Modern emergent Christianity can find a “gospel theme” in practically any pagan cultural piece of art that exists no matter how godless and anti-Christ it is. From Harry Potter to Star Wars, these endless charades in these elite circles continue to try to justify their infatuation with Hollywood propaganda by drawing some kind of piecemeal “biblical” conclusion from the work. The fact is, it’s not there.
The Gospel Coalition recently penned an article titled ‘Into the Unknown’ and the Unknown God where the author, Joey Tomassoni compares the Frozen 2 theme song, Into the Unknown, to the Pagan’s “prayers” to the unknown God in Athens in Acts 17. Yet, in his effort to draw this conclusion from Disney’s latest hit, he seemingly promotes some kind of Mother goddess earth worship, writing,
Artists are antennas, prophets, even intercessors, expressing unspoken longings that are hard to articulate. To love the world around us we must learn to listen to her art.
Deifying and personifying the world, referencing the creation as “her,” he expresses in some kind of collective sense that the world — through its “prophets,” “intercessors,” and “antennas,” — have some kind of special revelation to give us through art. Of course, this is unbiblical nonsense and rooted in the idolatry of self. Nowhere do the Scriptures speak of art or artists of having some kind of power to communicate any special revelation to us or give us the ability to love it.
Further, as he tries to compare the Frozen 2 theme song to a call from God, he
The protagonist of “Into the Unknown” is haunted by an unknown voice calling her into an unknown space. The first verse makes clear the voice is from a “You” who seems to be pursuing the protagonist. As the song builds we discover this “You” has a voice but isn’t seen, and it’s a voice that wields a certain kind of growing “power.” We might consider this “You” a “Thou” of sorts—a kind of unknown divine being or force.
Throughout the song there is a repeated choral mocking, questioning the protagonist’s curiosity and contemplation. It’s the voice of cynicism and doubt—the background noise questioning the questioning. The wrestling ultimately comes to a resolution in a series of questions that leads the protagonist to yield and follow this “You”: “Are you out there? Do you know me? Can you feel me? Can you show me? Where are you going? Don’t leave me alone. How do I follow you, into the unknown?”
But let’s back for a second, before he gets to this, he’s already concluded that this “You” is comparable to a call from an “unknown God” that can be fulfilled in Jesus, he says, “By taking note, in love, of the art works of the pagan culture, Paul could identify their “unknown god” as one who could become known in the person of Jesus, the Messiah.”
So he concludes by saying that our children will follow this unknown “You” “into a new kind of life where the longings of the stories they watched and read and listened to as children will become realized. They will not be able to resist this voice. His calling will be effective as they meet him and rejoice, knowing it was worth giving up comfort to heed his call,” and then asks us to “pray toward that end.”
Except, what he failed to mention, is that the “You” in the theme song isn’t a call from God or a call from Jesus or even a call to the true God revealed by general revelation. The movie — and the entire Frozen series — actually already reveals this “You” to be Elsa’s own heart and that the entire theme of the movie teaches that we should not follow God, but follow our own hearts.
This, of course, is antithetical to the Scriptures and is clearly motivated by the pagan culture’s ideals to reject the “bondage” of religious morality and instead do what “feels” right to yourself. Reject any outside influence and instead, live to gratify yourself. It’s just an excuse to love the world and worship the creation rather than the creator.
If you were to die today, where would you go? Heaven? Hell? Not sure?