Christ does not replace or erase the history of the Old Testament. He brings it to its fullness. The historical fulfillments demonstrate God's faithfulness in their own time and also bear witness to the greater fulfillment accomplished in Jesus Christ.
Jesus Christ is the Ark of the New Covenant. He is our place of atonement, our mercy seat. He puts a lid on the righteousness that might otherwise condemn us by offering his very self in our stead on the cross.
Because the biblical story unfolds in real places among real people, archaeology helps us understand the world in which God's saving work took place and, in turn, enriches our reading of Scripture.

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The women at the tomb were surprised by Easter. Amazed and filled with wonder at Jesus' Easter eucatastrophe. And so are we.
Three Lenten songs express the same astonishing wonder of a Lord who willingly suffers and dies.
News of Kilmer's death hit me like a freight train because his Doc Holliday stirred something in me about friendship—both the earthly kind and the divine.
No matter how stringent one's "regulations" — "Do not handle, Do not taste, Do not touch" (Col. 2:21) — the sinful nature that resides in everyone's heart is untamable by self-effort alone.
Sometimes the old story is the one we need to hear again and again.
Jesus satisfies, fills, and saves because he is the Son of God, who, with the Father and the Holy Spirit, lives and reigns forever.
The great lie of addiction is that suffering must be fled, must be numbed, must be drowned out by any means necessary.
To be happy is to be the object of God’s love in Christ and to love God and others with the love of Christ.
In the liturgy, Christ is present, self-giving, and ever-addressing his people.
The addict’s condition speaks a hard truth: that we are all beggars before God, every one of us bent toward the grave.
The wrong god means love remains frail, fickle, or a fiction. The right God means love is the most reliable thing in all the world.
The story being told in the film is not Bonhoeffer’s story. It’s not the Confession Church’s story. Nor is it the story of the German resistance against Hitler. It is a completely fictional story of Hollywood.