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This essay argues that the Christian independent film series  God’s Not Dead  operates to further affective investment in white Christian nationalism. I combine Lundberg’s (2009) analysis of evangelical publics with Kelly’s (2020) concept of ressentiment to explore how the series acts as performances of white Christian marginality Further, the felt marginality of conservative Christians in the series is aligned with civil rights movements and identity politics. I argue that the  God’s Not Dead  series is an illustrative example of how media in the conservative Christian culture can operate to maintain investments in white Christian nationalism that can motivate political action and justify violence.

The right to believe: constructions of white Christian victimhood in the God’s Not Dead series