The Book of Dallas, Season One is a 10 episode web series from KoldCast TV, where it can be seen in its entirety for free (mature content: language and sex). The series comes from the production team of Joe Atkinson, Jakob Bilinski, and Marx H. Pyle. Atkinson wrote the series in response to a crisis in faith. The directing is divided between the three producers.
Dallas McKay (Benjamin Crockett) is a young Catholic atheist (is there any other kind?). Dallas gets into a theological debate at a bar (something akin to theology on tap). His lack of belief offends the self-proclaimed Christians (surprise), then fate takes the upper hand when speeding vehicle meets Dallas on the street.
Heaven is a coffee shop where Dallas meets a highly emotive St. Peter (David Ross) and a quirky God (Kristine Renee Farley). Yes, God is a girl who likes to eat lots of waffles. I knew it all along. With a mouthful of syrup, God asks Dallas to write a new bible, one which will not inspire people to judge and kill one another. After writing it, Dallas is to go on a book tour and sell it. Real simple.
Now back on Earth, Dallas needs some cash to get started. God gives him the winning lottery numbers. Dallas and his roommate Hank (Clay Evans) are on a mission from God. After finally finding a publisher, Dallas’ book, “The Word,” creates publicity and controversy. The evangelicals predictably hate Dallas, but he does attract a follower named Benjamin (Kevin Roach), who fills in for Dallas after a fundamentalist nut job sends Dallas back to heaven for a spell. Benjamin creates The Church of Unitism. Yes, a new religion.
The Book of Dallas starts off as an overly familiar revisionist look at the state of religion, the likes of which we have seen before (Dogma, Religioulous, et al). The best humor in the series is provided by actors David Ross and Kristine Renee Farley. Aside from these, the comedy is too subdued for this topic. More problematic are the plot solutions, which are too simplistic (a convenient lottery win, miraculous surviving of near-death experiences).
Something more complex would have been more rewarding. The fact that the protagonist survives his ordeals, virtually unscathed, nullifies any real questioning of his supernatural encounters (for Dallas and the audience—the only nonbelievers are the certifiable Christians of the film, which, come to think of it, is probably all too apt).
The biggest issue I take with the series is in “The Word” itself. What does “The Book of Dallas” actually say? We are never really privy to that information. Therefore, Dallas’ actual message is so vague that it fails to connect with us emotionally, intellectually, or theologically. Likewise, the fundamentalist outrage towards the book never quite registers beyond surface. The angry religious mob is merely taken for granted.
The Book of Dallas starts to live up to its complex potential by the 10th episode. Of course, every successful revolutionary movement faces the possibility of becoming an institution. The Unitist movement veers dangerously close to that fatal error. Upon seeing this, the fire within Dallas is sparked. For the first time, close to the season finale, we sense the prophetic nature swelling within Dallas, along with narrative possibilities for richer, provocative exploration.
Atkinson’s sincerity and effort is to be applauded, despite the occasional “too safe” missteps. The series feels like an opening spark, which may reap rewarding challenges in the second season (and, hopefully, that second season will come to fruition).
Bilinski, a director previously covered here, directs the first, fifth and seventh episodes. The first episode has a texture and pacing similar to elements of his previous Shade of Grey (2009).
. “The Book of Dallas” trailer.