Beth Felker Jones

With Marco Polo, Netflix reaches for a global audience. Unfortunately, it casts the epic drama through one European’s eyes.

Pop culture often reduces men to testosterone, with little room to acknowledge themselves as God’s image bearers. But there are glimmers of hope.

To give

...

Gillian Flynn has been accused of hating women. I disagree: Flynn pushes the truth of what can happen to women in a world that diminishes them.

I’ve never seen a film that translates grace to the screen like Babette’s Feast. As one of the rare films that focuses on the lined and battered faces of real people Babette’s Feast challenges viewers to love real life. The film embraces God’s love for the embodied, the ordinary and the value of the extraordinary, and a love that wastes nothing.

If ever a movie with a teenage protagonist was tailor-made for sermon illustrations, it is this one.

I have always watched TV in community. In many ways these communities of shared stories have shaped the stories I tell about my life.

In adapting my course for video, I had to learn to bridge the distance between me and students I couldn't imagine, let alone see.

Divergent puts age-old questions of belonging in a new setting: a postapocalyptic society with the motto “factions before blood.”

In The Walking Dead, there's a crucifix at a Baptist church. Why don't producers check such details with somebody who is actually religious?

Girls gets attention as a boundary-breaking comedy focused explicitly on gender. But Hannah and friends are not navigating adult life well.

I was prepared to enjoy the theological heart of Catching Fire. But my moviegoing experience was bizarrely affected by all the ads.

Don Jon is not about a porn addict saved by a good woman. It's about the unhealthy collision of two people who are ready only for broken relationships.

While Gravity doesn't pass the Bechdel test, it does feature a female lead in a story that isn't about romance or sex. But is it her story or Everyman's?

My school-aged self was intrigued by the Purple Pie Man. Since then, kids' TV has spun off in two directions: more violence for boys, threatless universes for girls.

I wanted to hate Preachers' Daughters without reserve. But the reality of this reality show proves more complicated than the scripts.

The Americans is more than a spy show. It explores how a hidden identity is hard to nourish—and an identity embodied in habit is harder to disavow.

Diehards may not like Lizzie Bennet Diaries' changes to Austen. But the fun lies in considering the choices involved in cultural translation.

St. Francis and St. Clare's witness was possible only in a world full of grace. Frank and Claire Underwood's story is plausible only in a world stripped of it.

Parents are committed to keeping children safe. But the reality is closer to Benh Zeitlin's vision of chaos than we care to admit.