Daniel Jesse
This article argues that The Chosen offers a popular affective Christology by transmediating the Gospel story through a sustained grammar of lament, fatigue, embodied vulnerability, and grief. Rather than treating Jesus’ sorrow as an occasional dramatic accent, the series makes tears, exhaustion, silence, withdrawal, and prayer into theological signs shaped by serial streaming and digital circulation. Using close viewing as a theological method, the article analyzes performance, pacing, mise-en-scène (the arrangement of bodies, objects, lighting, and space within the frame), sound, and gesture to show how sparse Gospel cues are expanded into a devotional portrait of Christ’s humanity. Theologically, this portrait presses on questions of incarnation, lament, divine solidarity, and the relation between Christ’s human affect and divine holiness. Read within Jesus-film scholarship, biblical transmediation, and debates over passibility and impassibility, The Chosen demonstrates how contemporary religious media can form moral and theological imagination by inviting viewers to imagine what holiness may look, sound, and feel like under conditions of grief.