Netflix’s latest venture into Bible-inspired storytelling, Mary, is proving to be the kind of cultural lightning rod the streaming giant probably hoped for—and then some. In classic Netflix fashion, the controversy surrounding the film seems perfectly engineered to generate buzz, ignite outrage, and draw curious eyeballs to the screen. But this time, the backlash is coming from all directions, and the results are both predictable and wildly entertaining.
On one side, you’ve got conservative Christians clutching their pearls over the movie’s deviations from traditional doctrine. On the other, Palestinian activists and critics are fuming over the casting of Noa Cohen, an Israeli actress, as the Virgin Mary, citing the film as a tone-deaf erasure of Palestinian identity. Add in some modern, woke twists to the storytelling, and you’ve got yourself a recipe for the kind of media storm that money can’t buy—or maybe Netflix can.
Let’s start with the most contentious point: the casting of Noa Cohen as Mary. Director D.J. Caruso defends the decision as a nod to “authenticity,” citing her Israeli roots. But in today’s hyper-politicized climate, that choice was bound to ruffle feathers. Palestinian supporters argue the move whitewashes history, erasing the region’s native identity, especially amid heightened tensions in the Middle East. Critics didn’t hesitate to jump from reasonable objections to outright anti-Semitism, hurling vile slurs and even death threats at Cohen and the filmmakers. If Netflix wanted headlines, they got them—just not the kind you frame and hang in the office.
Rod Dreher, a conservative Christian writer, dismantled claims that Mary was Palestinian, pointing out the anachronism of applying modern national identities to a first-century Jewish woman. But let’s face it: logic has never stood a chance in the court of online outrage. The debate over who “owns” Mary’s identity has somehow morphed into yet another proxy battle in the never-ending cultural wars.
Dreher stated, “to deny the Jewishness of Jesus is not only to negate the clear and unambiguous testimony of Scripture, but to render as nonsense the entire salvation narrative… To claim the historical Mary as a ‘Palestinian’ – a people and a concept that did not exist at the time of Jesus’s birth – is a malicious anachronism.”
As reported on MSM,
It was not until a couple of centuries after Jesus was born that the province of Judea was renamed Syria Palestinia, and it would be another half millennium until Arab conquests of the region began in earnest.
For conservative Christians, the film’s portrayal of Mary is less about geopolitics and more about theology—or the lack of it. The movie takes creative liberties with her story, presenting her as a conflicted, imperfect human rather than the chaste, obedient vessel depicted in Catholic doctrine. Oh, and apparently, her relationship with Joseph isn’t exactly platonic, which is bound to send traditionalists into fits of righteous indignation. Add in a hip, hoodie-wearing Satan and a shampoo-commercial version of the Archangel Gabriel, and it’s clear this isn’t your grandmother’s Sunday School lesson.
Critics from the Christian right are predictably unimpressed, calling the film’s tone jarring and its deviations disrespectful. But let’s not ignore the obvious: Netflix isn’t aiming for the pews. They’re chasing Gen Z and millennials, hoping a modern spin will resonate with younger audiences who might otherwise roll their eyes at traditional Biblical adaptations.
Despite the uproar, or perhaps because of it, Mary seems poised to rake in views. Netflix has perfected the art of weaponizing controversy, and Mary is no exception. Religious projects have proven their earning power—just ask Mel Gibson, whose The Passion of the Christ made over $600 million. And with Joel Osteen as an executive producer, this film is already tethered to the lucrative Christian media ecosystem.
Meanwhile, Netflix itself is riding high, with a soaring stock price and record-breaking Emmy wins. The company thrives on its audience’s loyalty, knowing that even the most outraged viewers can’t resist the pull of a scandalous release. As Bank of America analyst Jessica Reif Ehrlich put it, Netflix is “the old pay TV bundle” reincarnated—except now it comes with a side of virtue signaling and geopolitical strife.
At the end of the day, Mary is less about faith or historical accuracy and more about Netflix’s bottom line. The streaming giant knows controversy sells, and this film delivers it in spades. Whether it’s Christians lamenting its theological liberties, activists decrying its casting choices, or cynics rolling their eyes at its modern touches, everyone has something to say—and that’s exactly the point.
Love it or hate it, Mary is a masterclass in how to turn outrage into clicks. Netflix will be laughing all the way to the bank—and maybe even saying a little prayer of thanks for the free publicity.
