When I first met Dwight Longenecker in 1999 I already thought his life story was unique.

The setting was an international journalism conference in Chichester, England. Longenecker was working in journalism at the time, after studying theology at Oxford University. He had already been ordained as an Anglican priest, but then saw the writing on the ancient church walls and swam the Tiber to Roman Catholicism.

But here’s the biographical detail that grabbed me. I was fascinated that, after growing up evangelical in Pennsylvania, he had done his undergraduate work at Bob Jones University in Greenville, S.C. — America’s famous campus that proudly embraces the loaded term “fundamentalist.”

From BJU to England and on to Rome! What a journey, I thought. And people said my pilgrimage from Southern Baptist preacher’s kid to Eastern Orthodoxy was unusual.

But there was one more remarkable shoe to drop in the Longenecker story. In 2006 he returned to America with his wife and four children and — taking the Pastoral Provision door opened by Pope John Paul II (now a saint) — Longenecker was ordained as a Catholic priest.

So where is he now? He is the pastor of Our Lady of the Rosary Catholic Church in — wait for it — Greenville, S.C., a few miles from his old BJU stomping grounds. So the Catholic priest who is “in charge” of Bob Jones territory (long ago, the founder called Catholicism a “Satanic cult”) is a BJU graduate.

Now, I offered all of that as an intro to our think piece for this Easter Sunday (for Western churches). It’s a blog post by Longenecker entitled “The Passion of the Christ, me and Mel Gibson” that includes a fascinating detail about what many consider the most beautiful image in that controversial movie (click here for his “Standing on my head” website).

The key: Longenecker, as a journalist, did quite a bit of writing about film. Thus, he ended up in one of those famous advance screenings with Gibson — who showed a rough edit to a variety of religious audiences while raising money to independently release the film. After showing this early version of his movie, Gibson came out to take questions from the small crowd. Then this happened:

What's the 'A Wrinkle In Time' news story? Flashback to wisdom from Madeleine L'Engle

So what is the story with the new Disney version of the classic, Newbery Award winning novel "A Wrinkle In Time" by the late, great Madeleine L'Engle?

I'm talking about a news story here.

I'm talking about the attempt -- another one -- to make this beloved youth-fiction classic into a blockbuster movie. Why is it is causing discussion, debate and even controversy? Yes, I'm asking this because that's what we talked about this week in the GetReligion "Crossroads" podcast. Click here to tune that in.

Is it news because it appears, to one degree or another, to be a box-office flop? Is it news because, at Rotten Tomatoes, only 40 percent of critics like it? That's bad, but the score from ordinary people in theaters was even lower, to the tune of only 34 percent positive reactions.

Director Ava DuVernay was not amused and argued that race may have had something to do with it, since she -- as a star African-American director -- changed the racial mix of the cast.

It's clear that some of the movie's supporters thought race was a crucial part of the mix, as seen in this NBC commentary: " 'A Wrinkle in Time' isn't a film for critics. It's Ava DuVernay's love letter to black girls." And over at CNN there was this: "Watching 'A Wrinkle in Time' is a political act."

So one more question: Why write a religion column about this book and its author?

That's what I did this past week, for the Universal syndicate. It did that because, nearly two decades ago, I had a chance to spend two hours talking to L'Engle about the crucial themes woven into her book. In particular, I asked her if there were concepts and even quotations from her novel that needed to be in a film adaption of it. Here is a key piece of that column:

It would be hard, explained L'Engle, to grasp this book's cosmic war between life and death, good and evil, darkness and light without two crucial passages.