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actors, models and talent for Christ, millions upon millions of lost and prodigal children will enter the Kingdom of God” (81). Individuals pay up to $5,245 to participate in an entertainment training bootcamp and receive coaching and competition opportunities. AMTC has been criticized online for its high fees and suggested outcomes. Interestingly, Hatcher suggests, “If AMTC succeeds in its stated goals, faith-based entertainment and entertainers will become the main- stream” (81). It should be noted that the organization closed in January 2018, prior to the book’s publication. In chapter four the author offers his decoding of the film The Way (2010). Hatcher presents his personal appreciation for the film, stating that its “subtle spiritual and religious messages more genuinely reflect the lived human expe- rience than those of overtly Christian movies, or tangentially Biblically-based Hollywood blockbusters” (85). With its narrative featuring the ancient religious route the Camino de Santiago in Europe, this film appears to Hatcher as a bridge between the rituals of institutional religion and a spiritual journey associated with being “spiritual but not religious”. By selecting a film involving the reli- gious theme of pilgrimage but not a religious protagonist, Hatcher contends that institutional religion offers the framework upon which spirituality resides. He cites Leonard Norman Primiano, who states, “This spirituality of seeking is characterized by a deeply personal but transient religiosity with roots in tradi- tional religious beliefs and practices; an interest in noninstitutionalized religious contexts and an eclectic, idiosyncratic and at times isolated spirituality fasci- nated with the supernatural” (xxvii). Indeed, the film features visions of a dead character and the crew knows of miracles that enabled the film’s production process. While the film is not a Hollywood blockbuster, Hatcher appreciates its slow unfolding, its mystery and message of forgiveness and redemption. He invokes Martin Sheen’s own reaction to a culminating scene when a Dutchman falls on his knees before a statue of St James. Hatcher quotes Sheen saying in the film, “Boom I’m gone … That moment, you fall to your knees in thanks- giving and praise. You fall to your knees for help, for mercy. […] It’s our own personal hymn. And this film just rings with it. It’s just so deeply personal” (110). Chapter five expands on the material production of the Bible, including de- tails of the crowd-funded Kickstarter Bibliotheca project. This reader-friendly redesign of the Bible was printed in Germany on fine opaque paper with sewn rather than glued binding (163). At the time of its launch in 2014, the project became the ninth most popular Kickstarter project in the world and in just a day reached its goal of $37,000. This case study considers the Bible as a commodity, one that can be owned and copyrighted, is likely manufactured in China and is high in sales and profitability. Chapter six illuminates satire’s role in critiquing religion, including televan- gelists and the prosperity gospel. It features the work of niche publications The Book Review: Religion and Media in America | 195www.jrfm.eu 2019, 5/2, 193–197