The Bible is a billion-dollar IP

In a world where massive media empires like Marvel and Disney reign supreme, you might not think of the Bible as being able to hold its own as one of the most profitable pieces of intellectual property. Sure, you’ve probably heard the fact that the Bible is the bestselling book of all time, but the Bible as a profit engine is much bigger than books. Across film, TV, digital platforms, and publishing, far beyond your basic Good Book editions, the Bible drives a thriving market, raking in billions. The ancient gospel, which urges its followers to forsake material wealth, has become the cornerstone of a massive industry. 

It doesn’t hurt that as one of the most ancient texts in circulation, several — but not all — editions of the Bible, such as the King James version, have no copyright restrictions at all, leaving you free to copy verses verbatim onto your merch, into your scripts, and within your app. 

“The Chosen” one doesn’t need studios to make millions

The crown jewel of the current faith-based boom is “The Chosen,” a multi-season series chronicling the life of Jesus Christ. Touted as a grassroots phenomenon, “The Chosen” has flipped the script on traditional TV production by bypassing major studios and funding its seasons through crowdfunding and a unique “pay-it-forward” model. While this might sound noble, the result is a show that’s generated hundreds of millions of dollars from global audiences, turning its backers’ generosity into cold, hard, tax-free cash.

To illustrate the impressive trajectory of “The Chosen” alongside other commercially successful Bible-based projects, consider these cinematic milestones: “The Passion of the Christ” remains a hallmark, generating over $611 million globally in 2004, setting a high standard for Bible-themed media in the modern box office. Classics like 1959’s “Ben Hur” and “The Ten Commandments” in 1956 also made waves — and lots of money — earning about $74 million and $122 million, respectively, in their initial release, unadjusted for inflation.

More recently, “Jesus Revolution” in 2023 and “I Can Only Imagine” in 2018 performed strongly, the latter earning $83 million domestically on a modest $7 million budget. These projects, while varied in narrative focus and production era, demonstrate the sustained — and sometimes enormous — audience demand for biblical and faith-centered storytelling.

Given their commercial success and continued cultural resonance, these films highlight a broad, ongoing appeal that “The Chosen” taps into, reaching both faith-oriented and secular audiences.

Created and directed by Dallas Jenkins, “The Chosen” was the first TV series to successfully crowdfund its initial seasons, amassing over $10 million from more than 19,000 supporters. 

“More money doesn’t necessarily make a show ‘better,’ but it definitely allows us to serve the story properly. As the seasons have progressed, the story gets bigger,” Jenkins said. 

The increase in scale is reflected in the rising budgets for each season, with costs going from $8 million in season 1 to an anticipated $56 million for season 6.

The power of the masses’ money and pay-it-forward path

The show’s success is a powerful example of how crowdfunding and the “pay-it-forward” model can fuel incredible growth. By encouraging viewers to make (tax-deductible!) financial contributions so that others can watch free of charge, “The Chosen” raised over $10 million for its first season alone. For many Christian supporters, this model resonates as an extension of their faith, likened to tithing or spreading the word of God through their contributions. By the time seasons 2 and 3 were in production, over $30 million had been raised. The financial growth “allows us to serve the story properly,” Jenkins said, allowing the show’s scope to expand with more characters, larger sets, and increasingly intricate scenes.

“The Chosen” initially partnered with Angel Studios to facilitate crowdfunding and distribution, but the two eventually parted ways, leading to a less-than-amicable split that ended earlier this year after an arbitrator’s ruling, which Angel Studios has said it is appealing. 

“Angel Studios had a big role in our launch and in coming up with unique ways to help us survive in the first few seasons,” Jenkins said. “But unfortunately the financing and production model just wasn’t sustainable for a multi-season show with the needs we had.” Now aligned with the Come and See Foundation, the show has found a “sustainable path for our future.”

Beyond its unique financial model, the show’s production has capitalized on unpaid labor from its audience. Filming the “Feeding of the 5,000” in season 3, for instance, involved thousands of extras from 36 countries who traveled at their own expense to the Texas set. Despite “The Chosen” having a multimillion-dollar budget, these fans volunteered their time and resources, drawn by their enthusiasm for the project. The dedication of these fans helps the production save significantly.

“When it comes to background extras, we have fans who would do anything to be on our set and actually contribute to a scene, and we give them a great experience when they come,” Jenkins said. “So why not use that as an opportunity to not only excite the fans but to save and even generate resources? Everyone wins.”

Fathom Events’ growth is built on a faith-based cornerstone

The success of “The Chosen” isn’t an isolated incident. Faith-based films have been steadily rising for years, with data showing that since 2013, Fathom Events' revenue from faith-based releases has grown from 10% to a remarkable 53% of its total revenue in 2023. 

Other notable faith-inspired hits highlight the growing influence of this genre. For instance, “I Can Only Imagine” set records for Kingdom Story Co. with over $83 million at the domestic box office, while “Jesus Revolution” grossed more than $50 million in early 2023. 

“The Chosen” has been a winner for Fathom Events, which screened season 4 in over 2,300 theaters in February, the largest footprint ever for a Fathom release. Fathom estimated that, in total, “The Chosen” has raked in over $40 million in box-office revenue.

Jenkins said that theatrical releases have been wholly positive for the production. 

“Theatrical has only helped our streaming viewership because it raises the profile for the show,” he said. “But bear in mind, the theatrical audience is a fraction of our overall audience.”

Fathom Events’ journey began with a focus on alternative content. Initially, the company specialized in live broadcasts of opera performances, ballet, and other cultural events in traditional cinemas where they wouldn’t typically find a place, which also included much of the faith-based media landscape. This content appealed to niche audiences looking for more than just the latest blockbuster. Over time, Fathom expanded its offerings to include live concerts, sporting events, and rereleases of classic films.

Fathom’s growth can be seen in the shifting percentages of its content offerings. In 2013, live performances made up half of its events, but by 2023 this category had dropped to just 15%. Meanwhile, classic-film rereleases have grown from 20% in 2013 to 25% in 2023, and faith-based content has seen a surge from 15% in 2013 to 40% in 2023.

This growth underscores a significant market shift. As traditional Hollywood productions focus on global, secular audiences, faith-based films are capitalizing on a niche yet highly profitable market segment. Fathom’s success illustrates how the religious-film genre has evolved from low-budget productions to well-funded professional releases capable of competing with mainstream cinema.

The Good Book’s resurrection in print and digital 

The Bible’s popularity isn’t confined to visual media; it’s expanding in its traditional book format. 

“The religion book market has been a bright spot of growth within the total book market since the pandemic,” Brenna Connor, an analyst at Circana, said. “Bibles are leading that growth, but other subjects like Christian life and biblical studies are also up, reflecting increased interest for Christian subjects in the print-book market.”

Connor added: “US print-unit sales for Bibles reached 57.9 million in 2023, growing 2% compared to prior year. Through August 2024, Bible sales are up 9% in units compared to the same time in 2023.” 

This surge marks the third consecutive year of growth in religious publishing, spurred by digital Bible apps, specialized Bible-study guides, and newly redesigned editions aimed at younger readers.

While this growth is promising, the financial appeal of Bible publishing also lies in unique royalty structures. Unlike most publishing, where royalties are split between authors and publishers, Bible royalties are generally straightforward, with minimal shared profits, and the cost of redesigning a Bible comes in far below the costs of developing an entirely new book. 

Because of this, there’s an influx of specialty Bibles tailored to appeal to specific demographics. Publishers like Thomas Nelson and Zondervan have editions with visually engaging layouts, targeted Bible-study features, and even journaling spaces designed to appeal to millennials and Gen Z readers. These design choices are part of a strategy to modernize the Bible’s presentation without altering its message.

Bible apps and online study tools are also experiencing unprecedented user growth. YouVersion, the undeniable king of the Bible-app marketplace, is free but supported by donations and optional in-app purchases. The app has been downloaded 800 million times and its 12 million daily active users account for tens of millions of dollars in donations every year. Apps like the Bible Gateway employ a subscription model, offering premium content and ad-free experiences for $4.99 a month, while monetizing the free experience with ads targeted at their “largest Christian audience.”

The Bible’s return to generate returns 

Religion has always been a persistent and popular thematic force in literature and performing arts, but the Bible has reestablished itself as a powerful force in the global media landscape, transcending geographical boundaries and cultural contexts to connect and profit off audiences. Projects like “The Chosen” exemplify this trend, with plans for translation and distribution in numerous languages, ensuring that its message reaches diverse populations.

This global approach not only broadens the Bible’s audience but also enhances its commercial viability. The rise of faith-based content in cinema, television, and digital platforms highlights a growing demand for spiritual narratives that appeal to both religious and secular viewers. As the Bible continues to adapt and thrive in various forms — from traditional texts to innovative digital apps — it remains a cornerstone of cultural and economic significance worldwide. 

This comprehensive influence underscores the Bible’s role as more than just a religious text: it’s a dynamic cultural artifact that resonates across boundaries, making it a billion-dollar powerhouse with immense potential for growth.

Ryley Trahan is freelance entertainment writer and the founder of nihf.com. He hosts the weekly movie review show “Two for the Show.”