2025 has cranked Hollywood’s Gnosticism and nihilism to critical levels. The industry loves perverting biblical truth, repackaging it as “entertainment.” It’s blatant: whatever Scripture declares about eternity, Tinseltown mocks it relentlessly.

A24’s Eternity—starring real-life atheist Elizabeth Olsen as Joan, Miles Teller as her long-suffering second husband Larry, and Callum Turner as her idealized first love Luke (who died young)—serves up a whimsical rom-com in a bureaucratic limbo called the “Junction.” Souls arrive reverted to their happiest age, with exactly one week to pick their eternal “world”: Queer World, Man-Free World, Wine World, Outdoor World, Smokers World (because cancer can’t kill you twice), Capitalism World, or endless others.

Joan, dying shortly after Larry, must choose not just her forever home but whom to spend it with: the faithful husband of 65 years or the tragic first flame who’s been bartending in purgatory for decades, waiting like a sad puppy.

This is straight Gnostic heresy wrapped in A24 quirk. The film relativizes eternal destiny into a consumer buffet, exalting selfish desire over divine judgment and peddling modern ideologies that Scripture condemns. No pearly gates, no Great White Throne, no Lamb’s Book of Life (Revelation 20:12-15). God is MIA—maybe a distant CEO at best—while human whim rules.

Eternity becomes a trade-show marketplace of tailored paradises, where souls “shop” based on earthly appetites. Pure Gnostic lie: salvation through self-knowledge instead of faith in Christ alone. Joan’s core dilemma—picking between husbands—elevates fleeting romantic highs as the ultimate “spark.” Luke’s patient wait romanticizes unfinished passion as noble, while Larry’s decades of covenant loyalty gets painted as safe but boring.

Biblical marriage?

A lifelong, unbreakable bond. Here? Disposable if a better option ghosts you from the grave. No call to repentance, no cross, no resurrection—just nostalgic youth restored and infinite do-overs.

The themed worlds scream contemporary relativism: “Queer World” and “Man-Free World” normalize what Romans 1:26-27 calls contrary to nature, calling evil good (Isaiah 5:20). Polyamory gets teased, monogamy mocked, fidelity waved away. It’s “do as thou wilt” in the afterlife—Aleister Crowley’s satanic motto.

Even the ending twists the knife. Joan toys with ditching both men, flirts with Luke (after Larry nobly steps aside), then sneaks back to Larry for a cozy suburban forever—because, apparently, lived love wins. But the whole setup screams she never truly cherished her covenant; the film frames her waffling as empowerment. She dumps the guy who waited 67 years, gets her fling, then crawls back to the “cuck” who lets her.

It’s an embarrassment: a woman abandoning the faithful for fantasy, only to settle when the thrill fades. This fruit is poisonous. Eternity seduces with whimsy, then sells a godless fantasy: life without the Creator, where people chase desires forever. It’s secular mockery from folks blind to their own spiritual dead-end—eternity without Christ.

Hollywood thinks this is clever. Scripture calls it foolishness (1 Corinthians 1:18). Wake up: there’s one way to heaven, and it’s not a brochure rack.

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