Articles by M. V. Bergen

Squid Game shows us the value of sacrificial, compassionate action to our own life of faith, especially within a competitive, late capitalist society.

The Book of Strange New Things invites us to reckon with the reality of our shifting, ever-uncertain faith.

As believers, while we acknowledge the reality and transcendence of divine law, we also recognize its shortcomings—it cannot make us righteous—and its supersession by mercy.

Russian Doll speaks to the isolation and surreality of our pandemic moment.

As Mona Haydar makes clear, faith which worships human authority and depends on rules for other people is a form of godliness only, not the real thing.

If Exodus voices our collective hunger for deliverance, it also calls us to work for deliverance, toward liberatory action.

The video makes it harder, not easier, for watching Christians to envision how their faith calls them to engage with the surrounding world in a time of crisis.

Amid the coronavirus pandemic, Fury Road offers a glimpse of coming renewal, of rebirth.

Through love, we weather the worst of our decisions and become more human. 

Angie Thomas’s The Hate U Give reminds us to do justice, to love mercy, and to walk humbly with our God.

Mingled terror and hope will be with us so long as we live, as we can see in the indie black comedy I Don’t Feel at Home in This World Anymore.

Ursula K. Le Guin describes what should be familiar to Christians but is too often strange: the significance and worth of the individual human soul.