Meet the Catholic filmmaker behind a new series on ‘Women of the Bible’
Catholic writer and producer René Echevarria is the executive producer of the new drama series "The Faithful: Women of the Bible." The three-part series focuses on five Old Testament matriarchs: Sarah, Hagar, Rebekah, Leah, and Rachel. The show aims to portray these biblical figures as courageous yet imperfect individuals dealing with themes like love, marriage, and faith. "The Faithful: Women of the Bible" premieres on FOX on March 22, 2026, airing weekly until Easter, April 5, and will stream on Hulu the following day. Echevarria, known for his work on "Star Trek," views the project as an answer to his prayer to be used to tell God's story.
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"The Faithful: Women of the Bible" is a new three-part drama series premiering on FOX on March 22, 2026, and airing weekly until Easter on April 5.1
It streams on Hulu the day after each episode and was filmed in Rome and Matera, Italy.1
The series focuses on five interconnected Old Testament matriarchs: Sarah (Minnie Driver), Hagar (Natacha Karam), Rebekah (Alexa Davalos), Leah (Millie Brady), and Rachel (Blu Hunt).1
These women are portrayed as courageous yet imperfect, navigating love, marriage, motherhood, temptation, and faith.1
René Echevarria, a Catholic writer-producer known for "Star Trek," "Dark Angel," "Terra Nova," and "Carnival Row," serves as executive producer, showrunner, and pilot writer.1
He pursued the project after praying for God to use him in faith-based storytelling, turning down other opportunities as an exercise in faith.1
Executive producers include Carol Mendelsohn ("CSI") and Julie Weitz ("Game of Silence").1
Filmmakers consulted the Bible directly, incorporating verbatim dialogue where possible, and sought input from Rabbi Wendy Zierler and theologian Russell Moore to ensure accuracy while imaginatively connecting events.1
Writers and actors were instructed to portray the women as relatable humans unaware they are biblical figures.1
This aims to make their stories feel authentic and human, highlighting flaws alongside nobility.1
Echevarria, a Catholic educated in parochial schools, reflects on growing Bible engagement among Catholics and shares personal experiences like attending Mass in Rome.1
The series emphasizes God's goodness in redeeming human mistakes, as seen in Sarah's story with Hagar and Ishmael from Genesis 16.1
How do Catholic filmmakers depict biblical women in contemporary media?
Catholic teachings encourage cinematic and media representations of the Bible that faithfully convey its integrity, artistry, and spiritual depth, including the dignified roles of biblical women as models of faith, strength, and proclamation. While the provided sources do not detail specific films or productions by self-identified Catholic filmmakers, they highlight the Church's appreciation for contemporary visual adaptations that transpose sacred Scripture into powerful, accessible forms, fostering hunger for God's Word. Such depictions should reflect Jesus' revolutionary respect for women, countering cultural prejudices, and emphasize their active contributions in salvation history.
Pope John Paul II explicitly praised the "renewed cinematographic interest in both the Old and New Testaments," noting its role in shifting from written to visual language while aiming to present the Bible "in its integrity." He commended efforts that combine "artistic aspect with profound religious inspiration," arousing not just aesthetic admiration but "interior participation and spiritual growth." This endorsement applies to portrayals of biblical figures, including women like those in the Old Testament (Deborah, Naomi, Judith, Esther) who played "active social roles," and Gospel women who accompanied Jesus, listened to His word, and were first proclaimers of the Resurrection.
"I am therefore pleased to express my heartfelt appreciation of this renewed cinematographic interest in both the Old and New Testaments, especially since, despite its various, inevitably partial cinematic interpretations, your intention is to present the Bible in its integrity. It helps to keep alive in people that 'hunger' and 'thirst' for the Word of God..."
This magisterial guidance implies that Catholic-influenced media should avoid superficiality, instead capturing the "logic of the Incarnation" where divine truth meets human culture.
Church documents portray biblical women as valiant, faithful, and integral to God's plan, providing a template for media representations:
Old Testament Figures: Women like Deborah (judge and leader), Naomi (wise mentor), Judith (heroic deliverer), and Esther (courageous intercessor) exemplify active societal roles, countering patriarchal misinterpretations. Feminist exegesis, when balanced, uncovers their dignity, unmasking tendentious readings that justified male domination.
Gospel Women: Jesus showed unprecedented "respect and esteem," calling a woman with a stoop a "daughter of Abraham" (Lk 13:16)—a title otherwise reserved for men—and addressing women of Jerusalem as "daughters" amid His Passion (Lk 23:28). His female disciples remained faithful at the Cross, unlike most male apostles, underscoring their bond and equal dignity. Mary Magdalene, addressed as "woman" in the Resurrection garden (Jn 20:15), was the first witness, echoing Mary's Magnificat of justice and uplift for the downtrodden (Lk 1:46-53).
Mary as Exemplar: The Mother of God embodies "virginity and motherhood, of faith and active social concern," serving as the ultimate model. Her role as "new Eve" is affirmed even at the Cross (Jn 19:26).
These portrayals broke first-century norms: Jesus elevated women in interactions (e.g., the sinful woman in Lk 7, Martha and Mary in Jn 11:5), marriage equality (Mt 19:8, rescinding easy male divorce), and ministry. Media depictions should preserve this "innovation," avoiding anachronistic or reductive views.
Pontifical Biblical Commission documents caution against tendentious feminist readings that reject biblical authority or hypothesize hidden egalitarianism, urging fidelity to texts under ecclesial guidance. On challenging passages (e.g., wifely submission in Eph 5 or women's silence in 1 Cor 14:33-35, 1 Tim 2:11-15), context reveals pastoral intent amid cultural constraints, not absolute inequality—women prophesied publicly (1 Cor 11:5), and husbands' sacrificial love remains timeless. Catholic media should contextualize such texts, integrating them with God's compassion, to avoid justifying "sexism whether on the part of men or of women."
Women’s "feminine genius" aids Scripture's understanding in family, catechesis, and society, as messengers of love and mercy—qualities media can vividly illustrate.
Though sources lack named films (e.g., no mentions of productions like The Passion of the Christ or Mary Magdalene), they align with a tradition valuing media that evangelizes through women's stories: their resilience, proclamation, and partnership in covenant. Pope Francis notes theology—and by extension, its media expressions—needs women's insights, as in Huldah interpreting Deuteronomy (2 Kgs 22:14-20). Depictions should foster interreligious dialogue, justice, and peace, as in John Paul II's colloquium context.
In summary, Catholic filmmakers are called to depict biblical women with scriptural fidelity, highlighting their dignity, agency, and proximity to Christ, as praised in magisterial addresses on biblical media. This ensures portrayals inspire spiritual growth amid modern challenges, true to the Church's living tradition. Where sources are silent on specifics, they nonetheless guide toward respectful, integral representations.