The frequent presence of religion on screen indicates that at some point in the creative process, writers and producers must learn something about the traditions they depict. The question is, how does this process take place? Some draw on firsthand experience, either their own or a collaborator’s. One of television’s most famously religious characters, President Josiah Bartlet on The West Wing, was written as Catholic at the request of Martin Sheen, the actor who played Bartlett for seven seasons. “I wanted him to be Catholic so that I could personally relate to every issue in a moral frame of reference,” Sheen explains, and Bartlet’s character reflected Sheen’s own progressive Catholicism. Other showrunners seek out experts to advise them on their religious content, usually either religious leaders or scholars of the relevant tradition. For instance, the creators of CBS’s Living Biblically worked with a priest and a rabbi in an effort to make the show both accurate and inoffensive. Similarly, Michael Schur consulted two philosophy professors when writing The Good Place, which offers a comedic crash course in philosophy.
For highly controversial shows, another tactic is to quell or circumvent critique by hiring the critics as consultants. For instance, after being vociferously critiqued for Islamophobia, the showrunners for Homeland hired attorney and law professor Ramzi Kassem, who had been one of their loudest critics, to help them adjust their portrayal of Muslims and Islam. As the New York Times put it, he became “Homeland’s paid conscience consultant.” Similarly, Netflix hired Thomas Williams, a former priest and current Rome correspondent for Breitbart News, as a script consultant on the new series The Pope. The show explores the relationship between Pope Benedict XVI and Pope Francis as the latter became pope in 2013. Williams’ mandate was to ensure a fair representation of the more conservative Benedict, potentially heading off criticism from conservative viewers.
But religion is, of course, a lightning rod for controversy, and expert consultants can only do so much to avoid it. In the film Hail, Caesar!, the Coen brothers reveal the comedy of the idea that asking religious leaders for advice can circumvent controversy. Set in 1950s Hollywood, the film’s topic is the production of a fictional movie about Jesus Christ, “the greatest story ever told.” The head of the fictional film company is concerned about not offending religious viewers, so, to cover his bases, he gathers a rabbi, a Protestant pastor, a Catholic priest, and a Greek Orthodox priest to advise him on how to depict Jesus. The ensuing argument about Jesus’ divinity demonstrates important distinctions within the religious traditions represented, delivered with characteristic Coen comedic flair. More importantly, it shows the impossibility of getting everyone--or even a few religious leaders--to agree on one interpretation to be showcased on screen.
When it comes to depicting religion, writers and producers must choose which part, or parts, of a tradition to represent. Given the internal diversity of religions, their propensity to change over time, and the profound influence of cultural context, these choices are manifold and complex and the results significant. How can storytellers and producers be faithful to the stories they are trying to tell and to the complexity of religious landscapes? How do they handle the pressures to simplify religion, pressures that easily reinforce only the loudest, most convenient, or traditionally authoritative voices, pressures that can easily lead media to replicate and reinforce significant imbalances of power and distortions of reality?
This panel focuses on the technical aspect of content production, exploring how the religious dimensions of entertainment media are created. Who decides what the content is? Where does the information come from? What is the process from both creative and corporate angles? Participants will discuss the nuts and bolts of how and why certain choices are made and explore how scholars (and the RLP) could support writers and producers engaging in with religious themes.
Suggested Reading
Can Television Be Fair to Muslims?
CBS Hopes Viewers Will Want to Watch, If Not Live, Biblically
And, Scene: Hail, Caesar!
“Extra” Cardinals Invade the Vatican (No Blessings Included)
He Didn’t Like Homeland. Now He’s Advising It
Guiding Questions
1. To what extent are media creators aware that their narratives shape how Americans think about religion? How can greater awareness be fostered?
2. Where do writers, directors, producers, and media executives get their information about religion? To whom do they turn or with whom do they collaborate?
3. How do writers, directors, producers, and media executives think about the ways in which they depict religion? What are they trying to communicate about religion? What are their intended messages and what motivates them?
4. How do media creators negotiate tensions between accuracy and complexity on the one hand, and the demands of narrative arc and character development on the other?
5. What constraints in the industry or the culture inhibit media companies from generating complex depictions of religious individuals, communities, and ideas?
6. How does the intended audience shape the ways media creators approach and depict religion in their work?