THE 200TH MESSIAH tells the story of Alan Tate and his wife, Margie, an American Christian couple in their 60's, who arrive in Israel with their church group, but go off on their own. In the Old City of Jerusalem, Margie, struck in the head by a stone, is rushed to the hospital, where she hovers between life and death in a coma. Alan's reaction leads to his arrest and subsequent transfer to a psychiatric facility. Dr. Schechter tries to bring Alan out of his "psychotic episode;" Dr. Ben-Ami believes that Alan is a victim of the "Jerusalem Syndrome;" Dr. Shmuel Hadashi takes a desperate gamble to rescue Alan from his despair. THE 200TH MESSIAH deals with evil, love, loss, vengeance and--ultimately--the question, "Who is sane?"

THE 200TH MESSIAH tells the story of Alan Tate and his wife, Margie, an American Christian couple in their 60's, who arrive in Israel with their church group, but go off on their own. In the Old City of Jerusalem, Margie, struck in the head by a stone, is rushed to the hospital, where she hovers between life and death in a coma. Alan's reaction leads to his arrest and subsequent transfer to a psychiatric facility. Dr. Schechter tries to bring Alan out of his "psychotic episode;" Dr. Ben-Ami believes that Alan is a victim of the "Jerusalem Syndrome;" Dr. Shmuel Hadashi takes a desperate gamble to rescue Alan from his despair. THE 200TH MESSIAH deals with evil, love, loss, vengeance and--ultimately--the question, "Who is sane?"

The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python's Life of Brian, Son of Man, and Mary Magdalene. The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or “minor” gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional.

Hold it! Sit! Stay! That’s better. No, I am not suggesting that you go to the New York Times and tell them, “I have a book, written by the devil. Only he’s not really the devil. He’s an extra-terrestrial. And he’s not evil. He’s God’s good brother. It’s God who is evil.” Do you think I came to you to have you put in a funny farm? You’re to publish my manuscript under your own name, as science fiction. Isn’t science fiction the only format under which any sane moral philosophy could be published for the past fifty years? You agree? I am so glad. I have to go now. The Overlords are waiting to take me home.