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Having sold upwards of ten million copies since making its debut in 2007, William P. Young ’s Christian-themed novel The Shack  has been one of the biggest publishing phenomena of the last decade. With figures like that, it was inevitable that a screen version would one day tap into that already-existing fanbase, while hopefully also tapping into audiences who had never picked up the book before. Though the end result may indeed satisfy fans of the book, newcomers might find themselves wondering what all the fuss is about as they watch this awkwardly-constructed work. "The Shack" wants to be a sincere exploration of faith and forgiveness but somehow manages to be both too innocuous and too off-putting for its own good.

Mack Phillips ( Sam Worthington ) has managed to overcome a rough childhood marked by the cruelties of a drunken and abusive father (Derek Hamilton). He now has a happy life with wife Nan ( Radha Mitchell ) and three kids, teenagers Kate ( Megan Charpentier ) and Josh ( Gage Munroe ), and adorable moppet Missy (Amelie Eve). That all comes crashing down when Mack takes the three kids on a camping trip—Nan stays behind to do work stuff—and Missy disappears after being left alone by Mack while he rescues his other kids from drowning in a canoeing mishap. It turns out that someone out there has been abducting and killing little girls, and although the police are able to track the suspect’s whereabouts to a remote, dilapidated shack, all that is found inside is some blood and Missy’s torn dress.

Time passes, but Mack is unable to get past the tragedy. It affects his relationships with the rest of his family, in a period described as “The Great Sadness.” One day, a mysterious note turns up in his mailbox asking him to come to that very same shack the next weekend and signed “Papa,” which just happens to be Nan’s pet nickname for God. When he gets there, he initially finds nothing, but, as he is getting ready to leave, the surroundings change from frigid nothingness to a lush, lovely environment and the shack is now a spiffy domicile housing a version of the Holy Trinity in which God—sorry, Papa—is an African-American woman ( Octavia Spencer ), Jesus ( Avraham Aviv Alush ) is a carpenter of Middle-Eastern descent and the Holy Spirit is represented as an Asian woman named Sarayu ( Sumire Matsubara ). Over the next three days, Mack opens up to the three of them in ways that allow him to mend his relationships with them, learn to forgive and gain some closure regarding Missy’s death.

Since its publication, “The Shack” has engendered a good deal of controversy within the Christian community for interpreting both the Bible and the Holy Trinity in ways that some consider to be heretical. Based on a viewing of the movie, I would label those charges to be nonsense; to be truly heretical would require a more cogent level of thinking than the awkward plotting and empty-headed New Agey koans offered up here. Granted, trying to put words into the mouth(s) of God would challenge even the finest writers, but couldn’t the ones assembled here have come up with something a little better than the banalities being presented here as eye-opening spiritual truths? As near as I can figure from the somewhat murky thinking on display, God is responsible for all the things that are good, pure and beautiful in the world but always seems to have an excuse when it comes to the uglier aspects of life. If one has the temerity to press this particular issue, as Mack understandably does, all he gets in return is a bunch of straw man arguments that pretend to answer his questions without actually doing so. Just as off-putting are the little things that are tossed in to make God seem more relatable to us, such as the moment where, out of nowhere, Papa reveals that she is a Neil Young fan. I would have forgiven this if it had led to Mack asking why she would allow that hideous album featuring all the songs about his car to exist.

For all of the pontificating on display, there is precious little in the way of a coherent narrative for anyone who does not already buy into "The Shack'"s way of thinking. Oh sure, there are plenty of plot details on display but the screenplay is more interested in just mentioning them than in really dealing with them. We are told about the estrangement Mack has with his family following Missy’s murder but aside from one very brief scene, we get no real sense of it. Possibly because to do any more might further underline the fact that it is the older daughter, who caused the canoe accident and is wracked with guilt over it, who should really be meeting with Papa and Co. instead of him. The film opens with a chronicle of a young Mack and his mother being beaten by his father that culminates with the suggestion that he straight-up murders the old man, only to never refer to it again; not only does Papa fail to bring it up during their conversations, his own dad, in spirit form, never mentions it while he is begging his son for forgiveness.

As “The Shack” plodded on (it clocks in at over two hours and makes you feel every one of those minutes), I found myself thinking more and more about “ Silence ,” the recent religious drama from Martin Scorsese that came and went through theaters a few weeks ago. Like “The Shack,” that film dealt with the kind of spiritual crisis that can develop when someone devotes their life to praying to a God that seems more interested in letting you suffer endlessly rather than answering those prayers. But "Silence" took its questions about spirituality and the nature of God seriously, resulting in a spellbinding film that even those without any sort of strong religious background might still find thought-provoking. “The Shack,” on the other hand, is little more than pabulum that invokes all the right words but fails to invest them with any kind of meaning that might allow it to mean something to those not already pre-disposed to liking it. Of course, thanks to the book's extensive fanbase, there is an excellent chance that "The Shack" will make more money in its first weekend than “Silence” did in its entire run—a thought depressing enough to inspire spiritual crises in any number of moviegoers.

Peter Sobczynski

A moderately insightful critic, full-on Swiftie and all-around  bon vivant , Peter Sobczynski, in addition to his work at this site, is also a contributor to The Spool and can be heard weekly discussing new Blu-Ray releases on the Movie Madness podcast on the Now Playing network.

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The Shack (2017)

Rated PG-13 for thematic material including some violence.

132 minutes

Sam Worthington as Mac Phillips

Radha Mitchell as Nan

Octavia Spencer as Papa / Elouisa

Avraham Aviv Alush as Jesus

Sumire Matsubara as Sarayu

Graham Greene as Male Papa

Gage Munroe as Jose Phillips

Tim McGraw as Willie

Megan Charpentier as Kate Phillips

• Stuart Hazeldine

Writer (based on the book by)

• William P. Young

Writer (based on the book by) (in collaboration with)

• Wayne Jacobsen
• Brad Cummings
• Andrew Lanham
• Destin Cretton

Cinematographer

• Declan Quinn
• William Steinkamp
• Aaron Zigman

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“The Shack” Film Analysis: Themes, Messages, and Audience Reflections

This essay about “The Shack” offers an in-depth analysis of the film’s underlying themes, the profound messages it conveys, and its overall impact on audiences. It unpacks the narrative centered around loss, redemption, and the quest for understanding in the face of unimaginable tragedy. The discussion extends to how the film approaches complex issues of faith, forgiveness, and the human condition, engaging viewers with its portrayal of the protagonist’s transformative spiritual experience. By examining audience reactions and the discussions it has sparked, the essay sheds light on the film’s ability to resonate on a deeply personal level with many, regardless of their own spiritual beliefs. The analysis also touches on the critique and praise from various perspectives, highlighting “The Shack” as a significant cultural piece that encourages profound reflection on life’s most challenging questions.

How it works

“The Shack,” a film adaptation of William P. Young’s novel, stands out as a profound narrative that dives deep into themes of faith, forgiveness, and the complexities of the human condition. This analysis aims to unpack the layers of meaning within the film, exploring its core messages and the significant impact it has had on audiences worldwide.

At the heart of “The Shack” is the story of Mack Phillips, a man engulfed in the depths of despair following the tragic loss of his daughter.

The narrative takes an unexpected turn when Mack receives a mysterious invitation to return to the shack where evidence of his daughter’s murder was found. What follows is a spiritual journey that challenges Mack’s understanding of God, forgiveness, and the essence of love. Through its storytelling, the film invites viewers to confront their own pains and prejudices, offering a unique perspective on spirituality that transcends traditional religious narratives.

One of the film’s central themes is the portrayal of God beyond conventional depictions. By presenting the divine through three distinct characters, “The Shack” breaks down preconceived notions of God’s nature and intentions. This representation encourages viewers to re-evaluate their own beliefs and the ways in which they perceive the divine in their lives. The film’s approach to depicting God in this manner has sparked conversations among audiences, fostering a space for dialogue about faith and spirituality in contemporary society.

Forgiveness is another pivotal theme explored in the film. Mack’s journey is a testament to the power of forgiveness and its role in healing and transformation. The Shack challenges the audience to consider the strength it takes to forgive the unforgivable and to find liberation in letting go of anger and resentment. This message resonates deeply with viewers, offering a cathartic experience for those grappling with their own grievances and losses.

The impact of “The Shack” on its audience cannot be overstated. It has touched the hearts of many, providing comfort and provoking thought in equal measure. The film’s ability to address profound existential questions and emotional wounds in a compassionate and understanding manner has made it a beacon of hope for individuals seeking solace and answers in their own lives. Furthermore, “The Shack” has sparked widespread discussions about the nature of faith, the process of grieving, and the pathways to healing, contributing to a broader discourse on spirituality and human resilience.

In conclusion, “The Shack” is more than just a film; it is an invitation to explore the depths of human emotion, the complexity of our beliefs, and the transformative power of forgiveness. Its themes and messages have left an indelible mark on audiences, prompting reflection, discussion, and a renewed sense of hope. Through its narrative, “The Shack” encourages viewers to embark on their own journeys of healing and understanding, highlighting the importance of love, compassion, and forgiveness in navigating the challenges of life.

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THE SHACK: A Spiritual Journey Sparking Controversy

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From Stuart Hazeldine , a director with very few credits to his name,  The Shack has provided a positive breakthrough in the consortium of films that involve a strong presence of faith. But whilst audiences are able to relish in the spiritual and uplifting undertones of the story, it has somewhat proven to be a bit of a controversial storm amongst its critics.

Based on the New York Times best-selling novel, The Shack takes us on a mourning father’s tragic yet inspirational journey. After suffering a family tragedy, Mackenzie ‘Mack’ Phillips ( Sam Worthington ) spirals into a deep depression; causing him to question his inner beliefs.

Facing a crisis of faith, he receives a mysterious letter urging him to make his way to an abandoned shack deep in the Oregon wilderness. Despite his doubts, Mack makes the journey, and encounters an enigmatic trio of strangers symbolising the Holy Trinity, led by a woman named Papa ( Octavia Spencer ). Through this meeting, Mack finds important truths that will transform his understanding of the tragedy he’s experienced and change his way of thinking; ultimately altering his life forever.

Enlightening Or Dispiriting?

On one hand, we can look upon The Shack as a guide to understanding forgiveness and helping to process our grievances in a healthy way. This is undoubtedly the intention William P. Young had when he authored the novel back in 2007. To an extent, this is a believable mantra throughout the narrative of the movie, because of the impeccable acting from Spencer and Worthington . Their talents on-screen are undeniable, and the chemistry between the majority of the characters is very effective.

There appears to be a crossover between what is acceptable and what isn’t when it comes to the symbolisation of faith on the big screen. When Mack meets the three individuals, he immediately assumes that they represent the Trinity, but is surprised when he asks for God and all three of the gracious figures answer him. This reignited the controversy behind the theology of modalism, which says that God is one individual, presenting itself in three different ways – but is ultimately still one person.

Another argument that has circled around since before the film was even planned to be released, is the question of whether or not God really should be addressed as female. Although Papa is different from the way God is biblically characterised in gender, she still holds all the other necessary ideologies required to represent and embody this character. Papa is still compassionate, loving, peaceful and fully invested in Mack’s wellbeing. Which – for many – is where the frustration lies, but for others, is a delightful quality to the overall perception of the movie.

The book’s original publisher, Wayne Jacobsen, has recently explained that the decision to see God as a woman – and perhaps more importantly, as non-white – was to show that God can reveal himself and work through anyone.

However, the plot thickens further when we look at it from a heavily religious perspective. It could be argued that the film is too much of an emotional anchor, and that the use of a black woman as God is primarily designed to shut down any predicted opposition. Given that Papa is represented as a minority and as a woman, it could allow for claims of racism and sexism to anyone who objects or opposes to the unique theology.

But then why should God be so one-dimensional?  The Shack paves the way for anyone of any faith and of their own beliefs to evaluate their own individual outlook, which provides leverage for all audiences to make a distinctive connection to the story and its characters.

A Raw Sentiment

Hazeldine , whose only previous feature is the 2009 psychological thriller Exam , chooses to take the route of stripped-back cinematography and eased paces from beginning to end. Visually, Mack’s sacred encounters in the deserted setting are pretty, especially the colourful diagrammatic of the surrounding gardens which are key to epitomise the tranquility of the setting. However, the visuals are still never particularly soul-stirring or enthralling. Even with esteemed cinematographer Declan Quinn on hand, crucial transitions seem to be rather lost, and the understated dramatic power of the real, natural setting seems wasted.

The benefit of this, however, is being able to focus more on the raw emotion and sentiment of the underlined story beyond special effects and clichéd gimmicks. This is essentially a journey of a character who has experienced a most tragic experience and needs healing in more ways than one. So whilst this makes for quite a distressing viewing, it is needed to create an authentic and convincing impact.

Final Thoughts

The Shack  successfully manages to challenge the narrow conceptions of what a Christian looks or sounds like – hence all of the debate and controversy. But it’s not necessarily the film’s ideas that are its problem, but the realness with which they’re explored.

It’s understandable to see why Christians may be up in arms at this portrayal of faith, because it’s one of the only instances where religious figures have been presented as physical beings and in this case, are depicted a bit like the featured celebrity guests of a talk show.

But The Shack also has a good chance of connecting commercially, because even though its drama is rather mushy, it’s a bit like a dream, whereas in real life, religion isn’t nearly as reassuring. Our current culture is starved for films that portray religious feelings in a way that’s relatable, and  The Shack  certainly does this. In some ways, it reduces faith to a kind of spiritual comfort food.

Do you think The Shack succeeds at providing us with a religiously healing escape, or do you agree with the critics?

The Shack opened in the U.S. on March 3. The film will see release in the U.K. on June 9.

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FAMILY PORTRAIT: A Family Under the Influence

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THE SHACK (2017): MOVIE REVIEW

Related Papers

Thomas Barnett

Review of theological issues presented in The Shack

Noel Woodbridge

Journal of Research On Women and Gender (JRWG)

The Shack is a story about a Christian man, Mack, who encounters God, Jesus, and the Holy Spirit one weekend after experiencing a family tragedy. Mack is surprised to find that each of the characters presents him or herself as a person of color. This seemingly progressive, anti-racist depiction of the trinity was wildly popular among evangelical readers, many of whom gushed that the story is life-changing and faith-renewing. Using feminist scholarship, critical whiteness theory, and a history of Evangelical race relations, this article gives an alternative reading of The Shack, making the argument that the story reifies racist stereotypes and reinstates the authority of the white, male liberal subject. Tracing the influence of Enlightenment discourse on Christian beliefs about bodily transcendence, this article makes the argument that the structures of whiteness are fundamental for American Evangelicalism’s culture and theology. Ultimately, The Shack is an exploratory story about racial reconciliation within the evangelical community; however, The Shack does not challenge the popular evangelical conception that racism is nothing more than conflict between individuals on the basis of racial stereotypes. The Shack continues to ignore the structural privileging of whiteness, colluding with racist systems by ultimately failing to undermine them.

Zack Rynhold

Enrico Masi

The documentary film SHELTER : FAREWELL TO EDEN has been produced in between 2016 and 2019.

Andries Van Aarde

Journal of Religion & Film 20:3

Joel Mayward , Matthew Rindge

By Joel Mayward (Oct 7, 2016)

Karen J. Renner

This study disscuses the world view that implicit in The Shack novel by William Paul Young, which is analyzed by using the theory of genetic structuralism. The purpose of this research is to identify the novel structure and to find out about the world view from the author of The Shack novel. This research belongs to qualitative descriptive research. The premier data source of this research is William Paul Young's The Shack (2007), while secondary data sources are taken from books, the Internet, articles and others. The result of this research shows the world view of the author of The Shack novel that is about unity and diversity in human life. The other world view of the author is about how to live with trust, love and forgiveness for better life

Angelique V. Nixon

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• A grieving man receives a mysterious, personal invitation to meet with God at a place called "The Shack."
• After the abduction and presumed death of Mackenzie Allen Phillips' youngest daughter, Missy, Mack receives a letter and suspects it is from God, asking him to return to The Shack where Missy may have been murdered. After contemplating it, he leaves his home to go to The Shack for the first time since Missy's abduction and an encounter that will change his life forever.
• What would have been a fun weekend of camping for a man and his three children turns into a horrid nightmare that will forever change them all. Some time later, he receives a note inviting him to the same shack where the nightmare began. This invitation will bring him face to face with God, where God's manifestations appear in the most nontraditional forms. — Edgard Martinez
• When he was a 13-year-old boy, Mack killed his abusive and alcoholic father with strychnine in his booze. Years later, Mack Phillips is happily married with Nan and they have three children -- Kate, Josh and the girl Missy Phillips. While on a camping weekend with his family, Missy is criminally abducted and killed, destroying Mack's life. One day, he receives a note from God, whom his dead daughter called Papa, asking him to visit the shack where his daughter was killed. He meets Jesus, Sarayu and Sophia and has an experience of discoveries and redemption. — Claudio Carvalho, Rio de Janeiro, Brazil
• Mack Phillips is happily married with three children. When a family tragedy shatters their carefree existence, Mack becomes bitter and depressed and the family starts to drift apart. Out of the blue, he receives an invitation to return to where the tragedy took place, a deserted cabin known simply as The Shack. The thing is -- the invitation is from God. — grantss
• A 13-year-old boy named Mackenzie "Mack" Phillips disembarks from a school bus and runs home. He is a farm boy in the Midwest USA. When he gets home, he sees his father abusing his mother. When Mack tries to defend her, his father turns on him. Mack's father is a church deacon and a closeted alcoholic. Mack walks past the house of a woman who offers him milk and cookies. She advises him to talk to God and tells Mack that he's done nothing wrong. That Sunday at church, he gains the courage to go up to the alter and ask for prayer. He confesses to the elder that he is sorry for not being able to protect his mother. Later that night at home, Mack's drunk father beats him during a rainstorm, making him recite Bible verses. We see Mack contemplating poisoning his father by pouring strychnine into his alcoholic drink. It is not made clear how this was resolved or if Mack went through with the plan, though a lack of any subsequent guilt ascribed to it implies that he did not. We flash forward and see an adult Mack having a fulfilling life with his wife and children. It is winter and Mack is shoveling the snow. He receives an unstamped and typewritten letter in his mailbox signed by "Papa," which is his wife's nickname for God, telling him he misses him and inviting him to the shack. Mack slips on the ice and has a flashback to he, his wife Nan, and their three children (Kate, Josh and Missy) going on a camping trip. Mack tells his children, especially Missy, his youngest daughter, a story about a princess sacrificing herself to help save the people of her land. The waterfall they look at, Multnomah Falls, are the tears of the princess's father. As they sing around the campfire with another group that evening, Missy runs and tells Mack that he has to say his prayers to Papa. He goes to pray with her, even though it's not his thing. She asks many profound questions about God. Next day, Missy draws the princess while Kate and Josh paddle in a canoe. After Kate stands up, the canoe tips over and Josh is trapped underneath. Mack dives into the lake to save Josh, and other campers help Mack pull Josh to safety. Josh survives after CPR is administered, but when Mack returns, he finds that Missy has disappeared. After a search of the campsite proves to be unsuccessful, the police are called to the scene. They tell Mack that there is a man the FBI has been after for years who abducts young girls and may be responsible. The town is put on alert with the FBI and community members gathered in the school gym preparing to search. Mack blames himself but Nan keeps telling him it's not his fault. The Feds tell him they found a truck in the woods and they have to go, with Mack going with them. They arrive at a shack and Missy's clothes are there with blood. Flash forward: Mack wakes up on the ice and accuses his best friend Willie ( Tim McGraw ) of sending the letter. He goes to the post office, but there isn't any information. In his car, he thinks about Missy's funeral. He meets with Willie and talks to him more about the note. Willie asks Mack if he's prayed about it. Mack thinks it's a bad idea because it could be the killer trying to get him out there. Willie says maybe it's God and insists on going with him. Meanwhile, Nan decides to take Kate to see her family as she has become withdrawn. Nan is afraid of losing Mack. Mack and Willie are all ready to go. The car is packed, with a gun included just in case... Mack sends Willie to fetch his tackle box then drives off in Willie's own car, leaving Willie behind. On the way, he hears the voices of his friends and family and almost gets into an accident with a semi-trailer after hearing Missy's voice. On his arrival at the shack he enters, gun in hand, ready to shoot in case the murderer is there. He starts talking to him, as if he was there, yelling about how he didn't even have her body to bury, and then starts running around the shack yelling and slamming things. Again he is ready to shoot when he hears a noise, but it is just a deer on the porch. He ventures outside and sees a man. The man is very friendly, even with Mack's gun pointed at him, and invites him inside to warm himself up by the fire. He tells Mack he has someone there that would love to see him. As they walk, the snow disappears and suddenly the path and woods are beautiful and warm, the sun shines, and the wilderness looks more like summer than winter. Mack approaches the shack and enters what is a large beautiful home. The woman is there, looking exactly the same as she did when Mack was a child. She is "Papa" (God the Father), the man Mack followed is her son Jesus, and the other woman there, named Sarayu, is the Holy Spirit. Mack leaves, thinking he is crazy, but Jesus approaches him telling him he dropped his invitation (the letter from Papa). He goes back inside and Papa tells him how much she loves him. He is surprised as she is a woman. She tells Mack that she took on the appearance of a woman because he couldn't handle a father right now. He asks her why she forsook him, and where she has been. Over dinner he tells them that his son Josh is doing well and has a girlfriend, but his daughter Kate not so much. They talk to him about how much they love him and want to get to know him, even though they already do. While he sleeps, he has visions of his daughter being kidnapped. In the morning, he talks to Papa over breakfast about how she punishes people. She tells him she doesn't punish people, because their sin is punishment enough, and everything she does works together for good. He accuses her of lying, due to all the pain and suffering in the world; however, she tells him the reality is that he doesn't see the whole picture. He doesn't believe she is good but he has to learn to trust her. He says there is nothing that she could say that would justify Missy's death. He gets up and leaves into the woods, but Sarayu approaches him with directions to his truck and the keys. She tells him they aren't justifying anything but are there to help heal it. She tells him she needs help in the garden preparing for the next day. She tells him that the poisonous plant (representing evil in the world), when combined with the right plant, creates healing powers. After a long conversation with her, Jesus tells Mack he can take the boat out if he wants. Jesus sends Mack out on the lake to see something on the other side. As Mack has flashbacks of the tragic day, the boat ruptures and starts to sink. From shore, Jesus tells him not to panic and "just keep your eyes on me." Jesus walks on water to meet him, and the boat returns to its intact state. Jesus tells Mack to get out of the boat and walk with him, but Mack insists he will sink. Jesus assures Mack that he won't if he just trusts him. After walking across the lake, they get back on land, Jesus points out a path for Mack to follow and will wait for him there. The path leads Mack to the stone face of a mountain. He passdes through and meets Sophia, who introduces herself as Wisdom. They talk about judgment and she tells Mack that HE is the one who judges every one based on their clothes, appearance, etc. She tells him he has to judge people and sits him down. He sees visions on the wall of his mother and himself getting beaten by his father and then sees a vision of his father as a little boy getting beaten. Cut to him seeing the visions again of his little girl being taken away. She asks him if God is to blame and he says yes. Wisdom says that if it is so easy for Mack to judge God, than he must choose one of his surviving children to go to Heaven and the other to Hell, since that's what he believes God does. She gives him reasons why he could pick either one. He tries to leave saying it isn't fair and he can't choose, but she keeps saying he must. He says that he will go (to Hell) instead of them and take their place. She tells him that's what Papa goes through. There's no such thing as a pain-free life. As long as there is free will, evil will be invited in. The cave wall opens to the back of a waterfall, through which he sees Missy playing with other children. Sensing her father's presence, Missy runs to the waterfall and blows him a kiss. He asks if Missy forgives him for not saving her. Sophia tells him that Missy never felt that way. Back at the beach, Mack and Jesus run through the water. That evening, Papa, Jesus and Sarayu take Mack to the top of a hill. Sarayu covers Mack's eyes, and when he opens them he sees people glowing as the others see people in color and light. One is walking towards them, and it's Mack's father. He apologizes to Mack and says he was blind and couldn't see anyone. Mack says he was scared and they forgive one another. In the morning, Papa comes to Mack, now as an American Indian man. Papa brings Mack to the woods and wants him to forgive Missy's killer. Mack says he wants to hurt him, and he wants God to hurt him also. God tells him that the killer is also his son, and he wants to redeem him. Mack says the man should burn in Hell, but Papa reminds him that he is not the judge. He guides him into forgiveness, and tells him that it's OK that he is still mad, and it will get easier in time. Papa leads Mack to Missy's body, which he wraps and carries back to the shack. Mack asks Jesus to take her as he can't, and they put her in a coffin and bring it to the garden for burial. Beautiful flowers grow above the grave, along with a rapidly growing tree that attracts butterflies. Mack is ready to go home. Papa, Jesus and Sarayu, however, tell him that he needs to talk to Kate, as she blames herself for Missy's death. Given the choice to stay with the trinity forever or return home (they'll always be with him either way), Mack tells them that he still wants them in his life but decides to return home. Suddenly, it is winter again. On Mack's way home, he is hit by the semi-trailer at the same intersection and winds up in the hospital. Willie is there and tells him that he never made it to the shack and was hit by the semi that night on the way there. His family comes into the room and he tells Nan that he saw Missy and she's beautiful. He talks to Kate, who tells him that she feels Missy's death was her fault because she stood up on the boat causing it to tip over in the first place. He tells her nothing is her fault and she doesn't have to go through grieving alone. His life turns around and the family are all able to have a happy life once again.

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Summary and Study Guide

The Shack is a novel by Canadian author William P. Young and his first published work. Young is the son of Christian missionaries who worked in the highlands of Papua New Guinea, and he grew up alternately amid the Dani ethnic group and in missionary boarding schools before the family moved back to Canada. Having settled in the United States as an adult, Young began writing stories for his children and friends. The earliest version of The Shack was one of these stories, but some of its readers encouraged him to publish the manuscript. Assisted by Wayne Jacobsen and Brad Cummings in the process of editing and rewriting, Young attempted many times to find a commercial publisher before the group decided to form their own company, Windblown Media, and publish the book themselves. Windblown Media released The Shack in 2007, and by the summer of 2008 it had become a surprise bestseller, driven largely by word-of-mouth promotion. The Shack achieved a long run at #1 on the New York Times bestseller list and received the 2009 Diamond Award from the Evangelical Christian Publishers Association for surpassing 10 million copies sold. It is often cited as a rare example of a successful independently published work, but along with its enormous popularity it has also drawn criticism in some Christian circles for its theological positions regarding the Trinity and the Bible. It was adapted for film in 2017.

This study guide uses the standard paperback edition printed in 2008.

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The Shack tells the story of Mackenzie Allen Phillips (Mack), a father of five who lives with his wife and children in Oregon. His oldest two children are grown and live elsewhere, but the younger three are still with him and his wife, Nannette (Nan).

Mack takes his three younger children on a camping trip. On the final day of their trip, two of the children, Josh and Kate, go canoeing while his youngest, Missy, stays at the picnic table in their campsite and Mack packs up. The canoe tips over and Mack has to run to the lake to save Josh from drowning. While he is at the lake, Missy is abducted from the campsite. Investigators discover that a serial killer who targets young girls—nicknamed the Little Ladykiller—has kidnapped her, and they trace his trail to an abandoned shack deep in the wilderness. There they find Missy’s bloodstained clothing, but her body is never recovered. The loss of Missy brings a period of emotional desolation to the family, which they call the “Great Sadness.”

A few years later, Mack receives a mysterious note in his mailbox The note purports to be from “Papa,” Nan’s name for God, and invites Mack up to the shack the following weekend. Unsure if it is a prank, a trap, or an actual message from God, Mack goes to the shack without informing the rest of his family. Shortly after arriving there, he finds the location transformed into a beautiful setting with a log cabin and garden, and inside he meets three characters: Elousia, an African American woman who tells Mack he can call her “Papa”; a Middle Eastern carpenter who introduces himself as Jesus; and an Asian woman named Sarayu . These three, he quickly discerns, are representations of God the Father, the Son, and the Holy Spirit—according to traditional Christian theology, the three compnents of the Trinity.

The majority of the book comprises a series of dialogues between Mack and these three persons, sometimes separately and sometimes together. As they work in and around the cabin, they answer Mack’s questions and lead him to a new understanding of their relationships with each other, with Mack, and with the world at large. They challenge many of Mack’s preconceptions about God, focusing on themes of love and relationships rather than sin, punishment, and righteousness. Little by little, this new perspective helps Mack find healing in his relationship with God, as he begins to see why God would allow evil and suffering in the world, including the evil that claimed Missy’s life: If God did not give humans the ability to choose—including the ability to choose sin—they could not exist in a meaningful, loving relationship with God. What’s more, Mack gains assurance that God can and does transmute the evils of the world into good.

Interspersed among Mack’s dialogues with Papa , Jesus , and Sarayu are a variety of experiences they invite him to participate in. He works alongside Sarayu as they clear a spot in a nearby garden, and he walks across the water of a lake with Jesus. On the other side of the lake he enters a dark tunnel where he interacts with Sophia, a woman who personifies the wisdom of God. She leads him to reflect on the meaning of judgment before showing him a vision of Missy on the other side of a waterfall, alive and happy in Jesus’s presence. Later, Sarayu also shares a vision with Mack, allowing him to see all of creation, including humans, as God sees them, suffused with a brilliance of light and color. In this vision, Mack reconciles with his father, who caused Mack great pain in his childhood. In a final experience, Papa—now appearing as an older Indigenous American man—leads Mack up a mountainside trail to the place the kidnapper hid Missy’s body. They bring her remains back down to the cabin and lay them in a beautiful coffin Jesus has been building; they then bury her in the space that Mack and Sarayu cleared in the garden .

Although Papa offers Mack the chance to stay with them if he wants, he chooses to go back to his family. Mack finds himself back in the dilapidated shack, and as he travels back home he nearly dies in a car accident. He wakes up in a hospital a few days later, surrounded by his family. He shares his experience at the shack with Nan, who gradually comes to believe his story, and the perspective he has gained helps to set the whole family on a journey of healing from “he Great Sadness. 

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Vague Visages

Movies, tv & music • independent film criticism • soundtrack guides • forming the future • est. 2014, crime scene #17: ‘lone star’ – porous borders at the edge of america.

Crime Scene is a monthly Vague Visages column about the relationship between crime cinema and movie locations. VV’s Lone Star essay contains spoilers. John Sayles’ 1996 film features Chris Cooper, Elizabeth Peña and Kris Kristofferson. Check out film essays, along with cast/character summaries , streaming guides and complete soundtrack song listings , at the home page.

John Sayles’ Lone Star (1996) is set in the town of Frontera, Rio County, Texas. The community is a fictional place, but its milieu is very real. Frontera is a border town, the crossing point into Mexico demarcated, as it always is in Texas, by the Rio Grande. In border towns, identities are mixed and complex; histories both local and national are defined not by the truth but by the loudest voices. There are a lot of characters who speak in Lone Star , and much of the story boils down to people remembering stories from decades prior as the protagonist, Sheriff Sam Deeds (Chris Cooper), asks them what happened, once upon a time in America.

Lone Star’s plot ramps up when skeletal remains — alongside a Rio County Sheriff badge — are discovered by Sam outside of Frontera. The legend behind the town is well-known. Back in the 50s, Frontera was terrorized by Sheriff Charlie Wade (Kris Kristofferson), a tyrant who expected bribes and kickbacks over every piece of business or else trouble came calling. And Sam’s father, Buddy Deeds (Matthew McConaughey), stood up to the despised lawman (who eventually disappears). Most assumed Wade had been chased out of town or killed. Either way, the locals view the late sheriff as a hero who brought law, order and stability to the community. The discovery of the skeleton starts an investigation by Sam into Frontera’s history and mythos.

Lone Star Essay: Related — Know the Cast: ‘Massacre Time’

“When the legend becomes fact, print the legend” goes the famous line in John Ford’s The Man Who Shot Liberty Valance (1962). Lone Star might as well be a feature-length extrapolation of that line. Sayles’ most ostentatious gambit is to continually transition from past to present (or back again) within the same shot; as a protagonist recalls past events, the camera will drift across the room to a younger version of the character . It’s a physical, in-camera evocation of the idea that the past is always present. Although Frontera locals might do their best to forget, or tell their stories in such a way as to acquit themselves of guilt, the reality of the past always comes back.

Lone Star Essay: Related — Soundtracks of Cinema: ‘The Power of the Dog’

Sayles builds on this idea with the border town identity of Frontera and its residents, as various ethnicities co-exist in one way or the other. The river might provide a legal and natural border, but it is shallow and crossable on foot under cover of night (although still dangerous). Other figures Sam Deeds comes across tell stories of people-smuggling across the border as a daily occurrence. Today, we’re used to thinking of the Mexico-U.S. border as a militarized zone: even before Donald Trump’s insistence on a border wall, successive Democratic and Republican governments have invested billions in military technology for the sole purpose of keeping people out. Lone Star’s rendition of the border is low tech and, by modern standards, even genteel. A small sub-thread has Sam Deeds under pressure to come out in favor of a new jail being built for the town (it’ll bring jobs which are due to be lost because the U.S. army is closing down a nearby outpost, so the local politicians say). But crime is low in Frontera, and the jail is half-empty most of the time. Plus, there’s an inkling of the future militarization and criminalization to come. No point building jails if you don’t have criminals to put in them.

Lone Star Essay: Related — Know the Cast: ‘1883’

Historically, border towns have a reputation for being seedy and dangerous wherever they are — places where people and goods mix. For reactionaries, nationalists and conservatives, the border is both the imaginary “true” heartland of a country and the place that requires the most stringent efforts to be homogenized, forever perceived as a threat by invasion from its neighbors. So it is with Texas — that most defiantly “American” of states whose iconography is steeped in cowboy mythology, manifest destiny and WASP-y self-sufficiency, despite it not becoming part of the USA until 1845 and despite the fact that some 40 percent of the population is Latino/Hispanic, with that percentage reaching the 90s near the border. The hard-right Republicanism of Trump and company is itself a reaction to a fear of fading influence. Sayles comments on this concept plenty in Lone Star , with minor characters left, right and center spouting anti-migrant rhetoric .  

Lone Star Essay: Related — Soundtracks of Cinema: ‘The Harder They Fall’

In Lone Star , the white townfolk speak aplenty about being “replaced.” A parent-teacher meeting at the local school devolves into name-calling when angry, historically illiterate parents accuse a teacher named Pilar (Elizabeth Peña) of promoting a biased, anti-white history when her classes include a truthful, honest account of the complexities of life on the U.S.-Mexico border. The border is true “America,” which must be enforced and created. The only place where true “America” can be built is at the border. Some Mexican-born Americans internalize this philosophy: Elizabeth’s mother, Mercedes (Míriam Colón), runs a restaurant staffed largely by undocumented migrants, but she refuses to speak Spanish and is happy to call the police whenever she witnesses illegal crossings near her villa. These contradictions go unanswered within Lone Star  because they can’t truly be answered: people will take any excuse to absolve themselves of guilt or face the cognitive dissonance. Maybe it’s part of border life.

Lone Star Essay: Related — Know the Cast & Characters: ‘1923’

Behind this are the two figures of Charlie Wade and Buddy Deeds, the two sheriffs whose backstories dominate and shape Frontera’s history. Wade is ever-present in flashback sequences, and Kristofferson imbues his character with menace and malicious authority. Buddy appears only a handful of times, with a youthful McConaughey demonstrating his then-rising star power. Wade is an obvious tyrant, the sort who clearly needs to be put to justice, and as Sam talks to folks old enough to remember Kristofferson’s character, it’s evident that nobody misses him. But as Cooper’s protagonist finds out more about his father, Buddy, it’s clear that he was no saint either. Yet, the townsfolk idolize him, willing to look the other way when it came to his own sins, simply because he “kept the peace” better than any sheriff before or since. It’s a peace that threatens to quickly come undone with Buddy’s passing, like a captain building a boat only he knows how to sail. Sam’s investigation into his father is an oedipal reckoning — one that seeps into the local geography and Frontera’s history. He’s like Tito, the president of socialist Yugoslavia and the leader of a country that was hugely revered and massively respected, but whose passing left a deep void which nobody was able to fill, leading to collapse and destruction.

Lone Star Essay: Related — Soundtracks of Cinema: ‘Texas Chainsaw Massacre’

Are such figures a historical necessity? Deposing a tyrant is one thing, but do they need to be followed by stabilizing figures who nevertheless deploy equally illiberal tactics albeit to more humane ends? Buddy Deeds is an Americanizing, civilizing influence in Lone Star . But for the long-term health of Frontera, is that a good thing?

Lone Star Essay: Related — Know the Cast: ‘Calamity Jane’

The genius of Sayles’ Lone Star is that the film envelops its difficult, knotty questions about history, identity and geography without any didacticism. “Who am I?” is an open-ended question, and even its seemingly more binary cousin “Where are you from?,” often posed with an undertow of hostility, has no direct answer for many. Lone Star looks again to the Rio Grande river. It is a physical place, shaped and enforced by violence. But animals and people can still cross it if they wish; waters ebb and flow, and the banks change . Nothing stays the same, no matter how much people desperately try to keep it that way.

A new 4K restoration of Lone Star will premiere at Cinema Rediscovered (Bristol) on July 25, 2024 before releasing in UK cinemas on August 16 via Park Circus.

Fedor Tot ( @redrightman ) is a Yugoslav-born, Wales-raised freelance film critic and editor, specializing in the cinema of the ex-Yugoslav region. Beyond that, he also has an interest in film history, particularly in the way film as a business affects and decides the function of film as an art.

Lone Star Essay: Related — Soundtracks of Cinema: ‘The Iron Claw’

Categories: 1990s , 2024 Film Essays , Crime Scene by Fedor Tot , Drama , Featured , Film , Movies , Mystery , Western

Tagged as: 1996 , 1996 Film , Chris Cooper , Drama Movie , Elizabeth Peña , Fedor Tot , Film Actors , Film Actresses , Film Critic , Film Criticism , Film Director , Film Essay , Film Explained , Film Journalism , Film Publication , Film Summary , John Sayles , Journalism , Kris Kristofferson , Lone Star , Movie Actors , Movie Actresses , Movie Critic , Movie Director , Movie Essay , Movie Explained , Movie Journalism , Movie Plot , Movie Publication , Movie Summary , Mystery Movie , Rotten Tomatoes , Streaming , Streaming on Amazon , Western Movie

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How Biden Lost George Clooney and Hollywood

The president’s stable of big donors, corralled in part by the movie mogul Jeffrey Katzenberg, has been devastated since his debate, with many closing their wallets.

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By Theodore Schleifer ,  Jacob Bernstein and Reid J. Epstein

Theodore Schleifer and Reid J. Epstein reported from Washington, and Jacob Bernstein from New York.

• July 11, 2024

When aides to President Biden heard in recent days that George Clooney, as close a figure as there is in Hollywood to royalty, planned to publicly break with Mr. Biden in an essay that cast doubt on his re-election chances, panic set in from Wilmington to Beverly Hills.

Could Mr. Clooney be persuaded not to publish it?

The movie mogul Jeffrey Katzenberg sought to intervene. Mr. Katzenberg, who moonlights as a top Biden official and has worked with Mr. Clooney on philanthropy for decades, reached out to him to see if there was an off-ramp , according to three people familiar with the matter. There was not — Mr. Clooney published his essay in The New York Times , and the president’s relationship with Hollywood was torn asunder.

The fallout from the Clooney essay has ricocheted across the worlds of politics and entertainment — and onto Mr. Katzenberg himself. It has turned Hollywood, America’s drama capital, into ground zero for the impasse between the Biden campaign and the major donors who increasingly do not want it to proceed.

“This is a town that pays attention to box office, and the numbers do not look encouraging right now,” said Billy Ray, the screenwriter behind “The Hunger Games” and other films who has worked with Democratic candidates on messaging. “I do think they’re going to have a challenge raising more money.”

The Biden large-donor scene, where Mr. Katzenberg is treated as royalty himself, has been devastated since Mr. Biden’s debate performance two weeks ago. Several fund-raising events are in jeopardy and scores of donors have informed the campaign they will not continue to give if Mr. Biden remains in the race. The campaign has pointed to its recent low-dollar fund-raising success.

Still, top Biden campaign officials are already bracing themselves for a July fund-raising report — which will not become public until mid-August — that is expected to show the campaign’s finances falling off a cliff. Mr. Biden is coincidentally scheduled to travel to Southern California for a fund-raiser this month that is likely to be attended by some top Hollywood players.

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George Clooney calls for Joe Biden to step down, says he witnessed president’s decline in person 3 weeks ago

"It’s devastating to say it, but the Joe Biden I was with three weeks ago at the fund-raiser was not the Joe 'big F---ing deal' Biden of 2010," Clooney wrote.

Hollywood icon and longtime Democratic fund-raising leader George Clooney has joined a growing list of political and entertainment figures calling for President Joe Biden to bow out of the 2024 election race against Donald Trump .

Like many before him, the Oscar-winning actor and producer cited concerns over Biden's 81 years of age impacting his ability to lead the party to victory in November, but added that, before Biden's disastrous performance at the June 27 debate , he witnessed Biden's decline in person at a political event nearly three weeks ago.

"I love Joe Biden. As a senator. As a vice president and as president. I consider him a friend, and I believe in him. Believe in his character. Believe in his morals. In the last four years, he’s won many of the battles he’s faced," Clooney wrote in a New York Times essay published Wednesday, in which he acknowledged his friendship with Biden. "But the one battle he cannot win is the fight against time. None of us can. It’s devastating to say it, but the Joe Biden I was with three weeks ago at the fund-raiser was not the Joe ' big F---ing deal ' Biden of 2010. He wasn’t even the Joe Biden of 2020. He was the same man we all witnessed at the debate."

Bonnie Cash/UPI/Bloomberg via Getty Images

He continued: "Was he tired? Yes. A cold? Maybe. But our party leaders need to stop telling us that 51 million people didn’t see what we just saw. We’re all so terrified by the prospect of a second Trump term that we’ve opted to ignore every warning sign. The George Stephanopoulos interview only reinforced what we saw the week before. As Democrats, we collectively hold our breath or turn down the volume whenever we see the president, who we respect, walk off Air Force One or walk back to a mic to answer an unscripted question."

Clooney also alleged that he's spoken to numerous Democratic senators and members of congress in private in recent days, and that "every single one" shares the sentiment that "we are not going to win in November with this president." He also claimed that many of the politicians he spoke with have different forward-facing stances on the issue, and are "saying publicly" things that contradict how they really feel about Biden's acuity.

The 63-year-old goes on to suggest that several prominent Democrats could step up to lead the November ticket, noting that the nominating process at the 2024 Democratic National Convention could “enliven our party and wake up voters" among the base.

"We can put our heads in the sand and pray for a miracle in November, or we can speak the truth," Clooney wrote, finishing the essay with a final note of praise for Biden before calling on him to bow out once again. "Joe Biden is a hero; he saved democracy in 2020. We need him to do it again in 2024."

Entertainment Weekly has reached out to the White House and the Biden campaign for a response. When reached for comment, Clooney's publicist tells EW there's "nothing to add" to the actor's New York Times essay.

Others who've attended recent events with Biden have praised the president on social media, including diplomat James Costos, who tweeted Wednesday that he was "proud to be with" Biden in person in Los Angeles.

Amid sustained calls from both Democrats and Republicans to drop out of the matchup against Trump, both Biden and White House representatives have maintained that he'll remain in the race. Biden confirmed in a July 5 X post that he's “not letting one 90-minute debate wipe out three and a half years of work. I'm staying in the race, and I will beat Donald Trump."

New York's governor, Kathy Hochul, also recently told MSNBC that Biden is the best candidate running, and that she felt emboldened to support him after meeting with him less than a day after the debate.

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“What I saw less than 24 hours after the performance the night before, was Joe Biden himself, at his best, energetic, fully alert, and conversational,” Hochul said. "One bad night does not affect three-and-a-half years of stellar accomplishment, and I’m really excited about the next four years ahead as well."

Other entertainment figures calling for Biden to let another Democratic candidate tap in for the party include several cohosts on The View — particularly Sara Haines and former Trump White House communications staffer Alyssa Farah Griffin .

"It kind of pains me to say this today, but I think President Biden needs to step down and be replaced if we want to defeat Donald Trump in November," Haines said, urging Democrats to stop "twisting the age issue" by making excuses for Biden's performance.

Also amongst Biden's critics are Stephen King, Rob Reiner, Michael Moore, and Michael Douglas — the last of whom said Wednesday on The View that he worries about Biden's fitness for office in the near future if he's elected to a second term.

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by William P. Young

The shack symbols, allegory and motifs, the shack (symbol).

In the Acknowledgements for The Shack , Young writes, "Most of us have our own grief, broken dreams, and damaged hearts, each of us our unique losses, our own 'shack.' I pray you find the same grace there that I did, and that the abiding presence of Papa, Jesus, and Sarayu will fill up your inside emptiness with joy unspeakable and full of glory" (252). This reveals to the reader that the shack was never intended to refer to a real, physical place, since Young references finding grace there himself, when it was the character Mack who supposedly visited. In further writing and interviews since the publication of The Shack , Young has clarified and elaborated on the symbol of the shack, which is intended to represent the trauma or pain many people have standing between them and God. By looking at the shack as a symbol, one can see that Mack had to return to and confront his trauma and even find God precisely there, and after that he was able to lead a life of love and trust.

The Tin Box (Symbol)

When Mack left home as a young boy, he took with him a "small tin box housing all his earthly treasures" (10), including a picture of his family, a baseball card, a small bottle of his mother's perfume, a needle and thread, a toy jet, and a little over $15. At this point of life, when Mack is forced to live on his own and independently grapple with his strong emotions, the tin box represents Mack's lack of a home and a family. Later in the book, the reader finds that Mack still has the tin box, but now he keeps a picture of Missy and the note from God inside. The tin box has come to represent the secrets and emotions Mack has bottled up inside because he is scared of hurting others or himself by revealing them. The tin box is not mentioned for most of Mack's time at the shack, but it appears in a significant way just as he is preparing to leave. Young writes, "Finally, Jesus stood and reached up to one of the shelves to bring down Mack's little tin box...Mack took it from Jesus and held it in his hands a moment. 'Actually, I don't think I'm going to need this anymore,' he said. 'Can you keep it for me? All my best treasures are now hidden in you anyway. I want you to be my life'" (238). This moment suggests that the tin box is something Mack only needed when he wanted to hide his thoughts, feelings, and memories; now that he has trust, he does not need a place to hide.

Trees (Motif)

Trees are a symbol in Christianity, with different kinds of trees representing different qualities and religious figures. In The Shack , there are two important moments that concern trees. The first is Mack's discussion of the Garden of Eden with Jesus and Sarayu. While the Bible is understood by some Christians to be a collection of parables, Sarayu tells Mack that Adam and Eve eating from the tree of knowledge in the Garden of Eden really happened, and that it "tore the universe apart, divorcing the spiritual from the physical" (137). Jesus tells Mack that eating from the tree of knowledge gave Adam and Eve their independence, which led to people to create power hierarchies and judge one another. In this way, the tree takes on a negative connotation in the book.

Later, at Missy's burial at the shack, the tree returns as a symbol. After they have covered Missy's casket with dirt, Sarayu takes out a small bottle of Mack's tears and sprinkles them on the grave, causing flowers to grow. Sarayu finishes by dropping a special tear in the center of the burial plot. The author writes, "Immediately a small tree broke through the earth and began unbending itself from the spot, young and luxurious and stunning, growing and maturing until it burst into blossom and bloom" (235-6), and Sarayu tells Mack, "It is a tree of life, Mack, growing in the garden of your heart" (236). With this positive representation of a tree as youth, beauty, and recovery, the motif of trees becomes a lesson in the duality of life.

The Garden (Symbol)

Sarayu takes Mack into the garden at the shack to help her cut flowers and herbs and dig up a tree. He is shocked by the messy lack of order in the garden, but Sarayu tells him that it is actually "a fractal...something considered simple and orderly that is actually composed of repeated patterns" (131). At the end of the chapter, Sarayu reveals that the garden they were working on together is actually Mack's soul. Representing Mack's soul as a garden demonstrates how one's life can seem like a complicated series of choices and circumstances, but that what appears as disorder is actually patterns and beauty. Furthermore, by asking Mack to help her uproot a tree, especially one that didn't seem to be causing any problems, to make room for new growth, the author shows how one must accept change as one matures.

Missy's Casket (Symbol)

Early in The Shack , following the search for Missy, Mack's family must bury an empty coffin and try to move on with their lives. However, at the shack, Mack is able to have a proper burial for his daughter. Jesus constructs a casket for Missy that is covered in etchings. The author writes, "Details of Missy's life were carved into the wood. He found an engraving of Missy with her cat, Judas. There was another of Mack sitting in a chair reading Dr. Seuss to her. All the family was visible in scenes worked into the sides and top: Nan and Missy making cookies, the trip to Wallowa Lake with the tram ascending the mountain, and even Missy coloring at the camp table along with an accurate representation of the ladybug pin the killer had left behind" (234). This casket represents Missy's life completely; it does not show just the good parts that Mack might want to focus on, but the worst moments as well, like her abduction by the Little Ladykiller. The casket is then buried in Sarayu's garden, which we know represents Mack's soul, meaning Mack must accept the reality of his daughter's life and death, keeping it with him as he continues forward with his life.

The Shack Questions and Answers

The Question and Answer section for The Shack is a great resource to ask questions, find answers, and discuss the novel.

How did you react to Mack's encounter with Sophia in the cave? What perspective, does this scene offer on questions of judgement and justice? In what ways do you think we are all tempted to act as judges- both of other people, and of God himself?

The beginning of Chapter 12 marks a crucial shift in The Shack : the end of The Great Sadness , or depression, Mack had been experiencing since Missy's disappearance. On the first page of Chapter 12, as Mack returns from the cave where he met with...

what are macks three explanations for the note

Mack decides that it must be either a prank or from Missy's killer or some sort of divine message so he decides not to tell Nan. However, he becomes more curious over the next week and decides to go to the shack to confront whatever is there, be...

What are the metaphor and simile?

Check this out:

https://www.gradesaver.com/the-shack/study-guide/metaphors-and-similes

Study Guide for The Shack

The Shack study guide contains a biography of William P. Young, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About The Shack
• The Shack Summary
• Character List

Wikipedia Entries for The Shack

• Introduction
• Arts, entertainment, and media

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George clooney pens op-ed calling for biden to step aside.

“He saved democracy in 2020,” wrote the longtime Democrat who helped fundraise for the president. “We need him to do it again in 2024.”

By Kevin Dolak

Kevin Dolak

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On Wednesday,  The New York Times  op-ed section  published a blunt essay  from George Clooney , in which the actor and director, one of Hollywood’s more engaged political players, forcefully argues for President Joe Biden to step aside in his campaign for reelection and allow a new candidate to take on Donald Trump in November.

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Biden team claps back at george clooney after scathing op-ed, biden keeps media blitz going, plans primetime interview with nbc's lester holt.

“Was he tired? Yes. A cold? Maybe,” Clooney wrote of the debate performance that has sent Democrats into a panic and that is now dividing the party. “But our party leaders need to stop telling us that 51 million people didn’t see what we just saw. We’re all so terrified by the prospect of a second Trump term that we’ve opted to ignore every warning sign. The George Stephanopoulos interview only reinforced what we saw the week before. As Democrats, we collectively hold our breath or turn down the volume whenever we see the president, who we respect, walk off Air Force One or walk back to a mic to answer an unscripted question.”

Clooney writes that while it may seem unfair to point out Biden’s perceived cognitive decline given his advanced age, “it has to be fair” because Democracy is at stake. He asserts that running Biden at the top of the ticket will not only lose the Democrats the presidency, it will cost them the House and Senate majority, which is within the grasp of both major parties in November; Clooney says that every single senator and congressional representative that he has spoken to privately agrees with this prediction.

“We Democrats have a very exciting bench,” Clooney asserts. “We don’t anoint leaders or fall sway to a cult of personality; we vote for a president.”

The Oscar winner for the political thriller  Syriana  and nominee for  Good Night, and Good Luc k, which follows the conflict between journalist Edward R. Murrow and U.S. Sen. Joseph McCarthy, floated the idea of several prominent Democrats stepping up to lead the ticket in November. Clooney suggests in the essay that the nominating process at the 2024 Democratic National Convention could “enliven our party and wake up voters.”

In closing, Clooney gives Biden credit for steering the nation away from the paths of the Trump administration and says he must repeat the feat.

“Joe Biden is a hero; he saved democracy in 2020,” he wrote. “We need him to do it again in 2024.”

According to a news story on the op-ed that The New York Times published Wednesday, two sources said that the gala fundraiser was planned around Clooney’s schedule — not Biden’s — and the event’s timing demanded that in a short window of time, Biden fly from a Group of 7 gathering to California and back to Washington. Following the debate, Biden explained his dismal performance as the result of a cold and jet lag.

Roberts and Kimmel, along with Jeffrey Katzenberg and Steven Spielberg, have not yet commented on whether Biden should stay or step aside , despite several influential celebrity Democratic donors like Netflix co-founder Reed Hastings, media mogul Barry Diller, Endeavor CEO Ari Emanuel and millionaire Disney heiress Abigail Disney calling on the Democratic party to replace Biden on the ticket.

In response to Clooney’s op-ed later on Wednesday, Michael Douglas, a longtime Biden supporter who hosted a Hollywood fundraiser at his home for the president in April, said he too was “deeply, deeply concerned” about Biden’s reelection prospects after the debate, but he stopped short of withdrawing his support for Biden for 2024.

Following up on he r monologue in support of Biden on Monday’s show, The View ‘s Whoopi Goldberg said that she continues to support th president — even when Douglas and her   cohost Joy Behar said that Biden should have focused on Trump’s lies during the debate. To that notion, a flummoxed Goldberg said, “But then when he does that…You know, you can’t win in this game. I really feel bad for him. If he can’t do the job and we see he can’t do the job, then he’s gotta go, but until I can see that, I’m going to support him.”

Jackie Strause contributed to this story.

July 10, 10 a.m. Updated to include Michael Douglas’ The View quotes.

July 10, 11 a.m. Updated to include details about the planning of the Clooney-hosted fundraiser.

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