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About R.L. Terry

Ryan “Professor Horror” Terry teaches film studies and screenwriting at the University of Tampa. He holds graduate and undergraduate degrees in film and media studies. He has regularly published film reviews since 2014 and has been a featured speaker at Tampa Bay Comic Con, Spooky Empire, and the historic Tampa Theatre. His work has appeared in both political and entertainment magazines.

BARBARIAN horror film review

Outstanding! Each and every layer of this masterful horror film is crafted with care and precision. Barbarian strikes an uncanny balance of unsettling terror juxtaposed against clever irony and humor. Writer-director Zach Cregger delivers the best horror film so far this year, and among the strongest in recent years. Not only does the film boast exceptional shot composition, the screenplay is sleek and no scene goes wasted. The fine-tuned plot mapping and story structure provide a solid foundation upon which the thoughtful story is told. I heard some in the audience make statements related to the observation that this film is largely flying under the radar, but I posit that is a good thing. While I had only seen the trailer for this film in passing, I’m glad that I didn’t know more about the premise (aside from the AirBnb setup) because it may have detracted from the visceral experience of a film that has the soul of an arthouse motion picture but the high concept of a more commercial feature. If you see it before your friends, DO NOT spoil any of the twists or turns as this film should be appreciated for the emotional and physiological roller coaster that it is. My advice is go in as blind as possible. Oh, if modern horror films had already promoted you to question ever visiting Detroit, this film will convince you to avoid the motor city.

A young woman (Tess) discovers the rental home she booked is already occupied by a stranger (Keith). Against her better judgment, she decides to spend the night but soon discovers there’s a lot more to fear than just an unexpected house guest.

Simple plot, complex characters. The recipe for a great film! But don’t let the high concept outside-action story lull you into a state of projecting predictability upon the story. Just when you feel that you may have it figured out, Cregger throws you for a loop–a loop that was setup earlier in the film unbeknownst to you. Zach Cregger has demonstrably studied masters of suspense and horror such as Hitchcock, Argento, and Craven because he took the best parts of Psycho, Suspiria, and The Hills Have Eyes to create his original expression of tried and true tentpoles of horror. In an age wherein most features are remakes of previous motion pictures, this film serves as a reminder that there are fresh ideas out there to be expressed on the silver screen. And not just original ideas, but well-written stories with solid plotting that don’t leave you wondering what you just watched. Accessibility should never be thought of as lacking meaningful substance for those that want to read the film more closely.

Whereas I won’t venture too far into the story progression, I do want to comment on the opening scene(s) because it reminded me of Suspiria. What’s funny, is that I was wearing my Suspiria t-shirt last night to the screening. I liken the opening of Barbarian to Suspiria because of the central character driving in the rain to a house whereat there is no room for her accompanied by an ominous score. Even though the score isn’t as iconic as Goblin’s score in the Argento masterpiece, the score was an extension of the increasing tension at the opening of the film. And who should finally answer the door to this rather quaint, Instagram-worthy house in the middle of a neighborhood long-condemned, but a Norman Bates-like character. The opening and entire first act setup everything that is to follow.

Georgina Campbell, who plays our central character of Tess, and Bill Skarsgard, who plays Keith, demonstrate excellent on-screen chemistry. Later on in the film when we meet actor AJ Gilbride, played by Justin Long, he complements the fantastic character dynamics and mix. Speaking of Long, there is a clever nod to Jeepers Creepers that you’ll just have to watch the film to find out. Often times, it’s horror films with small casts and intimate settings that deliver the best thrills. Because a writer can spend time on developing central and supporting characters and making sure that every scene has a beginning, middle, and end, and that every scene sets up the scene to follow. Even in a film with figurative and literal layers to the story, each scene should teach us more about the individual characters and further develop plot beats in a manner that does not make the story more convoluted, but slowly reveal the end, one layer at a time.

While I find this film to be overwhelmingly smartly executed, there are a couple of ideas that I find to be problematic, and furthering stigma and misrepresentation instead of using the opportunity to provide a more constructive depiction or argument. Of the two observations I made, I can really only touch on one of them without getting into character or plot spoilers.

When Tess discovers that there is something seriously wrong in the idyllic suburban cottage, she eventually receives a response by the police, after waiting some time. On one hand, I appreciate the setup to and this scene itself because it shows how dangerous is it for cities to reduce the public safety workforce (call it what you will), but where I find the scene problematic is that both police officers dismiss Tess’ concerns even though she is demonstrably in distress. In an era wherein a large number of media portray law enforcement in an unfair, misrepresentative light, this could have been an opportunity to show that the police could very well have been skeptical, but chose to act upon Tess’ claims. This would’ve made for a more constructive, accurate scene versus what we got. This doesn’t mean the police should have found concrete evidence or were instrumental in saving the day, but it would have helped to combat the dangerous ideology that law enforcement is irresponsible.

Deserving of a rewatch, this film is one you don’t want to miss seeing on the big screen! Not only does this film standout compared to the horror films we’ve had this year, but it is one of the best-written films of the year, period. I hope that Cregger’s next feature is as thoughtfully written and directed as this one.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

THREE THOUSAND YEARS OF LONGING mini review

More like an hour and forty-five minutes of boredom. In a gorgeous-looking film all about the very concept of storytelling, ironically, this film struggles to tell a good story. With so much promise, and a fresh expression of the legendary tales of djinn (genies), this movie should have been able to deliver a fantastical story. Unfortunately, it suffers from poorly organized and structured plotting. A story is there, but there is lacking a map to navigate from beginning to end. Swinton and Elba demonstrate excellent on-screen chemistry; I’d really like to see them star in a future film together. Three Thousand Years of Longing starts with an intriguing first act, but the second and third acts are sloppily executed. The inverse approach to the Tales of Arabian Nights is not enough to generate substantive interest in the fates of the characters. Again, the setup is interesting. Ostensibly, Elba’s djinn takes on the role of Scheherazade, and regales Swinton’s narratology (the study of story) professor of his 3000 years as a djinn, and the trauma therein. There simply isn’t enough character development for the film to serve as a character study nor is there enough plot to serve as a commentary on the mountains and valleys of love. That’s not to say there isn’t any magic in the film; the cinematography, editing, and visual effects are incredibly impressive!

Ryan teaches Film Studies and Screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

BEAST movie review

A roaring good time–the one time you’ll watch it. BEAST is a fantastically fun popcorn movie that will leave you on the edge of your seat, even though it’s moderately predictable. The script is lean and mean, and doesn’t overstay its welcome. At an hour and a half, Beast delivers what it promises: Idris Elba facing off against a man-eating monstrous lion! Where the movie underperforms is in the one-dimensional dialogue, leaving little to no room for subtext. But, the way I see it, we don’t enjoy these glorified B-movies for razor sharp dialogue, but rather for the engaging escapism they provide.

Recently widowed Dr. Nate Daniels and his two teenage daughters travel to a South African game reserve managed by Martin Battles, an old family friend and wildlife biologist. However, what begins as a journey of healing soon turns into a fearsome fight for survival when a lion, a survivor of bloodthirsty poachers, begins stalking them.

Underscoring the main action plot of survival against the t-rex-like lion, is a heartwarming story of the father’s (Elba) redemption with his estranged daughters in the wake of his ex-wife’s death. It’s incredibly refreshing to watch a movie in which the men are not stupid (in fact, no one is stupid in this movie) and the father is responsible and loving. Perhaps Universal should have used this movie as its Father’s Day weekend release instead of Black Phone.

On an almost meta level, this movie shares some elements with Jurassic Park, which is expressed through one of the daughters wearing a Jurassic Park tank-top. Some might find this lazy, but I feel it works well because it does foreshadow the thrilling and terrifying adventure that will soon befall our small central cast. It’s also fun to think of one of the greatest movies of all time in the real world of the movie, which helps to prime the audience that what you’re about to watch could happen in the real world. Yes, the lions are CG; but I gotta say, they looked pretty good. Certainly better than the CG animals in The Lion King. In no small part is the suspension of disbelief possible with the CG in this movie due to the fact that most of the screentime features our human characters. There is an attempt at a conservation message, but it ultimately falls flat; however, there is a theme of supporting and appreciating that which deviates from your plans or passions, and it is tied up nicely with a bow in the end.

The responses of the audience at the screening were mixed. Some thought it was a lot of fun, while others were rooting for the lion. Perhaps my experience is characterized by knowing when a popcorn movie is to simply be appreciated for its ability to keep us entertained for the duration of the picture. Interestingly, the movie Crawl was released in August of 2019, and it was received far more favorably. Which is puzzling, because I would say that both of these movies have a lot in common.

Ryan teaches Film Studies and Screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

WHY HORROR? (Preface)

My book exploring why we love horror so much is taking longer than I originally projected, but I thought I would share the preface with you. If you like the preface, then you’ll want to purchase the book when it releases! At the time of this posting, I am on Chapter 12.

PREFACE

“What’s your favorite scary movie?” (Ghost Face, Scream). There is something to be said about the measurable energy of an auditorium at the cinema when a crowd is energized for opening night of the latest horror film. Moreover, the same can be said about your own living rooms when gathered with friends to watch a horror movie on-demand or through a streaming service. We turn into quasi participants because of the strong physiological and emotional responses to the stimuli on screen. Best enjoyed in a group setting, these movies are the stuff of nightmares and fond memories!

The American horror film brings so many people of all ages together from a bevy of ethnic, cultural, religious, and socio-economic backgrounds unlike any other single film genre. Spawning conventions, theme park events, inspiring indie and pop artists, the fandom of horror is incredibly diverse and stratified. While the science-fiction/fantasy fandom is large and vocal, it does not often display the level and degree of diversity that horror does both presently, in our culture, and has for more than a century. From the dawn of cinema, horror has been a staple for big studios and small production companies alike.

By analyzing horror films, we can learn a lot about our past, our present, and even our future. While film is largely a reflection of life, horror is the best cinematic mirror of all because it forces us to face our fears. The monster in a horror film, may just be the manifestation of a force or idea in the real world delivered to us through a terrifying cautionary tale.

Even when a bad horror movie gets released in theatres, the auditoriums are usually full on opening night–even through the weekend–before the numbers fall off, and that title is available on-demand in a few weeks. The influence of horror on our society is witnessed throughout the decades. A great example of this is seeing fans from across four decades all gathering in one place to watch 2018’s Halloween.

Unlike other critical and box office successes in recent years, this particular franchise boasted a 40 year old legacy that brought fans and spectators of all ages together. I remember sitting there in my seat, simply in awe at the sea of people and feeling a kinetic energy surge through my mind and body, especially when the Halloween theme music began to play. What other genre generates this?!?

In order to best explore why horror brings so many people together, we need to first look what the formula is for the American horror film and then at why we are attracted to it. From there, we can travel through the decades to learn how and why the horror film developed in the manner that it did.

Understanding what comprises the American horror film will support our exploration because it will create a theoretical framework through which we can analyze the popularity and fandom of horror. When I lecture on horror to my film studies and screenwriting students at the University of Tampa, where I’ve taught since 2016, I describe the makeup of the American horror film this way:

(Art movements of) German Expressionism + French Surrealism = horror’s aesthetic

(Writings of) Sigmund Freud + Edgar Allan Poe = horror’s content

At its root, all genre horror films can be traced back to these aforementioned elements and formulas. This chapter will focus on horror’s aesthetic, while the next chapter will focus on its content. 

Ask anyone, and the single most famous scene in all of cinema is the famous shower scene from Hitchcock’s Psycho, widely regarded as the most pivotal horror film in all cinema history. The aforementioned scene gains a greater eerie feel upon the close of the movie when the audience realizes that Norman has little to no control over his mind and actions.

The studio responsible for solidifying the horror film as a popular genre, and you could say is the parent of the American horror film is Universal Pictures. Not only is horror the most bankable genre of film, generally speaking, it is also one of the most fascinating to analyze because many horror films written in the classical sense are social metaphors.

Throughout this book, you’ll learn about the current events that preceded a particular movement in horror, and how those fears and anxieties were explored through characters and plots. For example, it was the space race of the mid 20th century that inspired many of the alien movies of the 1950s. And with the space race, came a fear of what lies beyond our atmosphere.

Although the “modern” horror film began with Psycho, horror was an influential genre and box office draw from the dawn of cinema. In fact, many of the characters you enjoy watching today in horror films has their first appearance in the early 1900s.

“Oh no, don’t go into that house!” “Watch out! He’s right behind you.” Some of the most memorable movies of all time are the horror films. They draw our eye’s attention to that which would otherwise repulse us in real life. At the same time, our own eyes are being threatened with disturbing or bizarre imagery.

But why does that which would repulse us in real life and that which is terrifying to behold, bring us together? That is what we are here to explore together! So join me as I lead you on a journey to dive deep into why horror brings us together.

From Nosferatu to (my favorite icon) Freddy Krueger and beyond, the American horror film continues to leave a huge footprint in our collective zeitgeist.

Ryan teaches Film Studies and Screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

AMERICA’S HEART PROBLEM

As I look over the major events in our country over the last couple of years, I am left with one question: What does it mean to be human?

And what does that have to do with the ideologically polarized time in which we find ourselves, you may ask? EVERYTHING.

Studying and teaching film has its benefits way beyond cinematic critical analysis. Since film is a reflection of life, we can learn a lot about a people by analyzing motion picture art. Granted, much of what we study in film is in retrospect, but these same approaches can be used to study current trends in storytelling media, which often parallel events in real life.

For example, my area of expertise is the American Horror Film, and as I wrote in the chapter on horror cinema of the 1970s, in my forthcoming book Why Horror?, I found the parallels between 1970s America shockingly similar to 2020s America. From the fights over abortion to inflation to civil rights to the rise of the new right and new left, much of what we are experiencing now can trace its roots back to the chaos of the 1970s.

But I digress.

What does it mean to be human? 

Everything we are facing in our tumultuous socio-political landscape has its roots in that philosophical question. One of the many reasons why I love Star Trek, in particular The Next Generation, is because of its central theme: the persistent exploration of humanity: What does it mean to be human? If we can answer that question, then so many of our other problems will solve themselves. Can logic and reasoning solve everything? No. But it’s far less chaotic and more strategic than constantly addressing symptoms of a larger generational illness through ideological positioning.

What is that illness, exactly? I believe it is the lack of a moral compass.

While there has been a distorted, warped definition of what it means to be liberal, I want to remind you that pure liberalism is a philosophical approach that considers all available empirical and anecdotal evidence to arrive at a solution that opposes fascism and authoritarianism in all their forms. It is not—and should not be—used as a synonym for either the political left (or for progressivism), any more than conservatism (or legalism) should be used as a synonym for the political right.

It takes only one generation to bring about the demise of a society. Just like the Roman Empire imploded—fell apart from within—our own American Empire is crumbling from within. About one-and-a-half to two generations ago, our public school systems began to drift away from teaching morals and ethics in formal classrooms. Combine that with the dissolution of the American family and the widespread abandonment of parental responsibility for teaching morals and ethics, and we can trace most of our societal problems back to this shift.

Why? Because we began to devalue truth in exchange for opinion, expression, and relativism. And when there is no truth, there is no means to know what is right or wrong. Think of it this way: a compass rose would be useless for navigation if it didn’t point to the true north. If a user of a compass was able to simply choose which north they wanted, then it would render navigation an exercise in futility. There can’t be more than one north anymore than there can be more than one truth. Without compasses (or GPSs) that are fixed to recognize the geographic north, no one is able to successfully navigate.

By not teaching the difference between right and wrong, fact and opinion, etc., children and young people since the mid-to-late ‘90s onward have not been reared and educated to respect parents, leaders, peers, and even one’s adversaries. Contrary to popular belief, respect doesn’t mean weakness or complacency. One can completely and vehemently disagree with someone, yet still be respectful.

I cite how Maverick responds to his leaders in Top Gun: Maverick, or how Jean-Luc Picard responds to countless admirals in Star Trek: the Next Generation when he is at philosophical or diplomatic odds with them. Even when Captain Picard is addressing his subordinates, he is always respectful, yet may fundamentally disagree with them. A great example of this is when he wanted Lt. Worf to donate his blood to save the life of a Romulan, but Worf refused. Captain Picard could have ordered him, but he chose not to out of respect for Worf’s dignity.

America has a gun heart problem.

By eliminating morals and ethics from our public school classrooms, educators no longer teach what is right and wrong (in the eyes of the law and humanity).

Growing up in and being educated by a system that values relativism over logic and reasoning gives birth to the kind of rampant disrespect for humanity that we’ve seen in the Pulse Massacre (in which I lost a friend and former coworker), Sandy Hook, Parkland, and Robb Elementary schools, the mass shooting in Buffalo, NY, Columbine, Uvalde, and more. Are gun laws perhaps a little too loose? Sure, I’ll give you that. Should there be universal background checks? Probably. Should the age to buy a firearm be increased to 21? Perhaps. Should military assault-style rifles be banned to the general public? Many think so.

The shooters in all those examples placed greater value on what they wanted, what they believed, and what they felt was the appropriate course of action than on the value of each and every human life. When one is reared in an environment devoid of consistent respect for others, then there is no reason not to behave inhumanely. It’s not mental illness that is driving these mass shooters (although I’m sure there is some correlation), but it’s the devaluing of human life that is the root cause. After all, this abominable action is justified or true to them. It all gets back to the heart.

If we look at this issue from a biological perspective, from the time male puberty sets in, through adolescence, until early to mid-20s, young men have raging hormones. And while we tend to associate these hormones solely with sex drive, we often forget that these same hormones and other chemicals predispose a young man to increased aggression. While some countries choose to require military service after high school, the U.S. doesn’t have any programs like that. Why is this important? Because in countries wherein there is required military service after high school for young men, they are better able to channel their predisposition to aggression in constructive ways. Not only does this provide seat time while the chemicals level out, but it also forces young men to deal with and manage these emotions.

I’m not stating that this is the only option the U.S. has for providing a method for young men to manage this biological and cognitive developmental stage, but it does demonstrate the need for a means for young men to have an avenue through which they can be educated as to how to behave like gentlemen and control their urges. Whether in military service or education, young men should be taught the difference between recognizing an impulse and acting upon it. Between inaction and impulse, there is a realm of good taste that is begging for attention.

Moreover, this stage in life also demonstrates why it’s important for a young man to have a father or a father figure in his life, because he needs to know how to be a man. Without a father at home or even a father figure in a boy’s life, there is an increased risk of inability to deal with the raging hormones and other chemicals as childhood transitions into adulthood.

For every action we take, there are consequences, be they good, bad, or indifferent. And contrary to postmodern belief, we ARE responsible for our actions. Does that mean our actions aren’t influenced by our environment? No, they most certainly can be, and often are. But at the end of the day, we—not the world—pull the trigger on our actions and are responsible for our decision(s)

But addressing these issues only fixes symptoms (i.e. the clear bigotry that motivates a variety of violence and hate speech). And by only treating symptoms, the root cause will continue to fester and get more septic over time. We will be better off by treating the cause, and then the symptoms correct themselves. Much more efficient. Children and teens today (and I’d venture to include young adults) have little fundamental understanding of (1) what it means to be human and (2) human dignity. When human life is devalued, then the risk of violence increases exponentially.

When does life become human?

Think of it this way: a baby can’t not be human until it is any more than it is human until it isn’t. It’s either human or not. It’s not complicated. Logically, the fetus is either a human child or a benign tumor, because it cannot simultaneously be both. Moreover, if we are in agreement that ending human life (when not in self-defense of one’s life or defense of one’s country when at war) is murder (and I’d hope we’re all in agreement on that), then ending unborn human life is also murder. But, if a human is only human when we decide it is, then it’s not murder because there is no standard for human life.

A great example of protecting sentient life (in all forms) can be found in the Star Trek: the Next Generation episode “The Offspring.” This is the episode wherein Data creates his child Lal. We witness Picard protecting the human rights of Lal when Starfleet informs Data and Picard that it will be removing Lal from the Enterprise to study her. Picard delivers this wonderfully profound line, “There comes a time when men can no longer blindly follow orders.” And he is willing to put his career on the line for a life.

Science, science, science. We hear so much about science nowadays; however, many only cite science when it supports their ideology. Science is science, regardless of what one believes. The great thing about scientific observations is that they can be either proven or disproven.

While science cannot answer questions that are a matter of philosophy or faith, such as the origins of the universe or is God real, science can help us to understand a great many things, such as the heartbeat in a sentient being indicating life.

So if we agree that intentionally ending a human life is murder, and murder is immoral, then we have to then conclude that intentionally ending the life of an unborn child is also murder. Moreover, this decision also influences whether or not the murder of a pregnant woman is—in fact—a double homicide. If the unborn child isn’t human, then there isn’t a double homicide; but if the unborn child is human, then a double homicide has been committed. Again, the unborn child can’t simultaneously be both human and non-human, as that would be illogical. If we begin to decide when a baby is or isn’t human (based upon personal opinion or choice), then we will be living by double standards and ignoring the science.

Well, what about surprise pregnancies? Okay, perhaps we need to revisit high school biology. Other than an immaculate conception, no pregnancy is a complete surprise. If you’re hetero, and you do the deed, a possible consequence is pregnancy. It’s not rocket science. It’s barely high school science. What there are, are unplanned or unintended pregnancies. Big difference between surprise and unplanned.

The only sure-fire method for preventing pregnancy for hetero couples is to not have sex. But we’re all human, and have human needs. And according to Maslow’s Hierarchy of Needs, sex is a basic need. Therefore, the reasonable solution is to offer morning-after pills, easy/free access to contraceptives, and financial assistance for mothers that have little to no means to care for a child.

Fortunately for most people in the United States, there is likely a Department of Health office or clinic in your area, and they have condoms they will gladly give you. Many offices, you just walk in and take a bunch out of a basket. There IS easy and free access to contraceptives. For those who fear this SCOTUS decision could affect alternative pregnancy procedures, such as IVF or surrogacy, there simply isn’t evidence to support that conclusion because those procedures seek to create and foster human life, not end it.

Earlier in the Next Generation episode “The Offspring,” Data informs Picard that he can deactivate Lal if her creation is problematic. Picard sharply responds, “It’s a life Data, you cannot simply activate and deactivate it.”

Protected rights and expression

We are all deserving of respect. Respect from those with whom we agree and disagree. The gross lack of human dignity and respect I observe around me, whether in real life or online, is dangerous. When young people are brought up not to value human life (including the life of those with whom they disagree), then they will interpret respect and dignity through their own eyes. Schools and other organizations that are focused on consistently highlighting the differences between people are actually fueling the problem.

From a position of logic, there is no white America, black America, hetero America, homo America, or Hispanic America, there is only America. Likewise, there aren’t white humans, black humans, Hispanic humans, hetero humans, homo humans, etc. Only humans who happen to be one or more of the above. Each with their own respective worldviews, beliefs, dreams, and fears. Once we begin to think of ourselves as one people, one nation, then we can fix so many of our problems.

On a biological level, there are two sexes: male and female. That’s it. Not opinion. Fact. It’s science, plain and simple. That said, while we are either male or female biologically, the manner in which we express ourselves is not limited by that binary; we can express our gender any way we want. You can be a feminine man or a masculine woman, or even androgynous. It doesn’t change the anatomy or chemistry; but fortunately, we are not limited to a binary means of expression.

The latitude of creative personal expression is as wide as the color spectrum! Every human is deserving of respect and dignity. Be different! It’s okay! Be proud of who you are, in whatever aesthetic form that takes! Just know that some will not accept your gender expression; but that’s unfortunate for them, because they will miss out on getting to know you.

The recent Supreme Court ruling in favor of the coach from Washington state that was disciplined by his school administration for holding prayer after football games at the 50 yard line, is another hot topic. 

Instantly, I saw countless posts on Twitter citing the separation of church and state. What many people don’t realize is that the principle has far more to do with State-sponsored or State-mandated religion than it does religious expression.

Moreover, it is not the equivalent of freedom from religion. That is a gross misinterpretation. What this separation means is that the State will not forcibly impose religious beliefs on citizens. Even though there is a movement (largely within the woke ideology) to dissociate the United States from its foundation in morality, the Constitution and our laws are influenced by Judeo-Christian principles (and for this, let’s look at George Washington’s farewell address):

Of all the dispositions and habits which lead to political prosperity, religion and morality are indispensable supports. In vain would that man claim the tribute of patriotism who should labor to subvert these great pillars of human happiness, these firmest props of the duties of men and citizens. The mere politician, equally with the pious man, ought to respect and to cherish them. A volume could not trace all their connections with private and public felicity. Let it simply be asked where is the security for property, for reputation, for life, if the sense of religious obligation desert the oaths, which are the instruments of investigation in courts of justice? And let us with caution indulge the supposition that morality can be maintained without religion. Whatever may be conceded to the influence of refined education on minds of peculiar structure, reason and experience both forbid us to expect that national morality can prevail in exclusion of religious principle.

While morality and religion are at the foundation of our great country, federal, state, and local governments are not to force matters of faith on citizens. According to The Constitution, these rights are endowed by our creator; therefore, the Constitution protects innate rights, rather than granting rights that were not present to begin with. We have human rights from our very beginning as a human. Allowing for or permitting religious expression is not the equivalent of forcing it on someone.

Make It So

Life is unfair. Shocking, I know. And no amount of legislation can ever make it fair. Utopia is an idea, not a destination. Some people will always have it harder than others. But that is why we create systems that provide tools to individuals that want to reshape their future. It takes hard work. But just like working for your first car, you will value it so much more than if it was given to you. It works against all logic and reasoning to devalue one group in order to place greater value on another. Or blame one group for the problems of another. It’s counterproductive.

From the time we are born, we are selfish. We have to learn not to be selfish. If we are not teaching our children the value of respect, logic, and selflessness, then they will grow up ignoring those foundational concepts and grow in selfishness, which can lead to destructive behaviors. That would be a far more constructive conversation than the age at which discussions of sex and gender expression should take place.

Let’s do the next generation a favor by showing them that they need a moral compass to successfully navigate life and to know what it means to be human.

One of the reasons why Star Trek’s Q is fascinated by humanity, in particularly Picard, is humanity’s moral center, which is something lacking in the Q Continuum. Let’s start instilling into our children and young people the importance of morals, ethics, and logic. Next time you are faced with a loaded sociological or political question, think about it from a logical perspective, because it will help to place you on a stable path devoid of counterintuitive, cynical theories.

Ryan teaches Film Studies and Screenwriting at the University of Tampa. If you like this article, check out the others (which are mostly film reviews and deep dives) and FOLLOW this blog!

Follow him on Twitter: RLTerry1