage, damage or destruction that is beyond the intended target, is the complex idea that the film’s title and story lift up in a direct and powerful way. The idea that there can be beauty that comes out of loss and tragedy is central to Christian theology and experience of God. The Apostle Paul teaches the Christians in Rome that in all things God works for good for those who love God, and that nothing in all creation, not even death, has more power than the power of God to love and for that love to be experienced. The collateral damage of humanity not trusting and turning away from God as illustrated in the story of Adam and Eve was that all creation was impacted and separated from God by sin. The collateral beauty of that loss was the opportunity for God to demonstrate the unimaginable depth of God’s love for humanity and creation. The damage of the cross was the suffering and death of Jesus. The collateral beauty was the defeat of mortality, the offering, on an individual level, of forgiveness and reconciliation with God and life everlasting in God’s Kingdom.
Both Collins and Ehrenreich give impressive performances that range from vulnerable, wide-eyed young people who suddenly find themselves in the glamor, the hustle and bustle of Hollywood and working for Howard Hughes. Through the film, both characters change subtly as they experience firsthand the cost that comes with such glamor, and must decide whether they will pay it.
A second storyline is the famous eccentricity of Mr. Hughes. While it is not necessary for viewers to know the history of Howard Hughes, some familiarity with his story and his eventual becoming a recluse, helps follow and appreciate the film which is set in the 1950’s and 1960’s. Throughout the film, Hughes’s emotional state seems to falter as he thinks bankers and others are out to take TWA away from him by accusing him of being of unsound mind. The more Hughes seeks to avoid communicating with them, and making himself vulnerable to being judged incompetent, the greater the suspicions about him and the demands that he appear in public grow.
Warren Beatty is believable as Howard Hughes even though he is considerably younger than Hughes was during the film’s setting. Back is Beatty’s energetic and disarming delivery that seems to speak through other characters and to each audience member.
I spoke with Warren Beatty during a press junket in support of the release of 
chops on Broadway and had a critically acclaimed film, 
his respect for the institution of marriage. He would rather have not married then get married and then get divorced, as so many in his circle did. In short Warren Beatty waited until he knew it was time, and that 
ln the film, relationship is presented as a saving grace and avenue to a fulfilled life. If relationships are such, how can such an instrument of life and grace be denied persons seeking such? These were some of the questions Warren Beatty’s film brought to my mind after my viewing. I think he was surprised when I told him that, in addition to sharing with the audience the impact growing up in the Church had on him, he offered a surprisingly nuanced theological statement into the nature and purpose of God’s Law in light of, and at times in contrast to, Church teaching and expectations.
