A wave of Christian programming is impacting the tenor and culture of TV and Hollywood, according to experts. The success of faith-based productions was highlighted by the surprising $19-million US debut of the animated Dickens adaptation, King of Kings, which tells the story of Jesus Christ's life and crucifixion. This performance is notable considering it's an animated biblical film released in April. The recent fifth season of The Chosen also exceeded expectations, with its first three parts premiering in theaters and grossing over $36 million US, solidifying religious programming as a viable genre for studios and audiences.

Jonathan Roumie, who plays Jesus in The Chosen, noted in an interview with CBC that people are seeking positivity and light, which the gospels offer. Amazon Prime Video's House of David, which chronicles the rise of the biblical shepherd boy, attracted over 22 million viewers in its first 17 days, placing it in the top 10 of U.S. series debuts, according to Amazon MGM Studios. Lionsgate's The Best Christmas Pageant Ever also achieved an impressive $40 million US, despite competition from major releases. Moreover, projects related to Christ from prominent directors like Martin Scorsese, Terrence Malick, and Mel Gibson are reportedly in development.

Roumie mentioned that approximately 30% of The Chosen's global audience does not identify as religious, suggesting that the series' power lies in its storytelling. Biblical tales have historically contributed to box office success. In early Hollywood, studios produced big-budget spectacles, including biblical stories like Ben-Hur, The Greatest Story Ever Told, King of Kings (1961), and The Ten Commandments, to differentiate themselves from television. However, the rise of action films in the mid-1970s, following the success of Jaws, led to the decline of the biblical formula.

Catholic priest and film critic Eric Mah believes that the resurgence of faith-based films is due to updated storytelling methods. He argues that authentic religious stories should speak to the human experience. The focus has shifted from creating films solely for catechesis or evangelization to making good films, which Mah believes is the right approach. Many of these productions, including The Chosen and King of Kings, originated with Angel Studios, founded by brothers affiliated with the Church of Jesus Christ of Latter-Day Saints. Angel Studios has also produced content like Sound of Freedom, a film about child trafficking starring Jim Caviezel, which became entangled in culture war debates despite not being overtly religious.

Mah suggests that audiences connected Caviezel's role in Sound of Freedom to his portrayal of Jesus, satisfying a religious longing. Wall Street Journal entertainment reporter John Jurgensen adds that the film resonated with religious audiences due to its subject matter. Art has become a battleground in culture wars, with the success of productions reflecting underlying ideologies. Jurgensen notes that audiences support content that represents underrepresented cultures or political views. Emotional triggers in art, such as music and stories, foster passionate followings when audiences feel a sense of familiarity. This aligns with a growing desire for uplifting content and independent productions like The Chosen, separate from mainstream Hollywood.

Jurgensen believes the rise of this genre is part of a cultural pendulum swing. People are increasingly using their entertainment choices to express their worldviews. While not the primary reason for buying a ticket, audiences see these choices as part of their broader identity.