chat gpt - tracking holy gifts

Can we track the amount of holy gifts being used in a timeline, to compare the most miracles and holy gifts being used from the apostolic church till now. perhaps using the formation of the Pentecostal church as well on the timeline? ChatGPT said: It’s an intriguing idea to track the usage or manifestation of holy gifts (charismata like healing, prophecy, speaking in tongues, etc.) over time from the apostolic age to the present, and it’s definitely possible to map it conceptually or historically, though not quantitatively in a strict sense. Here's how we could approach building a timeline of holy gifts use, tied to major movements like the Apostolic Church and Pentecostalism: 🕊️ Timeline of Holy Gifts and Miracles in Christian History 1. Apostolic Church (c. 30–100 AD) High activity of holy gifts. Documented in the New Testament: tongues (Acts 2), healings (Acts 3), prophecy (Acts 11), etc. Considered the normative experience of early Christians, as per Paul’s letters (1 Corinthians 12–14). 2. Post-Apostolic Era / Early Church Fathers (100–300 AD) Continued but declining charismata. Church Fathers like Irenaeus, Tertullian, and Justin Martyr testify to miracles, exorcisms, and healing. Some debate over whether gifts were still normative or fading. 3. Nicene/Post-Nicene Era (300–600 AD) Charismata largely formalized or institutionalized. Augustine initially skeptical of miracles, later revised his view (e.g., City of God). Shift toward sacramentalism rather than spontaneous Spirit-led acts. 4. Medieval Church (600–1500 AD) Miracles tied to saints and relics, not general believers. Gifts mediated through hierarchy (bishops, monks). Rise in pilgrimage miracles, visions (e.g., Hildegard of Bingen), but not “gifts” as in NT. 5. Reformation (1500–1700s) Most Reformers (Calvin, Luther) suspicious or cessationist about miracles. Some Anabaptist groups claimed visions, but were often persecuted. Holy gifts seen as non-normative or ceased. 6. Radical Movements / Mystics (1600s–1800s) Quietist and Pietist groups experienced private revelations, prophecy, and healings. Shakers, early Methodists, and Quakers emphasized direct experience of the Spirit (often non-charismatic but contemplative). Pre-Pentecostal Holiness Movement emerges in the 1800s, emphasizing sanctification and sometimes divine healing. 7. Pentecostal Revival (1901–1920s) Explosion of gifts: tongues (glossolalia), healing, prophecy. 1901: Agnes Ozman speaks in tongues in Topeka. 1906: Azusa Street Revival in LA sparks global movement. 8. Charismatic Renewal (1960s–1980s) Holy gifts enter mainline denominations (Catholic, Episcopal, Lutheran). Emphasis on baptism in the Holy Spirit, spiritual gifts in personal and communal life. 9. Third Wave / Neo-Charismatics (1980s–present) Gifts seen as normal part of Christian life in many evangelical and independent churches. Prophecy, deliverance ministries, healing services widespread. Rise of “Power Evangelism” (e.g., John Wimber, Vineyard Movement). 10. Present Day (2000s–2020s) Global Pentecostalism is now over 600 million strong. Africa, Latin America, and Asia are hotspots of charismatic growth and claimed miracles. Continued emphasis on supernatural gifts, often tied to revival or spiritual warfare themes. 🔍 Interpretation Considerations Measuring “use” of holy gifts is subjective—based on written records, testimonies, theology, and church reports. Historical silence on gifts doesn't mean they didn’t occur—just that they weren’t emphasized or were downplayed. Theological stance (Cessationism vs. Continuationism) heavily shapes how periods were interpreted. No file chosenNo file chosen ChatGPT can make mistakes. Check important info.

Good Night and Good Luck

Good Night and Good Luck is a remarkably epic stage play, an elaborate docudrama about the legendary news anchor Ed Murrow’s clash with the junior senator from Wisconsin and his fascist delusional fight against the intellectual threat of communism in the 1950’s. George Clooney delivered an authentic Murrow composing his mannerisms and subtle emotions with vigorous realism although some scenes required more over the top passion as could be felt in his closing speech after a collage of media malfeasance addressing a timeline to our current march to autocracy. Without directly mentioning President Trump the final backdrop of highlights news and pop culture failures and tendencies can be dissected and discussed for hours on end, analyzing and parsing the projected impact. The carefully crafted script at one point went after the dangers of commentary asking what would happen when Murrow isn’t around to guard and check blatant mendacious rhetoric posing as news. As such it comes full circle, the final scene somewhat exasperatingly added for proper intent and purpose. It is a play that should be required viewing or reading for high school students adding to important social studies. I cannot recommend it more but it’s missing a glaring reality. Ed Murrow for all his epic sacrifice and defining work lacked the resources and time that is needed to properly cover issues. An eloquent presentation of facts added to curated sound bites goes a long way in a society where you had the “1949 fairness doctrine” and most of its politicians were honest. At one point in the play Murrow says that McCarthy lied about him being a communist sympathizer but that was the only backlash the senator got from them on air for presenting a report that was filled with lies. They played a clip of congress’s censure of McCarthy after mentioning his illegal communist witch hunt lost support. The use of historical film was a poignant gift and a production choice I wish more historical work would use. Waxing poetic to inspire the soul of the viewer like Shakespear did is admirable and highly entertaining as is the constant redundantly futile daily talking points news presents today but where is the investigation into the blatant corruption? Where is the bold confrontation with deception? Without cameras in politicians’ faces asking blunt questions, or without reporters getting kicked out of the oval office for asking obvious questions that would not get answered, we lack the proper perspective. The pivotal role McCarthy’s report ushered in as well as the work of Roy Cohen, his instigator was not hammered home or made evident in this play. Today’s media likewise misses essential developments, dismissed as merely a news of the day mention and not a long form examination or repetitive issue that should be brought up extensively like the hidden provisions if the “big beautiful bill” hampering court orders or election suppression. Where are the segments on the how the bill wants to require bonds to ensure court enforcement or the provisions. Why aren’t reporters asking republican senators how they feel about that before they vote on this disastrous bill? Where are the questions about how migrant handlers bribed the president for more detainees? How about a reporter on the virtually closed border or on the companies that bribed the administration for more migrants to be detained? A simple nuts and bolts report with one or two curated sound bites isn’t enough. The outrages come across as passé commentary not a hammering that blue collar workers can hear or a dissection of the facts confronting culprits that cannot be ignored. The goal posts have changed as is their relationship with advertisers. News media is still as quaint as Murrow was and we are losing badly because the corruption, lies and hidden dangers are inadequately exposed. Waxing poetically about it isn’t journalism. Good Night and Good Luck indeed.

Severance from Democracy

Who knew Ben Stiller was this good a director. A slow churning examination of identity. The sci-fi-ish thriller drama makes a case for the pace of awareness. I know where I am and I know the truth, the truth is what is needed now and even the next five steps to the door can reveal whatever peace or grace is needed to live. Dan Erickson’s scripts and vision of the close up featuring a doorknob opening, Severance encapsulates time within the present thought, from there it shares everything: the story, the rhythm, and the need. It’s so hard to figure out, yet so easy when you understand. It’s as if I was angry the story was such a mystery and that the plot was even left for us to figure out. The main character played a bit too reserved by Adan Scott and Britt Lower was even more intentionally vague because the script is a conundrum of competing beliefs. At one point involved in satisfying work, and easy existence that reflects and cherishes art or a simple philosophy that drives peace from sheer ignorance. Scott and Lowers eyes met the task but I didn’t feel the layers needed to examine safely like I did with Zach Cherry, Christopher Walken, Patricia Arquette and John Turturro who all felt more authentic in their portrayals believing in the moments whereas Scott and Lower saw many different outcomes as if an abstract painter we need to figure out. Perhaps that decision to play a cynical sadness consumed their skills in convening plot and story. It’s fine for the script, one of the most unique things about Severance is this vague line dividing decisions and identity. The whole give in to your feelings to know who you are crowd is too existentialist. You are not what you want. You are what you need. This is perhaps the best lesson from Severance, but the direction that Erikson takes defines an ill-fated freedom into living in a false reality, a new one that’s distorted from the current one, taking self-duality to a level of defeat; but it’s almost as if the Zen like compliance of raw emotion supplants need for want. How can someone pick what they want if they know it’s not what they need clearly. It feels somewhat unbelievable in Severance, yet not so much in life when someone that sounds intelligent and charmingly kind stoops to shill for corruption to get whatever perverse issue they believe based on want and desires. Some are so obsessed with ending violence that they let insane notions harbor unanchored to the facts that surround what is happening, in Severance we don’t have the facts, the foreground is missing and all we are left with is a background to gleam reality from. In the case of school demonstrations for Palestine they detain protestors and cut school funding but aren’t going after the outside instigators of the protests or the actual antisemitic suspects; perhaps that goes beyond there capability especially so far removed from when the protests occurred. The same goes for gang members sent to prison without criminal charges when one of the leaders of MS 13 had his charges dropped allegedly so he could be sent to El Salvador as part of a bribery scheme with El Salvadorian officials. A similar incident occurred in April after a so-called leader of MS 13’s charges were dropped for immediate deportation according to immigration prosecutors instead of getting more information on the gang from the leader to further persecute the gang. With regards to short windows of due process for sending legal residents to foreign prisons, as a blue dog democrat, I’m all for sending in special soldiers to go after gangs, but imprisoning suspected ones without any charges is unamerican and unconstitutional. The latter is opinioned and discussed in the media ad nauseam but the former conspiracy theories are left uninvestigated, underexpose or examined. The DOGE employees who quit, the Starlink over the White House as well as the Russian Ip’s found meddling at the National Labor Relations Board, the confidential information sent on gmails, and other groundbreaking stories fall out of the attention span, deemed no longer “news”, awaiting a documentarian or historian to account. What’s missing is the relentless investigative work that keeps the issue, its cause and effects in the headlines, not merely part of the tone or feeling as if a fleeting memory seen after crude brain surgery. It’s absurd to think how the Trumpian era has made a large portion of our population distracted from all the facts focused on their scheme to entertain a false narrative that serves the corrupt. What is Lumon’s corruption? Why are they creating new identities to serve their seemingly diabolical needs yet the extent of which, the details of which, we do not know. All we know is a cocreator wanted to separate their minds to create a separate existence. And it appears somewhere down the line, her vision was stolen, going from science to something unknown in Severance but in real life that reality is clear, even though the task to undo it is absent as if the minority cannot understand what is happening or is just incapable of overcoming it or stopping it. Senator Schumer knows the reality all too well. The president wanted to shut down the government so he could continue shutting down the government by dismantling it without any congressional fight to stop him. How the president has a grip on executive orders and is grifting the country with Elon and company is a complete shock and much worse than I had ever thought it could be. Senators Murphy and Booker laid the tale on tape for us to listen to on the floor bare.

The hero needs to file a discharge petition to bring up the CRA act forcing a vote on executive orders or enacting one or 2 other similar acts, the REINS act or the SOPR act; all three could get a vote on restricting executive orders before it’s too late. Its erroneous that democrats haven’t focused on flipping votes to make this happen or for impeachment. All they need is 8 or 9 votes in congress. The hero needs to convey to the majority why the use of Trump’s 143+ executive orders have been unconstitutional and in the case of some departments or programs too late to reverse even with a court order. The problem is folks like AOC who I adore didn’t even mention executive orders in one of her speeches I caught during the “fight oligarchy tour”. While there is a lot of middle ground progressives can meet to appease conservative votes what’s most imperative now is to convince the “innies” what reality is. The republican Lumons in turn have introduced the “no rogue rulings act” which would dissolve the judicial branch because their reality is based on grift, plain and simple market and institutional manipulation. A house committee’s republicans recently voted the Trump administration could deport American Citizens, and the Administration is working to eliminate investigations into voter suppression and manipulation. It’s clear they are moving to sever Americans from democracy, truth. and reality hoping we, like the main character in this thought-provoking series, choose what distracts us most from who we are.

Shrinking a Brutalist Real Pain

How institutions, architecture, social groups and the government interact and cater to human emotion is at the core of most entertainment, media, and sadly politics. Some rare movies and TV shows are experts in bringing out the substance and clarity deemed from emotions while others fall short or make it worse with broad sweeping declarations that act like benchmarks that distort reality. I’ve recently seen three great examples that contrast these 3 pillars well. Going in to see the Oscar-nominated film “The Brutalist”, I was really hoping to have my mind changed about brutalist architecture, yet the opposite occurred which in an ironic way would make this a great film but sadly this was not the intent of the filmmakers. The extremely well directed film highlights the gut-wrenching power of one of America’s greatest actors, Adrian Brodie. Brodie conveys such subtle depth and insight, like Meryl Streep he makes every scene he is in a true introspective experience. We all relate and learn from his depiction of pain and anguish, yet the writer director Brady Corbet and co-writer Mona Fastvold not only failed to resolve or even properly explore his dilemma, they presented it in an erroneous presentation catering to beautiful cinematography and minimalist expression lazily mirroring and championing a dangerous societal precedence, brutalist architecture. Brutalist architecture is a post WWII minimalist design structure that exposes construction elements in favor of inexpensive assembly attempting to find beauty in simple stream like lines and bold abstract idealism. Brody’s fictional main character László Tóth, based on several real-life brutalist architects, finds beauty using light and grandiose size, like 50 foot ceilings in small rooms making impractical purely aesthetic spaces meant of reflection or spectacle. His greatest work, an enormous community center uses light to shine a massive cross in a giant empty chapel over concrete and a small marvelous marble altar. While the attempt at minimalist beauty is admirable its steeped in rejectionist symbolism of do-nothing defiance. During the last scene at an honorary event Toth’s niece gives a speech praising her uncle’s work depicting how the rooms and tunnels within his massive community center echoes triumphantly prison rooms and Nazi death camps. The idea being that the soul and spirit of Jewish survivors like Toth are defiant in the face of oppression and tyranny in the timeless work like a memorial to the victims. At the end of her speech and the film she says his work, which we mostly saw only in photos on walls during sweeping pan or over the shoulder shots, is defiantly “about the destination not the journey” as, she quips, authors tell us. This final statement, spoken just feet away from a mute old Toth sitting in a wheelchair is perhaps the greatest argument against brutalist architecture but again this was likely the opposite of Corbet’s intention, yet it’s hard to say given the uninformative last half hour of the film. There are so many unresolved issues regarding Toth including a climatic traumatic event that his wife, adequately played by Felicity Jones, defends him over despite the complete lack of any dialogue between him and the culprit on what occurred. This neglect, like brutalist architecture, ignores human need and comfort, failing to confront the issues at hand. Perhaps this was Cobert’s intention, leave it up to the viewer to decide and assign how things should sit and actualize reality but its this type of thinking that’s giving us the current downfall of American democracy we are watching in real time now with President Trump and his sadistic MAGA project 2025 movement. The United States of America is incidentally burning from cheap wooden homes I digress, ignoring climate change and our responsibility to human need. I don’t dislike the essence minimalist beauty of post brutalist structures like that of Frank Loyd Wrights’ which find harmony with nature or contrasts within the New York rat race like the spiraling Guggenheim art museum on the upper west side of Manhattan, but I would prefer a welcoming statuesque building with beautiful angels, foliage or sculptures of knights pointing to the modern art inside. Perhaps lounges throughout it hosting cafes or comfy classrooms all elevating the human experience as a cozy interactive welcoming art case with a purpose to solve problems like isolation or disassociation which can lead subsequently to the acceptance of disinformation. Why depersonalize art making embracing the aesthetic of shapes as opposed to careful details that long for achievement and the excellence of the human condition. An elegant plush comfortable couch is not in itself inaccessible, but a massive rectangle of concrete is to everyone always. In “The Brutalist”, Toth creates a Zen-like library with a unique beach chair in an empty rotunda. No couches, no tables, no place for people to convene, share, and admire books or even relax in splendorous velvet or lush and plush comfort that most would want for a timeless experience. Instead, you have a cold thought-provoking epitaph which stops time much like the disinformation that coats dangerous political rhetoric. Trust Elon Musk with our records because he’s looking for waste, blame immigrants for crime as we see them lining up at the border, or blame our lack of spirituality on trans youth and abortion. All just dog whistles without any intention of working together with people in a common space to work out all the nuances of our issues and differences, as if a gigantic concreate box is more inviting than an indoor stadium filled with recliners. While on the topic of stadiums; ever notice how almost no seats at ball parks allow the viewer to easily see the pitching at homeplate; they are all upside-down giant C shaped cones although the opposite would help everyone see what’s a strike or ball much clearer. Architecture like political movements need to cater to specific needs and demands in order to be fruitful; creating an inspirational stage to solve problems. We need to take the time to care about each other in our spaces and hearts. What are the origins of our pains? While “The Brutalist” fails to even attempt to resolve pain (although you can make the case that Brody’s expressions in the end do, which is partly why I would recommend the film for its acting and sheer artistry) the film “A Real Pain” desperately tries to solve them but comes up short.

The film currently in theaters and on Hulu written directed and starring Jesse Eisenberg alongside Kieran Culkin who play two cousins on a Jewish heritage tour through Poland is a compellingly earnest look at what defines the human character and how our interactions affect us. The scope and effort here, together with ultra realistic heartfelt performances, especially from Culkin who embodies his annoyingly emotionally needy character with a profound intensity that truly pierces into your psyche becoming an emotional terrorist pinning away at norms and introspection with grand aplomb. The seemingly unfinished script is worth the price of admission and makes this film a must see despite its adequate, albeit, pedestrian direction and weak cinematography, but we are left in the end, like “The Brutalist, unresolved. I truly feel for all the characters in the film. The tour group and the two main characters come together and exchange extremely important takes on how to interpret and examine meaningful interaction. It is an Oscar worthy portrayal of our reality as social creatures dependent on each other to understand social constructs and it does lay important groundwork for communal resolutions, but the main supporting actor is left quite literally staring at the randomness of life’s mundane stage albeit at a place of reflection and good intent. Much like gangster rap that’s missing one line to be helpfully cathartic so to does this film leave us on the edge. Of course this was Eisenberg’s intent, like the majority of his work as an actor, he loves to react humbly leaving actions to our superfluous emotions to work out much. There is a great charm in this. His vulnerability is admirable and his honesty likeable and we do see his characters resolve issues but more so for comedic affect and existentialist drama. I think therefore I am but that’s not how I can change. One can see and appreciate the extreme realism here but damn it man, give me one line telling me he will be ok. Tell me one thing I need to know to change and grow or reach a place where I can feel something divine, not just an extra long hug, symbolizing loss or a view of Poland that looks like Paterson New Jersey looking west.

Give me great minds that find solutions, even if they veer from the harsh reality of empty incompetence or dreaded inaction. Give me a show like the Apple TV series, “Shrinking” about therapists working out issues using our most sacred power; human potential. The writer creators Brett Goldstein and Neil Goldman together with “Ted Lasso” executive producer Bill Lawrence are all about resolution and comfort, whatever the space or depth of need. They take everything they can get and blend it into something tangible that moves us all into an acceptance and deep understanding of our humanity. This is how to be, how to think and how to feel and we are getting this from flawed characters we all love because we are all flawed characters that we should all love. Shrinking into the abyss of mental health, Jason Segal presents a mythical wizard like chosen child portraying his lines with refreshing clarity and Harrison Ford astounds, after dozens of years as a technical actor he is finally finding his method in a performance that redefines the iconic cowboy, or the triumphant warrior king into a relatable mountain of steer actualization. This is perhaps Ford’s greatest acting ever. Where was this unwavering approachable reflection on that bridge with Kylo Ren? We all need method acting to transform emotion into something we can tangibly relate but while he fails to do this in Star Wars he redefines it in Shrinking, a show that should be shown to kids in school to teach them how to be human and how to deal with our shortcomings. This comedy is one of the greatest written masterpieces of human thought and progression, a celebration of divinity in all its subsequent travails. Quite the opposite of a country enraptured into a new administration, squandering for whatever humility can be drawn, the news ignoring Trump’s pronouncements and blatant grift because it’s a show we are all unwittingly playing parts in. Pundits and reporters may hint at the smoke screen distractions, but the headlines aren’t flashing the disinformation. The facts are subdued by the disinformation so much that we are caught off guard and in awe of the spectacle. Trump fears Wall Street and trailer parks taking up pitch forks and tanking his ratings that would cut off his republican support but where is the common ground, where is the resolution of his failings? Why are they all ignoring the largest stumbling blocks and injuries, like the tens of thousands or God knows how many people that will die because almost all USAID has been cut or what occurred on July 1st 2024 when the Supreme Court through its immunity ruling made the office and their own court illegitimate. Why is congress and the people not demanding a vote to reverse these simple acts that harm? Everyone knows absolute power corrupts, well its time for news and entertainment to start “Jimmying”, like Jason Segel’s character in “Shrinking”, Jimmy Laird, going inordinately out of his way to help his clients while barely holding on but with a determination to solve the underlying problem of rhetoric versus reality and better still how our thoughts can manifest resolution. Congress like the therapists on “Shrinking” needs to go back to the origin of our problems like the immunity of the President’s actions or the eroding of our constitution and democratic process. Let us not just describe the pain or simply march like monuments of defiance that do not even resonate with small minded ignorance. Let us embrace and solve our needs not merely flaunt our wants and aspirations keeping them unattainably abstract.