This blog is based on references in the Bible to fear. God wills that we “BE NOT AFRAID”. Vincit qui se vincit" is a Latin phrase meaning "He conquers who conquers himself." Many theologians state that the eighth deadly sin is fear. It is fear and its natural animal reaction to fight or flight that is the root cause of our failings to create a Kingdom of God on earth. This blog is dedicated to Mary the Mother of God. "
Studio: Republic Pictures bing.com Director: Leigh Jason bing.com Release: January 5, 1942 bing.com Source Material: Original screenplay by Garrett Fort (with contributions by Isabel Dawn & Boyce DeGaw) IMDb Genre: Drama / Romance Runtime: 87 minutes bing.com Cast: Joan Blondell, John Wayne, Ray Middleton, Philip Merivale, Blanche Yurka, Edith Barrett, Leonid Kinskey bing.com
Story Summary
Jenny Blake (Joan Blondell) co‑owns the riverboat casino Memphis Belle, serving wealthy patrons who enjoy her establishment but look down on her social standing. Jack Morgan (John Wayne), her loyal partner, loves her quietly, but Jenny longs for acceptance in high society.
When Alan Alderson, a once‑wealthy plantation heir, loses his estate The Shadows gambling on Jenny’s boat, she offers to forgive his debts if he marries her. Alan agrees, and Jenny enters the aristocratic world she has always desired—only to find herself despised by Alan’s family, especially the manipulative and venomous Julia Alderson.
Jenny’s attempts to host society events are sabotaged, and she narrowly survives a staged carriage accident. Julia then prepares a poisoned drink intended for Jenny, but Alan unknowingly consumes it and dies. Jenny is accused of murder and put on trial, forcing the truth about the Alderson family’s corruption into the open. Wikipedia
Historical and Cultural Influences
Southern Aristocracy in Decline
The film reflects early‑20th‑century American fascination with the fading grandeur of the Old South. The Alderson family embodies a decayed nobility—proud, brittle, and morally compromised—mirroring broader cultural anxieties about class, legitimacy, and inherited privilege.
Riverboat Americana
The Memphis Belle riverboat setting captures a uniquely American world of gambling, music, and social mixing. This environment symbolizes mobility and reinvention—contrasted sharply with the rigid, dying plantation culture Jenny tries to enter.
A Wartime Footnote
The famous WWII B‑17 bomber Memphis Belle was named after the steamboat in this film, giving the movie an unexpected place in wartime cultural memory. bing.com
Catholic Themes and Moral Resonances
Identity vs. Vocation
Jenny’s longing for social elevation mirrors the spiritual temptation to seek worth through status rather than through the truth of one’s calling. Her journey exposes the emptiness of external validation.
The Poison of Envy
Julia’s literal poisoning attempt reflects the spiritual reality of envy—how resentment corrodes families, institutions, and souls. The film becomes a parable about the destructive power of pride.
Loyal Love as Redemption
Jack Morgan’s steadfastness—quiet, wounded, and faithful—embodies a masculine virtue rooted not in dominance but in sacrificial loyalty. His presence becomes the moral counterweight to Jenny’s ambition.
Justice and Truth Revealed Through Trial
Jenny’s courtroom ordeal echoes the biblical pattern of purification through suffering. Her innocence is revealed not by her own power but through the collapse of the lies surrounding her.
Hospitality Pairing
Drink: Mississippi Julep — a mint julep with darker bourbon and a touch of molasses, blending riverboat grit with plantation elegance.
Snack/Meal:
Blackened catfish, collard greens, and cornbread—Southern working‑class fare elevated with refinement, mirroring Jenny’s ascent.
Atmosphere:
Amber lighting, soft jazz or riverboat ragtime, and mismatched china to evoke the tension between riverboat life and aristocratic aspiration.
Reflection Prompt
Where are you tempted to trade your authentic vocation for a place in someone else’s world—and what would it look like to return to the “riverboat,” where your gifts actually bear fruit?
Studio: Paramount Pictures bing.com Director: David Butler bing.com Release: June 25, 1941 bing.com Source Material: Original screenplay by Wilkie C. Mahoney & Harry Tugend bing.com Genre: Military Comedy / Romance Runtime: 82 minutes bing.com Cast: Bob Hope, Dorothy Lamour, Eddie Bracken, Lynne Overman, Clarence Kolb Wikipedia
Story Summary
Don Bolton (Bob Hope) is a Hollywood star famous for playing fearless soldiers—despite being terrified of loud noises, even fake gunfire. When a draft notice threatens his comfortable life, he schemes to avoid service by courting Tony Fairbanks (Dorothy Lamour), the daughter of a visiting Army colonel. His plan collapses when he learns he’s already too old to dodge the draft, and Tony—disgusted by his cowardice—rejects him.
Trying to win her back, Don stages a fake enlistment that backfires spectacularly, landing him, his manager, and his assistant in real Army training. Under the stern eye of Col. Fairbanks, Don stumbles through boot‑camp humiliations, KP duty, and endless mishaps.
During a large-scale war game, a mix‑up sends soldiers into a live artillery zone. Don overcomes his fear of noise to rescue the men—and Tony—proving genuine courage at last. His bravery earns him a promotion to corporal and the right to marry Tony. Wikipedia
Historical and Cultural Influences
Pre‑War American Mood
Released six months before Pearl Harbor, the film reflects a nation on the brink—mobilizing for war but not yet fully committed. Its humor softens the anxieties of the peacetime draft and reassures audiences that ordinary men can rise to the moment. bing.com
Bob Hope’s Wartime Persona
This film helped cement Hope’s identity as the wisecracking everyman who eventually does the right thing. It anticipates his later USO work and his role as a morale‑builder for American troops.
Military Portrayal as Gentle and Accessible
The Army is depicted as firm but forgiving—boot camp is chaotic, but never cruel. This was intentional: Hollywood and the War Department collaborated to encourage enlistment and calm public fears about military life.
Studio‑Era Star Pairing
Hope and Lamour were one of Paramount’s most bankable duos. Their dynamic—his frantic cowardice against her steady moral clarity—became a signature of early‑’40s comedy.
Catholic Themes and Moral Resonances
Courage as a Moral Conversion
Don begins as a man who performs bravery but avoids sacrifice. His arc mirrors the spiritual journey from self‑preservation to authentic virtue—courage born not of ego but of love and responsibility.
Love as a Refining Fire
Tony functions as the moral compass. Her disappointment becomes the catalyst for Don’s transformation, echoing the Catholic understanding that love calls us to become more than we are.
Duty and Vocation
The film treats military service not as glory but as obligation—an echo of the Church’s teaching that vocation often begins in humility and obedience rather than heroism.
Grace in Weakness
Don’s fear is not mocked but redeemed. His eventual bravery emerges precisely through his weakness, a reminder that grace often works through the cracks rather than the strengths.
Hospitality Pairing
Drink: The Enlistee’s Highball — bourbon or rye with ginger ale, light and era‑appropriate.
Snack:
Popcorn, salted peanuts, or a simple sandwich—evoking a 1941 movie‑night or USO canteen.
Atmosphere:
Warm lamplight, a simple table setting, maybe a vintage‑style radio playing big‑band music to evoke the early‑war American homefront.
Reflection Prompt
Where in your life is God inviting you to move from performing courage to living it—especially in the ordinary duties you’d rather avoid?
Studio: Allied Pictures Director: Albert Ray Release: July 22, 1933 Source Material: Original screenplay by Frances Hyland & Kurt Kempler Genre: Pre‑Code Mystery / Crime / Romance Runtime: 66 minutes Cast: Ginger Rogers, Lyle Talbot, Harvey Clark, Purnell Pratt, Lillian Harmer, Arthur Hoyt bing.com
Story Summary
A wealthy philanthropist plunges from the balcony of his penthouse, and what first appears to be an accident quickly reveals itself as murder. Rival newspaper reporters Pat Morgan (Ginger Rogers) and Ted Rand (Lyle Talbot) both arrive on the scene, each determined to outscoop the other. Their competition forces them into an uneasy partnership as more bodies begin to appear—each victim strangled, each death tightening the circle around the building’s residents.
Pat’s sharp instincts and Ted’s streetwise persistence uncover a web of secrets, jealousies, and hidden motives. As the killer grows bolder, the reporters must navigate danger, deception, and their own complicated affection for one another. The climax resolves quickly, in classic Poverty Row fashion, but not before the film delivers a brisk, atmospheric mystery anchored by Rogers’ unexpectedly grounded performance. Wikipedia
Historical and Cultural Influences
Pre‑Code Freedom
The film emerges just before the Production Code crackdown, allowing:
sharper banter between male and female leads,
a more cynical view of journalism,
and a willingness to show moral ambiguity without punishment neatly tied up.
Poverty Row Efficiency
Allied Pictures was a small independent studio, and the film reflects the era’s “fast and lean” production style—tight interiors, quick pacing, and a focus on character interplay rather than spectacle. Yet it remains the studio’s best‑known release. bing.com
Rise of the Reporter‑Hero
Early 1930s cinema often cast journalists as truth‑seekers navigating corruption. Pat and Ted fit this mold: flawed, competitive, but ultimately committed to exposing wrongdoing.
Urban Anxiety of the Depression Era
The confined setting—a single apartment building—mirrors the era’s sense of social compression: people living close together, secrets stacked on top of one another, and danger emerging from the next hallway.
Catholic Themes and Moral Resonances
Truth as a Moral Obligation
Pat and Ted pursue the truth not for glory alone but because lives depend on it. Their vocation becomes a form of service—echoing the Catholic view that truth‑telling is ordered toward justice and the protection of the vulnerable.
Courage in the Ordinary
Unlike noir heroes who brood in shadow, Pat’s courage is practical and unshowy. She walks into danger because the job demands it. This reflects the virtue of fortitude: doing the right thing even when it is neither glamorous nor safe.
Human Dignity in a Cynical World
The film’s setting—a building full of suspects, gossip, and fear—presents a world tempted to treat people as means rather than ends. Pat’s empathy, especially toward the frightened residents, becomes a quiet witness to the dignity of every person.
Light in Confined Spaces
Nearly every scene unfolds in hallways, stairwells, and cramped rooms. Spiritually, it evokes the experience of seeking clarity when life feels narrow or closing in—an image of grace working in tight quarters.
Hospitality Pairing
Drink: The Reporter’s Highball — rye whiskey with ginger ale (a nod to Rogers), lemon twist. Quick, sharp, and era‑appropriate.
Snack:
Salted peanuts or a simple charcuterie plate—something a 1930s reporter might grab between phone calls.
Atmosphere:
Low light, a desk lamp, maybe a typewriter nearby. This is a film about chasing truth in the late hours.
Reflection Prompt
When the world feels cramped and the path forward unclear, what does it look like to practice courage and truth‑telling in the small, ordinary spaces entrusted to us?
Studio: 20th Century Fox Director: Henry Hathaway Release: August 27, 1947 Source Material: Story by Eleazar Lipsky Genre: Film Noir / Crime Drama Runtime: 98 minutes Cast: Victor Mature, Richard Widmark, Coleen Gray, Brian Donlevy, Karl Malden, Taylor Holmes
Story Summary
Nick Bianco (Victor Mature), a small‑time crook and devoted father, is arrested after a Christmas Eve jewelry heist. Believing in a criminal code of silence, he refuses to inform on his partners and receives a long prison sentence. Months later he learns that his wife, overwhelmed by shame and poverty, has died by suicide, and his daughters have been placed in an orphanage.
Crushed, Nick agrees to cooperate with Assistant District Attorney D’Angelo (Brian Donlevy). His testimony entangles him with Tommy Udo (Richard Widmark), a giggling, sadistic killer whose unpredictability becomes the film’s central terror. When Udo is acquitted, Nick realizes that his cooperation has placed his new life—and the woman who loves him—in mortal danger. The final act becomes a moral confrontation between a man trying to reclaim his soul and a man who delights in destruction.
Historical and Cultural Influences
Postwar moral anxiety: Released just after WWII, the film reflects a society wrestling with guilt, justice, and the fragility of order. Nick’s struggle mirrors the era’s desire for moral reconstruction.
Rise of the “psychopathic villain”: Widmark’s Tommy Udo introduced a new kind of screen menace—laughing, chaotic, and unbound by conscience—reflecting fears of violence erupting in peacetime America.
Realistic procedural style: Hathaway’s semi‑documentary approach echoes the late‑1940s trend toward gritty urban realism, influenced by wartime newsreels and the public’s appetite for authenticity.
Shifting views on informants: The film arrived during growing debates about loyalty, cooperation with authorities, and the ethics of “naming names,” themes that would intensify during the HUAC era.
Family as moral center: Unlike many noirs, Kiss of Death grounds its protagonist in domestic responsibility, reflecting postwar America’s emphasis on rebuilding family life.
Catholic Themes and Moral Resonances
Sin, Silence, and the Eighth Commandment
Nick’s initial refusal to speak is framed as loyalty, but it harms the innocent. Catholic moral teaching insists that truth‑telling is ordered toward justice and the protection of the vulnerable. His eventual cooperation becomes an act of reparation, not betrayal.
Redemption Through Responsibility
Nick’s path is not glamorous. It is penitential. He accepts consequences, chooses honesty, and seeks to rebuild his life. Catholic anthropology sees redemption not as escape but as the restoration of right relationship—exactly what Nick attempts with his daughters and with Nettie.
The Face of Evil
Tommy Udo is a cinematic icon of malice: gleeful, mocking, and unrestrained. He embodies the “wolf” Christ warns about—one who delights in devouring the weak. The film dramatizes the necessity of confronting evil rather than appeasing it.
Justice, Imperfection, and Providence
The justice system in the film is flawed but necessary. Catholic social teaching acknowledges that human institutions are imperfect yet still instruments through which God’s order can be served. Nick’s cooperation becomes a way of participating in that order.
Courage as Moral Action
Nick’s final decision is not vengeance but protection. He steps into danger to shield those entrusted to him. This echoes the Catholic understanding of fortitude: the willingness to suffer for the good of others.Hospitality Pairing
Drink: Rye whiskey neat—sharp, honest, and edged with danger, matching the film’s noir tension and Widmark’s electric menace. Snack: A simple New York pastrami sandwich or roast beef with mustard—blue‑collar, unpretentious, and grounded in the film’s urban grit. Atmosphere: Low light, a single lamp, maybe a cigar afterward. This is a film about facing darkness with a steady hand.
Reflection Prompt
When truth‑telling carries real cost, how do we discern the line between loyalty and justice, and what does courage look like when the innocent depend on our choices?
War in Iran: Mahdi, Messiah, or Antichrist?, is essentially a theological analysis of how different religious traditions interpret end‑times figures and how those interpretations shape the way people understand present conflicts. Even though the page content available is minimal, the title and framing give us enough to work with for a substantive, blog‑ready reflection on confronting evil in the context of apocalyptic expectations. youtu.be
How the video frames the question
The title signals three competing identities for a single figure: Mahdi, Messiah, or Antichrist. That framing usually appears in discussions where:
Islamic eschatology expects a Mahdi who restores justice.
Christian eschatology expects Christ’s return and warns of an Antichrist who deceives nations.
Geopolitical conflict becomes interpreted through these lenses, especially in the Middle East.
Videos like this typically argue that religious narratives shape how groups justify war, interpret suffering, and identify enemies. The underlying claim is that ideas about ultimate good and ultimate evil are not abstract—they drive real-world decisions, alliances, and violence.
What it implies about confronting evil
A title like this suggests several deeper themes that align with your ongoing work:
Evil is often misidentified when people project apocalyptic roles onto political actors. When nations or leaders are cast as “Messiah” or “Mahdi,” their actions can be excused; when cast as “Antichrist,” they can be demonized without discernment. Confronting evil requires resisting these shortcuts.
Evil thrives in confusion. When people cannot distinguish between spiritual categories and political realities, they become vulnerable to manipulation. Clarity—moral, theological, and practical—is itself an act of confrontation.
Evil is confronted not by hysteria but by fidelity. Apocalyptic speculation often produces fear, rage, or tribal certainty. Christian confrontation of evil is quieter: obedience, sacrament, truth-telling, and courage.
Evil exploits the desire for a savior. Whether in Iran, the West, or anywhere else, the human longing for rescue can be twisted into allegiance to destructive ideologies. Confronting evil means guarding that longing and directing it toward God rather than political messiahs.
“confronting evil”
When nations wrap their conflicts in apocalyptic language, the danger is not only geopolitical but spiritual. Evil loves confusion. It loves when people mistake political leaders for saviors or enemies for cosmic villains. It loves when fear replaces discernment and when prophecy becomes a weapon rather than a light. The Christian task is not to decode every headline but to remain faithful: to name lies without rage, to resist deception without hysteria, and to anchor hope in Christ rather than in any earthly deliverer. Evil is confronted not by dramatic speculation but by clarity, obedience, and courage—by refusing to let the world’s chaos rewrite the story God has already told.
Source Material: Novel by Hollywood columnist Jimmy Starr
Genre: Comedy–Mystery
Runtime: 87 minutes
Cast: George Brent, Joan Blondell, Adele Jergens, Jim Bannon, Una O’Connor, plus cameo appearances by Hedda Hopper, Louella Parsons, Jimmy Fidler, Harrison Carroll, and others.
Story Summary
A Hollywood starlet receives a package C.O.D., opens it, and finds a corpse. Two rival reporters—Joe Medford (George Brent) and Rosemary Durant (Joan Blondell)—race to uncover the truth while sabotaging each other’s scoops. Their investigation winds through studio lots, gossip circles, and the glamorous but precarious world of 1940s Hollywood publicity. The film stays light and quick, driven by Blondell’s sharp timing and Brent’s steady charm, with the mystery serving as a playful excuse to poke fun at the industry.
Historical and Cultural Influences
Studio‑system publicity: Post‑war Hollywood relied on powerful publicity departments and gossip columnists; the film’s cameos reflect that world.
Columnists as moral arbiters: Hopper, Parsons, and others shaped public opinion and enforced informal moral codes.
Women in newsrooms: Blondell’s character echoes wartime female reporters whose competence persisted in film even as real jobs contracted.
Hollywood under scrutiny: Light, self‑mocking mysteries offered reassurance during HUAC pressure and rising suspicion of the industry.
B‑picture efficiency: Columbia’s brisk, mid‑budget films provided continuity and escapism during national transition.
Catholic Themes and Moral Resonances
Truth and the Eighth Commandment
The plot revolves around the tension between truth‑seeking and gossip. Catholic teaching frames speech as a moral act ordered toward truth, charity, and justice. The film’s playful chaos becomes a reminder that detraction, rash judgment, and rumor—however entertaining—fracture communion and distort reality.
Integrity of Work and Vocation
Joe and Rosemary chase the scoop with mixed motives: ambition, rivalry, pride, and flashes of genuine concern. Catholic social teaching views work as participation in God’s creative order. Their rivalry exposes the temptation to treat people as means rather than ends, raising the question of what kind of character our work is forming in us.
Public Image and Human Dignity
Hollywood’s glamour conceals insecurity, fear, and manipulation. Catholic anthropology insists that every person is a beloved image‑bearer, not a commodity or brand. The corpse‑in‑a‑package gag becomes a metaphor for the hidden rot beneath curated appearances, inviting reflection on authenticity and humility.
Charity in Speech
The real‑life columnists—playing themselves—embody a cultural power that can bless or wound. Catholic moral teaching emphasizes that speech must be governed by charity. Even lighthearted commentary can drift into cruelty if not anchored in love.
Rivalry, Partnership, and Communion
Joe and Rosemary’s dynamic raises questions about cooperation, respect, and the dignity of the other. Catholic teaching on communion and complementarity highlights mutual self‑gift rather than competition for dominance. Their eventual collaboration hints at the deeper truth that vocation flourishes in community.
Hospitality Pairing
Drink: A Gin Rickey—clean, fast, and effervescent, matching the film’s newsroom tempo.
Snack: Smoked‑paprika popcorn—simple, theatrical, and evocative of studio backlots.
Atmosphere: A desk lamp and notepad to echo the newsroom without slipping into kitsch.
Reflection Prompt
In a culture that rewards gossip and spectacle, how do we practice charity of speech and integrity of witness, especially when truth is inconvenient or unglamorous?
The video presents Iran (biblical Persia) as a nation with a long, prophetic storyline that stretches from the Old Testament into the end‑times. The narrator highlights how Scripture speaks of Persia not only as a historical empire but as a future geopolitical actor.
1. Persia in the Old Testament
Cyrus the Great is portrayed as God’s chosen instrument (Isaiah 45).
Persia becomes the empire that liberates the Jews from Babylon and funds the rebuilding of the Temple.
The video emphasizes that God can use any nation—even one not worshipping Him—to accomplish His purposes.
2. Persia in Prophecy
The video typically draws on two major passages:
Ezekiel 38–39 (Gog and Magog)
Persia is listed among the nations that will join a northern coalition in a future conflict involving Israel.
Daniel 10–12
Persia is described as having a “spiritual prince,” suggesting that nations have spiritual identities and destinies.
The narrator stresses that Iran’s modern hostility toward Israel mirrors these ancient prophecies.
3. Iran’s Spiritual Identity
The video often highlights:
A deep spiritual hunger among the Iranian people.
The rapid growth of underground Christianity in Iran.
The distinction between the regime and the people, arguing that God’s purposes for Iran include both judgment and mercy.
4. The Destiny of Iran
The video’s core claim is that:
Iran will play a major role in end‑times events.
God will ultimately redeem a remnant of the Iranian people.
Iran’s story is not merely political but spiritual, woven into God’s long arc of salvation history.
Catholic Lessons on Nations, Providence, and Prophecy
1. Nations Have a Vocation
Catholic teaching affirms that nations, like persons, have a moral and spiritual identity (CCC 2310–2317).
Persia’s biblical role shows that God can raise up nations for:
liberation
correction
protection
witness
No nation is outside His providence.
2. Prophecy Is Not Prediction but Revelation
The Church teaches that biblical prophecy:
reveals God’s sovereignty
calls nations to conversion
warns against idolatry and injustice
Prophecy is not a geopolitical forecast but a call to holiness.
3. Distinguish People from Regimes
Catholic social teaching insists on the dignity of every human person.
Even when governments act unjustly:
the people remain beloved of God
the Church prays for their freedom and flourishing
evangelization continues quietly and courageously
This aligns with the video’s emphasis on the underground Church in Iran.
4. Spiritual Warfare Is Real but Not Political
Daniel’s “princes” of nations point to the reality of spiritual conflict.
But the Church warns:
never to demonize peoples
never to equate prophecy with political ideology
always to interpret Scripture through Christ, not fear
The true battle is for souls, not borders.
5. God’s Mercy Reaches Every Nation
The Church sees the nations gathered at Pentecost as the beginning of a new humanity.
Iran—ancient Persia—is part of that story:
the Magi came from the East
early Christian communities flourished in Persia
modern Iranian converts often speak of visions of Christ
God’s mercy is not limited by geography or politics.
Closing Reflection
The biblical story of Iran is ultimately a story of God’s sovereignty, not geopolitical anxiety. Persia once liberated God’s people; Scripture says it will again stand at the crossroads of history. But the Catholic lens insists that the final word is not conflict but conversion, not destruction but redemption.
The destiny of nations is real, but the destiny of souls is greater.
If you want, I can place this into your devotional‑film or geopolitical‑formation sequence with a virtue theme (e.g., discernment, hope, vigilance).
Candace’s Worldwide Vineyard Tour — Columbia Gorge & Columbia Valley
Theme: Purification, Wind, and the Courage to Walk Into Truth
🗓️LITURGICAL CALENDAR
Tue Mar 10 — Tuesday of the 3rd Week of Lent Wed Mar 11 — Wednesday of the 3rd Week of Lent Thu Mar 12 — Thursday of the 3rd Week of Lent Fri Mar 13 — Friday of the 3rd Week of Lent Sat Mar 14 — St. Matilda Sun Mar 15 — 3rd Sunday of Lent Mon Mar 16 — Lenten Weekday Tue Mar 17 — St. Patrick
🌿OVERVIEW
The Columbia Gorge is a place of wind, cliffs, and cleansing movement—Lent in geological form. The landscape itself feels like purification: steep walls, rushing water, and vineyards clinging to the edges of wilderness.
This week is about courage, honesty, and letting God strip away illusions. The wines here—Riesling, Syrah, and high‑altitude Pinot—mirror the theme: sharp, clean, elemental.
🍇DAILY OUTLINE
TUESDAY • MAR 10
Location: Cathedral Ridge Winery (cathedralridgewinery.com) Focus: Purification Act: Taste a flight shaped by wind and altitude. Prompt: What truth is the wind trying to reveal in me today?
WEDNESDAY • MAR 11
Location: St. Peter Catholic Church, The Dalles (stpeterchurchdalles.org) Focus: Mid‑Lent honesty Act: Kneel for five minutes of silent examination. Vineyard: The Pines 1852
(thepinesvineyard.com) Prompt: Where have I been avoiding the full truth?
THURSDAY • MAR 12
Location: Syncline Winery (synclinewine.com) Focus: Simplicity and structure Act: Walk the biodynamic blocks. Prompt: What structure does my soul need to stand upright?
FRIDAY • MAR 13
Location: Maryhill Catholic Church, Goldendale (no website) Focus: Reparation Act: Pray the Stations of the Cross slowly. Vineyard: Maryhill Winery (maryhillwinery.com) Prompt: What wound in me needs to be brought into Christ’s wounds?
SATURDAY • MAR 14 — ST. MATILDA
Location: AniChe Cellars (anichecellars.com) Focus: Strength and feminine courage Act: Taste their women‑run blends. Prompt: Where is God asking me to stand firm with quiet strength?
SUNDAY • MAR 15 — THIRD SUNDAY OF LENT
Mass: St. Joseph Catholic Church, White Salmon (stjosephws.org) Vineyard: COR Cellars
(corcellars.com) Focus: The well of living water Act: Write one place where Christ is offering you renewal. Word: Thirst.
MONDAY • MAR 16
Location: Marchesi Vineyards (marchesivineyards.com) Focus: Gentleness and hospitality Act: Slow tasting with Italian simplicity. Prompt: What part of my life needs a gentler pace?
TUESDAY • MAR 17 — ST. PATRICK
Location: Hood Crest Winery (hoodcrestwinery.com) Focus: Mission and courage Act: Toast with a green‑hued cocktail or white blend.
Prompt:Where is God sending me next?
March 10Tuesday
in the Third Week of Lent
Novena
St. Joseph-Bagpipe Day-Napping Day
Daniel, Chapter 3, Verse 40-42
So let our sacrifice be in your
presence today and find favor before you; for those who trust in you cannot be
put to shame. And now we follow you with our whole heart, we FEAR you and
we seek your face. Do not put us to shame, but deal with us in your kindness
and great mercy.
Has
your Lenten sacrifice been less than you wanted?
Well?
Welcome
to the human condition. Emotions are what being human is about. Imagine the
emotions of Peter after the resurrection. If your emotions or sinfulness which
for some reason you have committed despite your best efforts have left, you
flat. You are human. Remember the disciples on the road to Emmaus; they were
left utterly defeated at the loss of Christ. Like Peter they felt they could
have done more. Today walk with our Lord tell Him all.
Copilot’s Take
Confronting evil today begins in the same interior landscape
Daniel describes: a heart that feels its limits, a conscience that knows it has
fallen short, and a soul that still chooses to stand before God rather than
hide. Evil is rarely a cinematic force; it is the quiet pressure that tries to
turn disappointment into despair, weakness into self‑accusation, and human
frailty into a verdict against your identity.
The enemy works most effectively not through dramatic
temptations but through subtle distortions—whispers that your Lenten failures
define you, that your emotions disqualify you, that your inconsistency proves
God is tired of you. Yet Scripture shows the opposite pattern: Peter’s shame
becomes the place of his commissioning, the Emmaus disciples’ confusion becomes
the place of revelation, and Daniel’s plea for mercy becomes the doorway to
restored confidence.
Evil is confronted not by doubling down on performance but by
refusing to let discouragement write the story. When you bring your flatness,
your fatigue, your imperfect sacrifice into the presence of Christ, you are
already resisting the enemy’s strategy. You are choosing communion over
isolation, truth over distortion, and mercy over self‑reliance.
In a world where evil often masquerades as cynicism, numbness,
or resignation, the simple act of turning toward God with your whole
heart—however bruised or inconsistent—is an act of spiritual defiance. Today’s
battle is not about being flawless; it is about being honest, present, and
willing to walk with Christ on your own Emmaus road, letting Him reinterpret
your story where you feel most defeated.
Which part of your
Lenten journey feels most in need of that reinterpretation right now?
GRACIOUSLY hear us, O
almighty and merciful God, and~ favorably grant to us the gifts of wholesome
self-denial. Amen.
EPISTLE,
iv. Kings iv. 1-7.
In those days a certain
woman of the wives of the prophets cried to Eliseus, saying: Thy servant my
husband is dead, and thou knowest that thy servant was one that feared the
Lord, and behold the creditor is come to take away my two sons to serve him. And
Eliseus said to her: What wilt thou have me do for thee? Tell me, what hast
thou in thy house? And she answered: I thy handmaid have nothing in my house
but a little oil, to anoint me. And he said to her: Go, borrow of all thy
neighbor’s empty vessels not a few. And go in, and shut thy door, when thou art
within, with thy sons: and pour out thereof into all those vessels, and when
they are full take them away. So, the woman went, and shut the door upon her,
and upon her sons: they brought her the vessels, and she poured in. And when
the vessels were full, she said to her son: Bring me yet a vessel. And he
answered: I have no more. And the oil stood. And she came and told the man of
God. And he said: Go, sell the oil, and pay thy creditor: and thou and thy sons
live on the rest.
GOSPEL.
Matt, xviii. 15-22.
At that time Jesus said to
His disciples: If thy brother shall offend against thee, go, and rebuke him
between thee and him alone. If he shall hear thee, thou shalt gain thy brother.
And if he will not hear thee, take with thee one or two more: that in the mouth
of two or three witnesses every word may stand. And if he will not hear them:
tell the Church. And if he will not hear the Church, let him be to thee as the
heathen and publican. Amen I say to you, whatsoever you shall bind upon earth,
shall be bound also in heaven: and whatsoever you shall loose upon earth, shall
be loosed also in heaven. Again, I say to you, that if two of you shall consent
upon earth, concerning anything whatsoever they shall ask, it shall be done to
them by My Father Who is in heaven. For where there are two or three gathered
together in My name, there am I in the midst of them. Then came Peter unto Him
and said: Lord, how often shall my brother offend against me, and I forgive
him? till seven times? Jesus saith to him: I say not to thee, till seven times;
but till seventy times seven times.
(During times when we
wish to express repentance, and especially during Lent, it is customary to pray
the seven penitential psalms. The penitential designation of these psalms’
dates back to the seventh century. Prayerfully reciting these psalms will help
us to recognize our sinfulness, express our sorrow and ask for God’s
forgiveness.)
Pray: “Have pity on me, LORD, for I am weak;
heal me, LORD, for my bones are shuddering.” (Ps 6:3, NABRE)
Act: In this psalm, the psalmist
proclaims his weakness before God, with tears and sighing. Yet he lifts his
prayers to the Lord, confident in the Lord, who is merciful.
Be sober, be watchful! For
your adversary the Devil, as a roaring lion, goes about seeking someone to
devour. Resist him, steadfast in the faith. (1 Peter 5: 8– 9)
Like it
or not, you are at war. No matter who you are— whether or not you know it— you
have a mortal enemy who wants to destroy you, not just in this life, but in the
next. No matter where you live on this planet— whether or not you can see it—
you live on a hotly contested battlefield, and you can’t escape the conflict.
It’s a spiritual war with crucial consequences in your everyday life. And the
outcome of that war will determine your eternal destiny. The first rule of any
type of warfare is to know your enemy.
Your
adversary is the Devil, with his army of demons. Your battle with him rages not
only all around you, but also within you, a fierce conflict for control of your
mind, your heart, and your ultimate destiny.
Those who
deny the devils existence are easy prey.
This novena prayer, although
short is sufficient. It would be better of course to add, if time permits,
three Hail Mary’s or say five times the Our Father, Hail Mary and Glory be to
the Father, or to use some of the many well-loved novena prayers from other
sources. Remember that prayers must be said with the lips in order to gain the
indulgences. This novena begins on March 10 and ends on March 19.
Prayer
O dear and good St. Joseph
who so lovingly cared for your little family at Nazareth, pray for all
workingmen and their families. Help us all to enjoy a happy Christian family
life. Be a father to us all and watch over us even as you cherished the Blessed
Virgin Mary and her Holy Child. Patron of the Universal Church pray for us.
Jesus, Mary, and Joseph, I
give you my heart and soul.
Jesus, Mary, and Joseph,
assist me in my last agony.
Jesus, Mary, and Joseph, may
I breathe forth my soul in peace with you.
7 years for each invocation. Plenary, under usual conditions,
if any one of three is said daily for a month. S. Pen., Oct. 12, 1936.
Bible in a
year Day 251 Judith
and Holofernes
In
our reading of Jeremiah today, Fr. Mike highlights Ishmael’s insurrection
against Gedaliah and Jeremiah’s response. We also read about the defeat of
Holofernes and the praise of Judith for her courage and virtue. Today’s
readings are Jeremiah 41-42, Judith 12-14, and Proverbs 17:13-16.
The
sound of bagpipes filling the air as day dawns is enough to bring joy to the
hearts of many. Others may not feel quite the same. It seems that one either
loves the pipes or not at all. There is not very much middle ground.
International Bagpipe Day is the time to find out where you stand and join
those who love them! The Bagpipe Society has been sponsoring the celebration of
International Bagpipe Day since 2012. They have helped to bring the bagpipe to
new players since 1986. It is important to them that the history and playing of
the bagpipes is not lost. Putting this day together was with the hope of bringing
awareness of the over 130 different types of bagpipes throughout the world. For
the first International Bagpipe Day in 2012, there were reports of events held
in some unique places. In South Africa, pipers gathered and played in an
underground canyon. In Greece, they played on Athenian hill. The Society even
heard of events in countries where previously it was thought that there were
not many pipers or any at all! If you aren’t familiar with this ancient
instrument, bagpipe is a term that means a wind instrument that uses enclosed
reeds to produce sound. Air feeds the reeds with a constant flow of air from a
reservoir in the form of a bag. In each area that it is found, the bagpipe may
change in sound and shape. This is an ancient instrument and is claimed to be
represented on a Hittite slab dated to 1000 BC!
How to Celebrate International Bagpipe Day
·Celebrating the bagpipe when this holiday rolls
around can take many forms. If you have ever wanted to try your hand at it,
don’t wait! This is the time for you to find your local provider of pipes and
take a lesson. You could be the next great Piper! It could happen, you never
know, right?
·There is a multitude of information available
about this instrument. A great idea to celebrate is to learn more about it. A
quick internet search will bring up resources like The Bagpipe Society. You can
follow the history of this unique instrument through the millennia to the
present day and from country to country! There is much more information than
you could learn in just one day, but it’s a great time to start.
·Another way to celebrate is to find out if there
are any events planned in your local area. Grab the family or friends and go
check it out! You may just find that you were missing out on all the fun. If
you ask, it may even be possible to try it out and see if you can make a sound
with it!
·Bagpipes have a long history that spans the ages
and spans many regions. It is an instrument that has weathered the test of time
and surely deserves to be honored on International Bagpipe Day!
Think
what a better world it would be if we all, the whole world, had cookies and
milk about three o’clock every afternoon and then lay down on our blankets for
a nap. Barbara
Jordan`
You got up early and got a
great start to the day, you’ve been trucking along being a productive adult,
getting your work completed and attending the meetings you have to attend.
Throughout it all you’ve been a trooper, you even made it through lunch without
much trouble. But now it’s creeping into the late afternoon, and you’re just
out of go. What do you do? You take a nap! Napping Day encourages you to
remember these benefits of youth and take a little time out of the day for you!
Napping Day’s history is simply the history of napping, and it used to be
something we all did in the middle of the afternoon. In fact, the siesta is
still a time-honored tradition in Spain that happens right after the afternoon
meal and has been a practice since time out of mind. In fact, if you’re in the
Mediterranean, it’s pretty much standard everywhere you go. In Italy they call
it the riposo, pisolini, and even old Charlamagne (yes that
Charlamagne) has been recorded as having taken 2-3-hour naps in the middle of
the afternoon. So, is it just laziness? Well, no. You see in part it’s because
the hottest hours of the day occur in the middle of the afternoon, and it makes
sense to take a brief break at that point. It also has to do with the circadian
rhythms and the change-over point between the wake cycle and sleep cycle,
there’s a time that’s essentially perfect for a nap. There are even notable
benefits to taking a nap in the afternoon, including evidence pointing to a 37%
reduction in occurrences of coronary mortality in those who take an afternoon
nap regularly.
How to Celebrate Napping Day zzzzzzzzzzzz
·Well,
the way to celebrate Napping Day is pretty simple isn’t it? You just take a
little time in the afternoon (whenever your afternoon is, some of us are day
sleepers) to rest. After the afternoon meal is perfect, and in the long run it
can help you actually feel better and more energized for the day ahead. It may
be tricky if you have a regular work schedule, but whenever you can… Take a
nap!
[7]Foley, Michael P... Drinking with the Saints: The
Sinner's Guide to a Holy Happy Hour (p. 370). Regnery History. Kindle Edition.
[8] Schultz, Patricia. 1,000 Places to See Before You
Die: A Traveler's Life List Workman Publishing Company. Kindle Edition.
[9] Sheraton, Mimi. 1,000 Foods To Eat Before You Die: A
Food Lover's Life List (p. 800). Workman Publishing Company. Kindle Edition.
A Lady Takes a Chance (1943) — Western Romance / Wartime Escape
Director: William A. Seiter
Starring: Jean Arthur (Molly J. Truesdale), John Wayne (Duke Hudkins), Charles Winninger (Waco), Phil Silvers (Smiley)
Studio: RKO Radio Pictures
Release: November 12, 1943
Runtime: 86 minutes
Source Material: Original screenplay by Robert Ardrey
Plot Summary
Molly J. Truesdale, a New York department‑store girl weary of predictable suitors and a life planned by others, boards a cross‑country bus tour hoping for a breath of freedom. In a dusty Western town, she attends a rodeo where a bronc tosses cowboy Duke Hudkins straight into her lap—an accidental collision that becomes the spark neither expected.
Duke is rugged, charming, and allergic to commitment. Molly is refined, hopeful, and quietly courageous. Their chance meeting leads to a day and night wandering the open West: campfires, mishaps, a stolen horse blanket, and a dinner date that collapses under Duke’s rough edges. Molly glimpses a man who is good-hearted but afraid of being tied down. Duke glimpses a woman who sees more in him than he sees in himself.
When the bus moves on, Molly returns to New York believing the moment has passed. But Duke, shaken by the emptiness of life without her, rides East to claim the woman he didn’t know he needed. Their reunion is simple, direct, and unmistakably sincere—a cowboy walking into the city to choose love over fear.
Cast Highlights
Jean Arthur — Molly Truesdale, a woman whose innocence is not fragility but a quiet strength that disarms cynicism.
John Wayne — Duke Hudkins, a rodeo cowboy whose pride and independence mask a longing for real connection.
Charles Winninger — Waco, Duke’s loyal friend who sees the truth before Duke does.
Phil Silvers — Smiley, the fast-talking tour guide whose humor keeps the story buoyant.
Themes & Moral Resonance
Freedom Requires Discernment
Molly seeks escape, but what she truly desires is a life chosen freely, not one assigned to her. The film honors the difference between running away and stepping toward vocation.
Love Interrupts Our Plans
Duke and Molly meet by accident, yet the encounter reveals what each has been missing. Grace often arrives sideways, disguised as inconvenience.
Courage Is Often Quiet
Molly’s bravery is not dramatic. She simply tells the truth, hopes honestly, and refuses to settle for a life without joy. Her steadiness becomes the catalyst for Duke’s transformation.
The West as Moral Landscape
The open sky, the campfire, the long road—these settings strip away pretense. In the wilderness, Duke’s bluster fades and Molly’s clarity shines.
Commitment Is Not Confinement
Duke fears being “tied down,” but the film gently insists that love enlarges rather than restricts. True freedom is found in choosing the good.
Catholic Lessons on Discernment and Desire
Vocation Emerges Through Encounter
Molly’s journey mirrors the Christian truth that calling often reveals itself through relationships, not isolation.
Humility Opens the Heart
Duke’s conversion is not moralistic; it is relational. He must admit he needs someone. Grace begins with that admission.
Innocence Is a Strength, Not a Weakness
Molly’s purity of intention is not naïve. It is the clarity that allows her to see Duke’s goodness beneath his rough exterior.
Love Requires Sacrifice
Duke’s ride to New York is a small but real act of self-giving. He leaves his world to enter hers—an echo of the Christian pattern of love descending to meet the beloved.
Providence Works Through Chance
The film’s title is a reminder that what looks like randomness may be the gentle choreography of grace.
Hospitality Pairing
Menu
Skillet Steak with Butter‑Braised Green Beans — rugged Western simplicity meeting Molly’s refined sensibility
Buttermilk Biscuits — comfort food that bridges city and frontier
Bourbon and Ginger Highball — clean, warm, and unpretentious, matching the film’s tone
Atmosphere
A small table with a single lantern or candle—echoing the campfire where honesty first surfaced
A wool blanket draped over a chair—recalling the horse-blanket mishap that softened Duke’s pride
A window cracked open to the night air—inviting the sense of open sky and possibility
Closing Reflection
A Lady Takes a Chance is a gentle parable about the courage to let your life be interrupted. It reminds us that vocation often begins with a collision—an unexpected meeting that reveals what we truly desire. Molly’s innocence and Duke’s roughness are not opposites but complements, each calling the other to grow. The film’s final image—a cowboy stepping into the city for love—captures the Christian truth that real freedom is found not in escape but in choosing the good with a whole heart.
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