“The Passion” is an annual Dutch Easter event where celebrities re-enact a modern musical version of the biblical story of Jesus’ crucifixion. It is held in a different city each year and broadcast live on television and radio. Interestingly, even though some might say religion is becoming less popular, this event is produced on an enormous scale and watched by millions. For some (even non-religious) people, it is seen as a cathartic event and as an opportunity to heal from any (emotional) damage.

This event fits the spectacular death mentality perfectly as it represents the mindset of being obsessively interested in death. Additionally it lifts a certain taboo on death, stemming from the era of forbidden death, while at the same time keeping death at a safe distance. The event focusses on (Jesus’) death and the suffering surrounding it, but it creates a comfortable distance by never actually showing Jesus’ death. The actor portraying Jesus comes back to sing after the crucifixion, and the show emphasizes his life instead of the death itself.

Further, it fits most if not all characteristics of spectacular death. Death is made increasingly visible because of mediatization. Death and the emotions and drama surrounding it in “The Passion” are shown across multiple media platforms without any hesitation (except for the hesitation necessary to keep a distance). It is more visible and thus less taboo.

The commercialization of death is also very present in “The Passion”. Not so much the aspect of of capitalizing on memorial services, but more so using images and the idea of death to make a profit. “The Passion” is a great example of death being used as a source of entertainment in contemporary popular culture. While this breaks a certain taboo, it also means an increased interest in death, such that in many respects it is fuelled by commercialized and consumerized interests.

“The Passion” is also relevant for the re-ritualization if death. It is an annual ceremony concerning death, adhering to old traditions while also creating new ones. While it does not necessarily re-ritualize death itself, it re-ritualizes people’s interaction and mindset with death.

Because of this, “The Passion” is a great example of the spectacular death mentality.

References

M.J. Jacobsen, ‘Spectacular Death’. Proposing a new fifth phase to Philippe Ariès’s admirable history of death, in Humanities 5:2 (2016) 1-20.