Why a Theology Professor Walks Away From a Popular Series
During a recent episode of the Babylon Bee Podcast, African Christian University’s Dean of Theology, Dr. Voddie Bauchel, made it clear he won’t tune in to The Chosen. His reason? He believes the drama breaches the Second Commandment, which forbids the creation of graven images that could become objects of worship. Bauchel, 54, summed his stance up with the shorthand “2CV,” short for “Second Commandment violation,” a phrase that quickly caught the attention of the show’s fan base and its creator.
The conversation started when hosts Sam Greer and Jarret LeMaster asked Bauchel why he avoids the series that has amassed millions of viewers worldwide. Bauchel replied that watching a dramatized portrayal of Jesus and his disciples could blur the line between reverence and idolatry. For him, the commandment isn’t just a historical footnote—it’s a living rule that should shape how Christians engage with visual media today.
His comments didn’t stay in the podcast archives for long. Within hours, Dallas Jenkins, the series’ creator, posted a lengthy response on Facebook. Jenkins praised Bauchel’s dedication but argued the interpretation was off‑base. He pointed to Exodus 20:4‑6, emphasizing that the prohibition targets carved images meant for worship, not fictional reenactments meant for storytelling.
What the Bible Actually Says and How Christians Apply It Today
Exodus 20:4‑6 warns against “making carved images” and bowing down to them, framing the command as a safeguard against rival gods. Jenkins highlighted the phrase “you shall not bow down to them or serve them,” suggesting that a television series—no matter how realistic—doesn’t fit the definition of an idol. He insists that the show encourages viewers to follow Christ, rather than to worship the production itself.
Bauchel, however, sees a slippery slope. In his view, the visual representation of Jesus can become a focal point for devotion that edges toward reverence of the image rather than the person. He worries that frequent exposure to dramatized biblical scenes could desensitize believers to the original intent of the commandment, turning sacred narratives into entertainment commodities.
The split between the two camps mirrors a long‑standing tension in Christianity. From the early iconoclastic controversies to modern debates over religious films, the question of whether visual art can safely coexist with worship has resurfaced again. Some churches today ban statues, while others hang them on walls as teaching tools. The rise of streaming platforms has only intensified the conversation, forcing theologians to reconsider how ancient laws intersect with high‑definition screens.
Both Bauchel and Jenkins agree that the goal is to honor God, but they differ on the method. Bauchel prefers a cautious, perhaps literal, reading of the commandment, while Jenkins adopts a contextual approach, interpreting the text in light of contemporary media culture. Their exchange has drawn comments from pastors, scholars, and everyday viewers, many of whom are wrestling with the same question: can a well‑crafted drama about Jesus be both faithful and permissible?
What’s clear is that the debate isn’t just academic. It influences how churches might approach using video content in worship, how producers consider the theological implications of their work, and how believers decide what’s spiritually edifying. As the discussion continues on social media, podcasts, and church boards, both sides are likely to keep citing the same passage—Exodus 20:4‑6—while drawing very different conclusions.