Carrie Allen Tipton

The choices and consequences on “Nashville”—ABC’s popular drama, returning on January 15—are shaped not by evangelical faith, but by redemptive crusades to achieve an awkward, messy, and ambiguous sense of moral and musical purity. By exchanging the role of traditional southern Christianity for postmodern Bible Belt spirituality, the show brings the South into conformity with the shifting demographics of the rest of the country.

It’s easy. It’s so easy to skewer the American South, to depict its denizens and cultural products and religious values as a homogenized clutch of deprivation and backwardness. It’s so easy that The Learning Channel is riding high in the ratings game these days with Here Comes Honey Boo Boo, the latest offering to confirm mainstream media’s deep investment in portraying a one-dimensional and abject South. The old weary stereotypes slide down smoothly, like the creamy underlayer of a hashbrown casserole. It takes too much work to refract the South through a variegated interpretive lens; and besides, would consumers buy into this multifaceted vision anyway? If ever there were a bullseye target for this kind of elitist and unhelpful framing, it would surely be Southern Gospel music.