Context: The Confederation Report
Host: Steven R. Martins
Language: English
This is The Confederation Report, a weekly analysis of Canadian news and culture from a Biblical worldview.
Part I: Netflix and the Potential Gender-Swapping of Aslan (0:05-3:25)
Netflix’s upcoming Chronicles of Narnia adaptation, directed by Greta Gerwig, is facing backlash over fears of progressive revisionism, especially after reports that Meryl Streep may voice Aslan, altering C.S. Lewis’ Christian symbolism.
Part II: Narnia and the Bible (3:28-8:46)
To understand the uproar over Netflix’s Narnia project, one must first appreciate that C.S. Lewis’ beloved series, though not a calculated allegory, naturally reflects deep Christian truths that have long pointed readers, young and old, toward a vivid and endearing love for Christ.
Part III: Literature and the Arts (8:50-13:44)
A Christian understanding of literature recognizes it as a symbolic and imaginative art form that, unlike performance-based arts, reflects profound truths about creation, mankind, and redemption, offering a unique avenue to glorify God through the written word.
Did You Know? (13:46-15:08)
Though often overlooked, C.S. Lewis had surprising ties to Canada, from a dedicated fan journal and a tribute by Prime Minister Pierre Trudeau to receiving an honorary doctorate from Université Laval for his growing influence in French-speaking theological circles.
Recommended Reading (15:09-15:56)
Dr. Jerry Bergman’s C.S. Lewis’ War Against Scientism and Naturalism argues that Lewis was a steadfast critic of Darwinism and scientism, seeing them not merely as flawed science but as rival religions that undermine Christian truth, offering believers a timely call to continue the battle Lewis once fought.
Transcript:
It’s Week 16 of 2025, and this is The Confederation Report, a weekly analysis of Canadian news and culture from a biblical worldview. I’m Steven R. Martins, and each week, we deconstruct the headlines, challenge secular narratives, and apply Scripture to the issues that matter. Because Christ is Lord—over Canada, over culture, over all of life.
Part I: Netflix and the Potential Gender-Swapping of Aslan (0:05-3:25)
If you’ve been keeping an eye on the latest developments in the streaming world, you’ll have seen the uproar surrounding Netflix’s adaptation of The Chronicles of Narnia. Greta Gerwig—best known for her work on the hyper-progressive Barbie movie—is set to direct the streaming giant’s Narnia reboot. From the outset, her attachment to the project raised red flags for fans of C.S. Lewis’ beloved series. Lewis’ works are steeped in Christian allegory, and many feared that under Gerwig’s direction, Narnia would be subjected to the same revisionist treatment seen in other recent adaptations of classic literature.
Those fears have now intensified.
According to Deadline, Oscar-winning actress Meryl Streep is reportedly in talks to voice the character of Aslan—the great lion and Christ-figure of the Narnian world. Though Netflix has not officially confirmed the casting, the very idea has sparked widespread backlash. For readers who understand the theological significance of Aslan, this isn’t a minor creative liberty—it’s a fundamental alteration. Aslan is not just a majestic lion; he is a direct allegory for Jesus Christ. To gender-swap Aslan would, in essence, be akin to reimagining Christ Himself as a woman—a move that would be deeply offensive to Lewis’ intended symbolism and the millions of Christians who revere the series.
The criticism is already mounting. Across social media, fans have expressed outrage, calling the rumored casting “blasphemous” and “nonsensical.” Some are already comparing this to Amazon’s controversial Rings of Power series, which drew significant backlash for its perceived departure from the spirit and tone of Tolkien’s work.
There remains a slim possibility that Netflix might surprise everyone with a faithful, reverent adaptation of Lewis’ vision. But based on Netflix’s recent track record—with its penchant for ideological storytelling and reimagining of legacy properties—that hope feels increasingly naïve. Unfortunately, what appears to be unfolding is less an act of homage and more a hijacking of a classic tale to serve modern agendas.
At this point, one has to ask: why do Hollywood and streaming studios keep pouring money into progressive propaganda that consistently alienates audiences and underperforms? Perhaps the answer is less about profit and more about control—rewriting the narratives that shaped Western imagination to align with the new orthodoxy.
We hope we’re wrong. But so far, all signs suggest otherwise.
Part II: Narnia and the Bible (3:28-8:46)
What I am about to share with you is but a tidbit of what I have learned from my readings of Narnia, the writings of C.S. Lewis, and the excellent work produced by the C.S. Lewis Institute—an institute which honours Lewis’ legacy by seeking to develop wholehearted disciples of Jesus Christ who will articulate, defend, share, and live out their faith in both personal and public life. If we wish to understand the uproar surrounding Netflix’s recent decisions—whether confirmed or rumoured—we need to first understand the nature of the original work and its close association, or faith-inspired resonance, with the biblical text. Lewis, after all, was not in the end an atheist, though he once was. No, he became a devout Christian and a remarkable Christian thinker.
C.S. Lewis’ beloved series, The Chronicles of Narnia, has captivated readers for generations with its imaginative storytelling and deep underlying themes. It first began with The Lion, the Witch, and the Wardrobe. At the time, contrary to what one might think, Lewis did not set out to write a Christian allegory. Instead, he was inspired by vivid images—a faun with an umbrella, a queen on a sleigh, a magnificent lion—that eventually developed into a seven-book series. Over a hundred million copies have been printed in dozens of languages, and the stories have since been adapted into films, plays, and more. Despite this widespread popularity, contemporary debate has persisted over whether the stories are “Christian” in nature, with some denying any spiritual significance while others attempting to decode every detail as deliberate biblical allegory.
Lewis himself clarified that the spiritual dimension of Narnia was never calculated or contrived. Rather than constructing a strict allegory (though J.R.R. Tolkien certainly thought it was), he explained that the Christian elements “pushed themselves in” as the story took shape. The figure of Aslan, for instance, emerged unexpectedly and soon became the centerpiece of the narrative, prompting Lewis to wonder: what would Christ be like if He came to a different world and chose to die and rise again there? Lewis preferred to describe Narnia, not as allegory, but as a “supposal,” inviting readers to consider how the gospel might be reflected in another reality.
Through the Narnia stories, Lewis sought to bypass the “watchful dragons” of religious obligation that, in his view, often made Christian truth feel distant or inaccessible. By presenting familiar gospel themes in a fantastical context, he aimed to awaken both imagination and heart. Many scenes in Narnia echo Scriptural events: Aslan’s sacrificial death and resurrection parallels the story of Christ; his breath imparting courage recalls Jesus breathing on His disciples to receive the Spirit; and Aslan’s gentle confrontation of Lucy mirrors the biblical narrative of Jesus and Peter. These resonances have touched countless readers—children and adults alike—who find in Aslan a vivid and moving portrait of Christ’s love and redemption.
I remember, once, my parents wondering whether, as a child, I might end up loving Aslan more than Jesus. It was not a new question—concerned parents in Lewis’ day asked the same—and Lewis reassured them that loving the Christlike qualities in Aslan would naturally lead to a deeper love for Jesus Himself. In this way, reading Narnia could prepare young readers for the historical narrative of the Gospels. For many families, reading Narnia together has opened the door to meaningful faith discussions. Some, having rediscovered the series through a guide to its biblical themes, began reading the Bible as a family and eventually embraced the Christian worldview. Here was a Christian work of fiction—not overtly evangelistic, as some would try to force fiction to be today—that pointed readers to the nonfictional reality of Christianity.
Today, educators, parents, and church leaders continue to use Narnia as a springboard for spiritual conversation; they recognize its unique ability to communicate biblical truths in a compelling and memorable way. What would Lewis tell us today if he were here? Perhaps he would urge us to enjoy the stories for what they are, to let them prompt honest questions, and to use them as opportunities to lead others further “up and in”—toward a deeper understanding and love of God.
Part III: Literature and the Arts (8:50-13:44)
As we reflect on Lewis’ The Chronicles of Narnia, you may find yourself wondering what a Christian understanding of literature truly entails—especially within the broader realm of aesthetics, or the arts. A Christian view of literature as art begins by recognizing its unique place among the arts. Unlike music, dance, or drama, which require performance for their full expression, literature is complete in its written form. It is not a blueprint awaiting realization but a finished artistic product, capable of embodying meaning in the very act of writing. Literature, as such, is not merely well-crafted language, but language that symbolically objectifies human perception and imagination. It speaks not just in facts or instruction, but in metaphor, mood, and imaginative truth—offering symbolic depth and resonance that reflects the world in its richness, brokenness, and beauty.
Of course, not all writing qualifies as literature. Clear and skillful prose may be found in technical manuals, journalism, or reference books, but these lack the symbolic and imaginative dimensions central to literature. The Christian view resists reducing literature to mere “fiction” in the sense of falsity or fabrication. Rather, when rightly engaged, literature serves as a vessel for truth apprehended through the imagination. Aesthetic scholar Dr. Calvin Seerveld emphasizes this in his Christian Critiques of Art & Literature, pointing to vivid novels like Cry, the Beloved Country, where the profound tragedy of a father’s brokenness amid a nation’s moral decay transcends mere reportage and becomes imaginative truth. Literature of this kind reflects reality with a spiritual weight and responsibility comparable to that of scientific inquiry or theological reflection.
Literature’s unique status stems from its secondary or composite character among the arts. Unlike painting or music, which focus on a specific aspect of reality (visual or auditory), literature ranges freely, embracing all of life with a synoptic perspective. Its mode of symbolizing is global rather than particular, and this broad reach allows it to capture the complexities of human experience, belief, and moral tension. The written form of literature grants it a certain abstraction, allowing the author to be simultaneously hidden and profoundly revealed—communicating a worldview through narrative without didactic intrusion. The novel becomes a stage, not for direct performance, but for reflective exploration of life’s meanings through story.
This broad, reflective focus allows literature to incorporate the rhythm and resonance of other arts—drama’s intensity, poetry’s imagery, rhetoric’s persuasion—yet it retains its distinct form through the dominant mode of symbolic writing. Whereas drama narrows in on interaction, and poetry crystallizes emotion, literature stretches across a fuller range of life, often revealing more of the author’s spiritual posture. In this sense, a Christian novelist may, even unintentionally, disclose their understanding of God, mankind, and creation. This is clearly evident in the works of C.S. Lewis, particularly in The Chronicles of Narnia and his Space Trilogy. Through the narrator’s voice, the author’s asides, and the shaping of characters and events, literature reveals an embedded worldview—whether redemptive or rebellious, worshipful or wayward.
Finally, the Christian approach to literature views it, not as an escape from reality or from God, but as a serious artistic act of engagement with His world. Imaginative writing is not play-acting with irrelevance, but a weighty participation in symbolizing God’s creation with nuance and vision. If all things must praise the Lord, as the Psalms declare, then literature too must serve to glorify Him—even when written by fallen hands. Recognizing this, Christians are called not to despise literature, nor to misuse it for simplistic moralizing, but to honor its craft, discern its messages, and appreciate its capacity to reflect the deep truths of human existence within the grand narrative of creation, fall, and redemption.
Did You Know? (13:46-15:08)
You probably would not have imagined that C.S. Lewis had some significant connection with Canada, but there certainly was according to Canadian scholar Dr. Brenton Dickieson. During the 1980s, a devoted fan and scholar named Stephen Schofield published The Canadian C.S. Lewis Journal—a lively, cut-and-paste style zine that captured letters, interviews, and reflections from Lewis’ admirers and acquaintances. Despite being profoundly deaf, Schofield gathered firsthand accounts from those who knew Lewis personally. His dedication continued even through a cancer diagnosis, producing 83 issues before his death in 1993. The journal, later turned into a more formal academic collection by Roger Stronstad, and included everything from fan essays to a tribute by none other than Prime Minister Pierre Elliott Trudeau, who quoted Lewis approvingly.
Another lesser-known Canadian connection: On September 22, 1952, Lewis received an Honorary Doctorate of Literature from Université Laval in Quebec, one of Canada’s oldest institutions. Though Laval is a French-language university, Lewis’ theological works had already been translated into French and were gaining popularity. From prime ministerial praise to academic recognition, Lewis’ legacy found a surprising and enduring home in Canadian hearts and minds.
Recommended Reading (15:09-15:56)
This week’s recommended reading is Dr. Jerry Bergman’s C.S. Lewis’ War Against Scientism and Naturalism, published by Cántaro Publications. In this publication Bergman delves into the thought of C.S. Lewis with sharpened focus, challenging the widespread assumption that Lewis was sympathetic to Darwinian evolution. Through careful contextual analysis, Bergman argues that Lewis—far from being a theistic evolutionist—maintained a deep and consistent opposition to Darwinism, scientism, and the materialist worldview they represent. Drawing upon neglected writings and newly reconsidered passages, this volume offers a persuasive case that Lewis saw evolutionary theory not merely as bad science, but as a rival religion, one that undermined Christian metaphysics and distorted mankind’s understanding of God, creation, and himself.
Closing Words
Thanks for listening to The Confederation Report, this podcast is brought to you by the Cántaro Institute. Visit our website at cantaroinstitute.org for more information. For books to read on worldview, philosophy, and theology, visit our store at cantaroinstitute.store
We’ll meet again next week.
Documentation and Additional Reading
New York Post (Eric Todisco)
Greta Gerwig’s ‘Chronicles of Narnia’ movie sparks backlash over gender casting
C.S. Lewis Institute (Christin Ditchfield Lazo)
Biblical Truths in C.S. Lewis’ The Chronicles of Narnia
Calvin Seerveld, A Christian Critique of Art & Literature (Jordan Station, ON.: Paideia Press, 2025)
A Pilgrim in Narnia (Brenton Dickieson)
C.S. Lewis’ Amazing Connections with Canada