From the mid-90s to the present, television drama with religious
content has come to reflect the growing cultural divide between
white middle-America and concentrated urban elites. As author
Charlotte E. Howell argues in this book, by 2016, television
narratives of white Christianity had become entirely disconnected
from the religion they were meant to represent. Programming labeled
'family-friendly' became a euphemism for white, middlebrow America,
and developing audience niches became increasingly significant to
serial dramatic television. Utilizing original case studies and
interviews, Divine Programming investigates the development,
writing, producing, marketing, and positioning of key series
including 7th Heaven, Friday Night Lights, Rectify, Supernatural,
Jane the Virgin, Daredevil, and Preacher. As this book shows, there
has historically been a deep ambivalence among television
production cultures regarding religion and Christianity more
specifically. It illustrates how middle-American television
audiences lost significance within the Hollywood television
industry and how this in turn has informed and continues to inform
television programming on a larger scale. In recent years, upscale
audience niches have aligned with the perceived tastes of affluent,
educated, multicultural, and-importantly-secular elites. As a
result, the televised representation of white Christianity had to
be othered, and shifted into the unreality of fantastic genres to
appeal to niche audiences. To examine this effect, Howell looks at
religious representation through four approaches - establishment,
distancing, displacement, and use - and looks at series across a
variety of genres and outlets in order to provied varied analyses
of each theme.
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