Last time, we looked the core part of Mike Cosper’s The Stories We Tell. Now, we’ll go back and hit chapters 3-4 before finishing up with the last chapter. From what I can tell, you can still get the eBook of this for free as a Christ and Pop Culture member. That probably won’t be true forever, so better join and take advantage while you still can!
Chapter 3 in Mike Cosper’s The Stories We Tell covers three interconnected themes. First, Cosper examines stories that look back to an idyllic time now lost. Second, Cosper looks at stories that take place in what seems like an idyllic environment but in reality have a darker underbelly (the Truman Show for instance). Lastly, Cosper looks at stories where humanity tries to play God and it invariably goes wrong. The chapter is aptly titled “The Ghosts of Eden.”
Chapter 4 looks at the search for love through the lens of shows like How I Met Your Mother and 30 Rock. the former of which would have been more interesting had Cosper written his analysis in light of the show’s series finale. Cosper also examines reality dating shows, specifically, Who Wants to Marry a Millionaire?
While his analysis is thought provoking, I came away feeling like much more could have been done with the topic of both of these chapters. Specifically in chapter 4, the point could be made that the Gospel itself is a romantic comedy and our desire to watch essentially the same story over and over again shows an innate longing within us. Cosper examines this longing well, and in the end does foreshadow the Gospel (90), but he could have taken his analysis deeper by pointing out all these stories teach us ultimate fulfillment is found in another person and from the Christian point of view, that person is Christ. Romantic comedies aren’t wrong in the essence of their story, just the object of their affections.
When it comes to final chapter, provocatively titled “Honey Boo Boo and The Weight of Glory,” Cosper offers some keen cultural analysis. Especially now in the wake of the show’s cancellation, his insights are worthy of our attention. Before getting to Honey Boo Boo, Cosper examines the connection between reality TV and narcissism. Predictably, Kim Kardashian figures prominently. At the opposite end of the Kardashian family sits Here Comes Honey Boo Boo, a show which “thrives on featuring the saddest elements of this family’s life” (202). What Cosper picks up in his analysis is savagely satirized in a recent Onion article. We have a “vulture-like attitude” in consuming and ridiculing the life of this backward family from the Deep South. We look. We laugh. We move on.
Cosper then shifts the discussion by connecting our fascination with reality TV to our obsession with social media. We’re fascinated with self-broadcasting and the rise of reality TV stars is just one way that facet of our culture manifests itself. We have the opportunity to glory in ourselves and bring an audience along for the ride. Cosper then notes that “Christian and non-Christian alike feel the dull ache of faded glory” (209). Our drive for glory isn’t wrong, merely misplaced, as C. S. Lewis has helped many understand.
This provides, I think, a fitting conclusion to the book. Cosper does offer a brief epilogue that includes a word to aspiring Christian filmmakers. But, by closing on a topic that other books on TV and movies might overlook, I think he shows that something that seems banal and not worthy of a second thought can be a pointer to deeper spiritual truth. In essence, Cosper’s book throughout is taking the everyday stories we encounter and probing their foundations to see what they provide evidence that the world we live in is the kind of world we would expect with Christian presuppositions. It provides a powerful case for what we believe but also models a way to open conversations with the wider culture about things that count.