Are we “so back” as some online Christians proclaim?

Such a triumphalist spirit in any camp of Christianity should be avoided, especially when the next large-scale poll of Christian attrition will likely pour cold water on the idea. Yet despite all the sobering realities of a modern, pluralistic, and post-Christendom world, there are often small shoots of hope regarding Christianity found in unexpected places and presented in unexpected ways.

One of these is found in the recent, highly-anticipated, season three premiere of the provocative HBO drama “Euphoria.”

Before proceeding, let me note that “Euphoria” is not a wholesome or uplifting show, nor does it pretend to be. It is certainly not “pro-Christian” in any conventional sense, and this article should not be considered an endorsement of it. I use it here simply as a vehicle to present an interesting phenomenon in an unlikely source.

In the first episode, we find the troubled main character, Rue, now facing the consequences of her own and others’ actions. To pay a debt, she has become a drug-runner across the U.S.-Mexico border. On one run, she loses the use of her vehicle and must walk through the desert with her package.

In so doing, she stumbles across a large, homesteading, homeschooling family of devout Christians. This family comes off as the stereotypical fundamentalist evangelical, yet much of the imagery in the actual home appears Catholic. This juxtaposition would likely be noticed by many within these respective camps but gets lumped together as a generic conservative “uber Christian” archetype.

While the family’s general attitude is presented as “backwards,” they’re also presented as kind and welcoming to this stranger. They not only house and feed her but drive her to the nearest bus station to complete her journey, almost certainly without knowledge of her object.

These scenes are surprising not only because the conservative Christian family is portrayed somewhat positively, sincere in their beliefs and practicing the universally accepted “good” parts of Christian teaching, but also because of how they positively affect the jaded main character, Rue. She is supposed to smirk condescendingly at their piety. Instead, she is so moved that she later speaks openly, in two separate conversations, about considering God, the Bible, and Christianity.

Christians Are ‘So Judgmental’

After Rue completes her journey, she stays with a high school friend, a self-assured high achiever who works as an assistant in the entertainment agency. While conversing, Rue broaches the God subject with uncertainty. Her friend looks disgusted, declaring that she could never be Rue’s friend if she became a Christian.

“Why?” Rue asks with confusion.

“Because they’re so judgmental,” her friend fervently responds. There is a pregnant pause as Rue gives the infamous “Gen Z stare,” looking at the camera with a “Jim face,” made famous by character Jim Halpert from “The Office.” Rue holds her tongue, likely recognizing that a confrontation may lead to losing her place to sleep for the night.

The significance of this interaction is not the misperception and stereotyping of Christians as judgmental; instead, it is the irony that a favorable character is making this judgment, and more importantly, that such hypocritical judgment is left hanging out there for the audience to catch. The dramatic irony is not subtle. What is subtle, however, is the direction in which “Euphoria” chose to take it.

Finally, Rue has a conversation with her sponsor, Ali Muhammad, a practicing Muslim. In this conversation Rue struggles with reconciling the God of the Old Testament with the modern dictates of kindness and tolerance. Here, too, we have the Old Testament, along with its moral teachings about sodomy – often deemed too uncomfortable for the modern ear – defended by Muhammad (one can add another layer of surprise to this as the actor portraying Muhammad, Colman Domingo, is openly gay himself). In a later scene, we find Rue providing transport to a visibly uncomfortable customer as she plays the Bible on audiobook. Though this final example is lighter and plays for comedic effect, it shows her willingness to follow-through and give this whole “God thing” a real shot.

All this to say, director Sam Levinson is a provocateur who is expertly skilled in developing scenes with heavy emotional force. This is what his programs ultimately serve. Where that will leave Rue and her burgeoning interest in faith, who knows.

As already stated, this is not an endorsement for “Euphoria,” but a reflection on the ways that “hope springs eternal” even in the unlikeliest of places. Art has a habit of showing a mirror to society while also shaping it. Not every mirror is clear and not every reflection should be imitated. However, the image is often instructive.

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This article was made possible by The Fred & Rheta Skelton Center for Cultural Renewal.

Image credit: YouTube/HBO