Cuties is the product of perverse people who are perverse consumers who drive a capitalistic structure to give us what we want.

If we are to truly invest in and bring about the common good, we need to find both the common and the good. Erin and Hannah discuss party lines in this episode of their For God and Country series.

And that’s real soul music. It assumes God is within the reality of life—all of your life. Dancing and dating are in the same universe as politics and poetry—this is all God’s world, anyways.

Kevin hosts guest critic Sarah Welch-Larson this week to review Charlie Kaufman’s latest brain-bender, “I’m Thinking of Ending Things.”

It took Sam Mendes making Skyfall and Spectre to give us a Bond to whom we could all relate.

COVID-19 has become our society’s most recent real-life monster.

Erin and Hannah talk about “Taking America back for God!” and the Christian nationalist perspective affecting our work for the common good.

In essence, “What are my rights?” is private and individual. “What do we owe one another?” is personal and communal. It’s to shift from “What do I deserve?” to “What is best for us?”

Christ and Pop Culture members receive a 30% discount on The Gospel in Dickens when they purchase from Plough.com.

Wade and Kevin take the plunge on the Disney+ exclusive Mulan and Brick, Rian Johnson’s 2006 film noire style debut.

A good world that begs—and begets—attention is on display in Gardeners’ World.

The deaths of young celebrities lead to collective shock and grief because of the unique roles performers hold in society.

Erin Straza and Hannah Anderson host Kaitlyn Schiess to kick off the fall series, For God and Country. Each episode will tackle an aspect of how faith and politics collide. PLUS >> Register to win a copy of Kaitlyn’s book!

We’ve forgotten (or refuse to see) that we are better because of our diversity, because we are a nation of immigrants, and because our collective experiences make us stronger.

Wade and Kevin review Bill and Ted Face the Music then balance out the frivolity with the somber neo-noir classic Chinatown.