Articles by Geoffrey Reiter

In Avengers: Endgame, we see in Nebula one of the most poignant depictions of the transformative power of self-sacrificial love.

In CAPC Jr., significant children in the lives of our writers pass on their own unique insights into some of their favorite cultural artifacts.

For Algernon Blackwood, the natural world is not just natural: it is animated, enchanted, redolent with presences most often detectable only apart from our five senses.

Spider-Man: Into the Spider-Verse emphasizes C. S. Lewis’s understanding of friendship among people who understand one another.

Thanos is a maniac in the sense used by G. K. Chesterton in his classic work Orthodoxy.

Danai Gurira’s play The Convert strips away spiritualized clichés to interrogate the real, complex, and often all-too-earthy motives behind conversion to Christianity..

William Hope Hodgson’s dark works are not without glimmers of something like light.

Fifty years after its initial publication, The Last Unicorn still retains its power.

Timeline is easy to learn, quick to play, and satisfies the human love of trivia.

Arthur Machen’s novel The Three Impostors is a good reminder about the horrors of living in a godless cosmos.

Christ and Pop Culture writers break down some upcoming TV shows that we’re looking forward to watching.

The total eclipse can remind us that God, like nature, is also powerful, awful, and sublime.

In Spider-Man: Homecoming, the villain Adrian Toomes represents a disturbingly plausible version of a very natural human tendency: the idolization of family.

This poetic fusion of the cosmic and the local brings Lovecraft to the very doorstep of one of Christianity’s most foundational beliefs.

The contemporary stereotype of tradition — which Moana so beautifully subverts — is that it’s static and deadening.

Both Victoria and Albert hold fast to their “prudish” morality precisely because they are surrounded by the carnage of its rejection.