Madonna, Eroticism, and Saintly Imagery

In “The Testament of Ann Lee,” a new film directed by Mona Fastvold, Amanda Seyfried plays the founder and leader of the Shaker movement—a woman believed by her followers to be the second coming of Christ. Fastvold uses song and dance to convey the fervor that Mother Ann shares with her acolytes. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how such depictions of religious devotion might land with modern viewers. They trace this theme from Martin Scorsese’s docuseries “The Saints” to “Lux,” a recent album in which Rosalía mines the divine for musical inspiration. These stories, many of them centuries old, might seem out of step with modern concerns. But we’re still borrowing their iconography—and anointing saints of our own—today. “The bracing and sort of terrifying thing about them is precisely that they are human beings,” Cunningham says. “What they say to us is, ‘If you had the juice, you could do it, too.’ ” 

Read, watch, and listen with the critics:

“Marty Supreme” (2025)
“The Testament of Ann Lee” (2025)
“Martin Scorsese Presents: The Saints” (2024—)
Rosalia’s “Lux”
“Conclave” (2024)
Michelangelo’s “The Temptation of Saint Anthony”
“The Flowers of Saint Francis” (1950)
Madonna’s “Like a Prayer”
“The bizarre rise of ‘convent dressing,’ ” by Eleanor Dye (The Daily Mail)
“What Kind of New World Is Being Born?,” by Vinson Cunningham (The New Yorker)
“Patricia Lockwood Goes Viral,” by Alexandra Schwartz (The New Yorker)

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Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.