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Killing Jesus: A History is a 2013 book by Bill O'Reilly and Martin Dugard about the life and crucifixion of Jesus, referred to in the book as Jesus of Nazareth. It is the follow-up to Killing Kennedy and Killing Lincoln. Killing Jesus was released September 24, 2013,[1] through Henry Holt and Company.

Key Information

The book was a commercial success, debuting at number one on The New York Times bestseller list and remaining on the list for 52 weeks. Popular reviews of the book were mixed, with both Christian and non-Christian reviewers faulting the book for its tedious writing and its claims of historical objectivity. Scholars and historians have criticized the book for its inaccurate, politically-motivated portrayal of Jesus as a "Tea Party Son of God", its uncritical approach to primary sources, its omission of some of Jesus's teachings, and its oversimplified, sensationalist portrayal of history.

Like both its predecessors, the book was adapted into a television film with the same name for National Geographic Channel.

Writing and research

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According to The Washington Times, while writing Killing Jesus, O'Reilly and Dugard found that sources were far less plentiful than for the previous books in their Killing... series.[2] They stated that the Internet was "a treasure",[2] but complained that the information on various websites was "contradictory",[2] that "hearsay was often quoted as truth",[2] and that information from one website was frequently shown to be unreliable when checked against information from more reliable sources.[2] Bill O'Reilly stated that he believes the book was inspired by the Holy Spirit.[3][4]

Synopsis

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The book begins with "A Note to Readers" by Bill O'Reilly, which promises, "...this is not a religious book. We do not address Jesus the Messiah, only as a man who galvanized a remote area of the Roman Empire and made very powerful enemies while preaching a philosophy of peace and love." After a lengthy quotation from the conservative journalist Vermont C. Royster, the introduction concludes: "But the incredible story behind the lethal struggle between good and evil has not been fully told. Until now." The first chapter begins with a novelistic description of the Massacre of the Innocents from Matthew 2 (Matthew 2:16–18). The remaining portion of the chapter focusses on Herod the Great, the king of Judaea, the politics of his reign, the visit of the Magi, and the birth of Jesus. A lengthy footnote at the end of the chapter defends the historical accuracy of the canonical gospels and their traditional attributions to Matthew the Apostle, John Mark, Luke the Evangelist, and John the Apostle.

The second chapter describes the life of the Roman general and dictator Julius Caesar, his conquests, his seduction by the Egyptian Ptolemaic queen Cleopatra, and his eventual assassination. Chapter Three summarizes the aftermath of Caesar's murder, the Battle of Philippi, the Second Triumvirate, Octavian's defeat of Mark Antony and Cleopatra in the Battle of Actium, and Octavian's ascension to the title of emperor. The fourth chapter returns to the life of Jesus, describing his worried parents looking for him after he has gone missing during a trip to Jerusalem for the Passover. It describes some of the politics of Roman Judaea, heavily emphasizing the idea that the Jews were victims of Roman totalitarian oppression. Chapter Five describes the finding in the Temple from Luke 2 (Luke 2:41–52), the architecture of the Temple in Jerusalem, Nazareth, and the government and political background of Galilee.

Detail of three disciples on the far left side of the table in Leonardo da Vinci's Last Supper, who are shown in a black and white photograph on page 219 of Killing Jesus

Chapter Six describes the preaching of John the Baptist, the arrival of Pontius Pilate in Judaea, the baptism of Jesus, and John the Baptist's arrest. Chapter Seven describes the alleged debaucheries of the Roman emperor Tiberius at Capri, described by the Roman historian Seutonius, accepting all of them as historical. Chapter Eight narrates the Cleansing of the Temple from John 2 (John 2:13–16), Jesus's meeting with Nicodemus from John 3 (John 3:1–21), and the beginning of his ministry. Chapter Nine details the calling of the apostles, the Sermon on the Mount, and the anointing of Jesus from Luke 7 (Luke 7:36–50). Following Catholic tradition rather than the gospels, the authors identify the unnamed "sinful woman" in this passage as Mary Magdalene. The chapter concludes with the beheading of John the Baptist. Chapter Ten entails Jesus's conflicts with the Pharisees and Sadducees and concludes with a characterization of Judas Iscariot.

Chapter Eleven describes Pontius Pilate's governance of Judaea and Chapter Twelve Jesus's entry to Jerusalem. In Chapter Thirteen, Jesus cleanses the Temple again and curses the fig tree. In Chapter Fourteen, he goes to the house of Mary and Martha, proclaims the Golden Rule, tells the Pharisees to "Render unto Caesar", weeps over Jerusalem, and predicts his own death. Chapter Fifteen has the betrayal of Judas and Chapter Sixteen has the Last Supper, the Agony in the Garden, and the arrest of Jesus. Chapters Seventeen through Nineteen describe Jesus's trial, crucifixion, and burial. Chapter Twenty-One has the account of the women at the tomb. The "Afterword" describes non-Christian mentions of Jesus, the fates of the Apostles according to Catholic tradition, as well as what happened to Tiberius, Caligula, Caiaphas, Herod Antipas, Jerusalem, and the early Christian movement.

Publication and sales

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Upon its publication, Killing Jesus debuted at number one on The New York Times bestseller list,[5] and was on the list for 52 weeks.[6] Killing Jesus surpassed the sales of the book Zealot: The Life and Times of Jesus of Nazareth by Reza Aslan, a professor of creative writing, which had been published only a few months before.[7][8] Of its sales success, The Washington Post wrote, "The most popular titles in the Washington area have a distinctly biblical glow: for the second week in a row, Killing Jesus by Bill O'Reilly and Martin Dugard is No. 1. This is the third in their spectacularly successful assassination series, following Killing Kennedy and Killing Lincoln."[9] Noting the concurrent popularity of other religion-related books, the article concludes, "Publishers have long known that religion sells. Even in Washington."[9]

Reception

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In its fall books preview, USA Today called it "a suspenseful thriller."[10] A review of the book by Erik Wemple in The Washington Post remarked that Killing Jesus and its predecessors "may not advance the scholarship on their respective topics, but who'll take issue with millions of Americans getting a quick-read tutorial on history via O’Reilly?"[11] Nonetheless, Wemple complained that the book's writing was full of annoying verbal tics.[11] In particular, Wemple criticizes O'Reilly's constant countdown of how much time the person he is writing about has left to live[11] and his use of the phrase "so it is that..." at the beginnings of sentences.[11] Wemple calls the phrase a "a four-word clump of throat-clearing mumbo-jumbo"[11] and states that another reviewer counted roughly sixteen or so occurrences of it in Killing Jesus.[11] Wemple speculates that O'Reilly may have intended this phrase as "a retroactive cliché, a little riff that would sound impressive in a book about antiquity."[11]

In the book, O'Reilly and Dugard state that they are only including events that can be proven as historical fact,[12][13] a claim which has drawn criticism from both critics of Christianity and evangelical Christians.[12][13] A 2013 review by Dan Delzell for The Christian Post criticizes this statement for implying that not everything in the gospels can be proven as historical fact.[13] Instead, the reviewer insists that everything in the gospel accounts is demonstrably factual and that O'Reilly's selective omission of stories found in the gospels from his book is tantamount to "cut[ting] Christ in half."[13] A review by Tim Chaffey from Answers in Genesis criticizes the book for deliberately omitting several of Jesus's miracles and glossing over others.[14] The same review criticized the book for its "graphic description of sexual activity"[14] and for portraying Mary Magdalene as a repentant prostitute, an idea that is not based on the Bible.[14]

In an article for Salon, Robert M. Price, an atheist theologian and self-identified fan of Bill O'Reilly, labels Killing Jesus a work of complete fiction comparable to The Da Vinci Code[15] and states,

There is no sign whatsoever that the authors of "Killing Jesus" have even begun to do their homework here. In the end notes, true, we find a number of book recommendations, but it is revealing that virtually every one of the New Testament and Jesus books mentioned are the work of evangelical/fundamentalist spin doctors dedicated to defending the proposition that the gospels are entirely accurate, miracles and all.[15]

A 2015 review of both the book and the television miniseries based on it by Brook Wilensky-Lanford in The Guardian criticizes O'Reilly for accepting Jesus's alleged miracles as potentially historical[12] and remarks that, although O'Reilly claims to treat his subject objectively, he "can't be trusted not to confuse religious interpretation with historical fact."[12]

Scholarly response

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Nineteenth-century illustration of Mary Magdalene as a repentant prostitute by Gustave Doré, which appears in Killing Jesus. Candida Moss criticizes the book for accepting this portrayal of Mary, which is not supported by the Bible or other early Christian writings.[16]

Candida Moss, a professor of New Testament and early Christianity at the University of Notre Dame, criticizes the book for its many historical inaccuracies in two articles written in September and October 2013 for The Daily Beast and CNN respectively.[4][16] Moss states that, although O'Reilly and Dugard do attempt to separate between fact and fiction, they do so inconsistently and accordingly to their previously held beliefs.[4][16] In her Daily Beast article, she states: "...without a method, Killing Jesus has all the critical rigor of your local church's Nativity play."[16] She notes that O'Reilly and Dugard accept late, unsubstantiated legends about the fates of the apostles after the period covered by the New Testament as historical fact.[16] They also uncritically accept the legend formalized in the fifth century by Pope Gregory I about Mary Magdalene having previously been a prostitute, which is not supported by the New Testament or any early Christian writings,[16] but ignore the statement actually recorded in the gospels that Mary Magdalene was one of the people funding Jesus's ministry.[16] They include statements from John the Baptist accusing tax collectors of overcharging people,[16] but omit all reference to Jesus's repeated injunctions to "support the poor, orphans, and widows"[16] as well as to the saying, "whoever has two coats must share with anyone who has none; and whoever has food must do likewise" (Luke 3:11).[16]

The Tribute Money (1612–1614) by Peter Paul Rubens. One of many recurring criticisms of the book is its portrayal of the Pharisees as what Moss calls "self-righteous bloviators", a view which is no longer supported by mainstream scholars.[4][17]

In her CNN article, Moss cites the example of how they omit the line "Father, forgive them, for they know not what they do", which Luke 23:34 attributes to Jesus as he was being crucified, because, as O'Reilly later said in a CBS interview, it is impossible to speak audibly while a person is being crucified.[4] She then points out that they chose not to omit the line "It is finished", also attributed to Jesus while he was on the cross, in John 19:30.[4] Moss suggests that perhaps "there [is just] something about the word 'forgiveness' that sticks in [their throats]".[4] She also criticizes them for taking everything written by Roman historians like Suetonius and Josephus completely at face value, as though these writers were totally unbiased.[4] She also particularly criticizes O'Reilly and Dugard's portrayal of the Pharisees as "self-righteous bloviators",[4] stating that modern biblical scholars no longer view them this way,[4] and that this portrayal is, ironically, based more on the stereotype of Roman Catholics promoted by Protestants during the Reformation and early modern period than on actual ancient texts.[4]

Moss states that Killing Jesus's description of the apostle Paul converting to "Christianity" is anachronistic[4] because, at the time, Christianity was still a Jewish sect and the word Christian was not even coined until near the end of the first century.[4] Instead, she says "the first generation of Jesus' followers lived and died as Jews."[4] Moss also notes O'Reilly and Dugard's unusual interpretations of various passages,[4] such as Luke 3:17, which O'Reilly and Dugard apparently interpret to mean that John the Baptist told the Pharisees that they will either "burn or be condemned to Hell."[4] She concludes: "Apart from the methodological problems, the entire book is written in the style of a novel, not a history book. We hear the thoughts of Herod as he orders the execution of the male children of Bethlehem, for instance. It's entertaining, but it's historical fan fiction, not history."[4]

In an article from November 2013, Joel L. Watts, author of Mimetic Criticism and the Gospel of Mark, calls Killing Jesus nothing more than "an attempt at agenda-driven drivel produced for the lowest common denominator."[17] He adds, "I wish I had my day back."[17] In addition to raising many of the same accuracy concerns as Moss, Watts also criticizes the book for imputing post-Enlightenment ideas of individualism to ancient Galileean Jews[17] and for referring to the Sadducees (who believed that the Torah was the only authoritative scripture and opposed the more progressive theology promoted by the Pharisees) as "liberals".[17] He also criticizes a statement that the canon of the Hebrew Bible had been established "500 years" before Jesus, when, in reality, many of the books in the Hebrew Bible were not written until after that point[17] and the canon of the Hebrew Bible was still debated long after Jesus's death.[17] Watts accuses the authors of being arrogant and dismissive of the opinions of actual experts.[17] He determines that "they destroy context and literary construction to, and I can only assume this based on the evidence of reading the book, hide the actual message of the Gospels."[17]

Numerous scholars have criticized Killing Jesus for its anachronistic portrayal of Jesus as an advocate of "smaller government and lower taxes" similar to the supporters of the United States Tea Party movement (protest pictured), rather than the first-century Galilean Jew he really was.[3][7][8][16][17]

A December 2013 review in The Guardian by Selina O'Grady, author of And Man Created God: Kings, Cults, and Conquests at the Time of Jesus, remarks that,

Everyone creates God in their own image, so it's not surprising that Fox television's aggressively conservative down-home-let's-hear-it-for-the-ordinary-guy talk show host should have created a Tea Party son of God. Jesus, the little guy, is an enemy of the big corrupt tax-oppressing Roman empire, which is itself just a version of Washington, only even more venal and sexually depraved. This Jesus is a tax-liberating rebel who incurs the wrath of the Jewish and Roman powers by threatening their joint fleecing of the people. As a member of the populist right, he is not, of course, in favour of redistribution: Bill O'Reilly's Jesus does not tell the rich to give away their money to the poor.[3]

The same review criticizes Killing Jesus for its "bodice-ripping treatment of history",[3] stating that the book oversimplifies, sensationalizes, and misrepresents the historical events it purports to describe.[3] According to O'Grady, Killing Jesus presents the Romans, Jewish elites, and Pharisees as categorically "bad" and "ordinary Jews" as "good", without any background or nuance.[3] O'Grady also criticizes O'Reilly and Dugard for relying almost entirely on the gospels[3] and ignoring the centuries' worth of books written by biblical scholars about the historical Jesus.[3]

Bart D. Ehrman, James A. Gray Distinguished Professor of religious studies at the University of North Carolina at Chapel Hill, particularly criticized the introduction's claim that the novel was historical and that "The Romans kept incredible records of the time, and a few Jewish historians in Palestine also wrote down the events of the day," with the implication that Killing Jesus was based on such neutral records. Ehrman writes that this claim is false; surviving non-Christian classical records of Jesus's time are essentially just a single paragraph from Josephus, the Testimonium Flavianum, and that the authors should have been honest about writing a novel solely based on the gospels.[18] In his 2016 book Jesus Before the Gospels, Ehrman wryly noted that O'Reilly is "obviously... not a New Testament scholar."[8] In both his lectures and the book, Ehrman implicitly criticizes O'Reilly's portrayal of the historical Jesus as an advocate of "smaller government and lower taxes."[7][8] In the book, he adds, "It is easy to see how this view of Jesus might resonate with a wide swath of our population today."[8]

Television adaptation

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Lebanese-American actor Haaz Sleiman portrayed Jesus in the Killing Jesus television film.[19][20][21]
Main article: Killing Jesus (2015 film)

National Geographic picked up the television adaptation of Killing Jesus, just as it had for Killing Lincoln and Killing Kennedy.[22] In March 2014, it was announced Killing Jesus was being adapted into a four-hour miniseries, and Walon Green has been tapped to write and executive produce the project.[23] Also returning as executive producers are Ridley Scott, David W. Zucker, and Mary Lisio, who previously produced Killing Kennedy. In August 2014, Christopher Menaul was attached to direct the miniseries.[24]

On its premiere airing, the film was watched by 3.7 million viewers, averaging a 1.0 rating among adults in the 25–54 demographic. The viewership surpassed the record previously held by Killing Kennedy.[20][25] A review on Yahoo TV by Ken Tucker said of the film,

Rendered without much embellishment and acted with firmly controlled vigor, Killing Jesus, a TV adaptation of the bestselling book by Bill O'Reilly and Martin Dugard, is a fine retelling of the story of Jesus Christ as a historical figure. That last phrase is key. O'Reilly and his co-author sought to write only what they considered provable historical facts about Christ. Whether this has been accomplished I'll leave to historians and theologians ...[21]

A glowing review by Hannah Goodwin for the Christian Broadcasting Network praised the film for its authentic-looking set and costumes and called it "a conversation starter".[26] The review suggested, "Presenting Jesus' life and death from a largely historical perspective could open this religious history to wider audiences."[26]

A review by Neil Genzlinger in The New York Times, however, panned the film,[19] declaring, "It's a costume pageant devoid both of the reverence that has made some previous film versions work and of the intrigue that might provide a secular Game of Thrones–like appeal. More effort went into the jewelry and headwear than into the storytelling."[19] The same review compared the miniseries unfavorably with the book, stating, "The book tried to put Jesus' story in the broader context of the politics and practices of the day, but here the account is largely pared down to the biblical rendition, with Jesus casting out a demon, preventing the stoning of a woman accused of adultery and delivering the touchstone teachings that all Christians know by heart."[19]

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Killing Jesus

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from Grokipedia
is a 2013 book co-authored by American media personality Bill O'Reilly and historian Martin Dugard, serving as the third entry in O'Reilly's "Killing" series of purportedly factual historical accounts focused on the deaths of prominent figures. The work examines the life and execution of of Nazareth through a lens prioritizing political intrigue among Roman governors, Jewish religious leaders, and local elites in first-century , deliberately omitting theological interpretations or miraculous events described in the Gospels to emphasize empirical historical forces. Published by on September 24, 2013, it rapidly ascended to the top of sales charts, including number one on the iBooks bestseller list, and bolstered the series' cumulative sales exceeding 17 million copies across volumes. Despite its popularity, the book has elicited substantial critique from biblical scholars and historians for incorporating unsubstantiated speculations, selective omissions of evidence, and deviations from established primary sources, undermining its claims to rigorous . The narrative's causal emphasis on human agency—such as the ambitions of figures like and —aligns with the series' style of dramatized reconstruction, which prioritizes accessibility over academic sourcing, prompting debates on the balance between popular engagement and factual precision in historical writing.

Authorship and Development

Writing and Research Process

The collaboration between Bill O'Reilly and Martin Dugard on Killing Jesus: A History followed the established pattern of their Killing series, where Dugard, an experienced researcher and author of historical adventure books, conducted in-depth investigations into primary and secondary sources, compiling detailed timelines and factual underpinnings, while O'Reilly shaped the overall narrative structure, infused it with a journalistic tone, and performed final edits to ensure accessibility and pace. This division allowed the book to blend rigorous historical detail with a thriller-like prose style, drawing parallels to their prior works on the assassinations of Abraham Lincoln and John F. Kennedy, which employed similar investigative methods adapted to ancient events. O'Reilly initiated the project after claiming personal inspiration from the , who he said directed him to examine the non-religious historical forces—particularly Roman politics and Jewish leadership dynamics—leading to of Nazareth's execution around 30–33 CE. The research phase emphasized extrabiblical evidence to contextualize biblical accounts, incorporating writings from Roman historians like and on imperial practices, Jewish historian Flavius Josephus's descriptions of Herod and Pilate, and archaeological insights into first-century , such as methods and temple operations. The authors cross-referenced these with texts, aiming for a secular historical reconstruction rather than theological , though they acknowledged gaps in ancient records that required interpretive synthesis. The process culminated in a manuscript vetted for factual claims through Dugard's source compilation, resulting in a bibliography of approximately 60 works, including peer-reviewed histories and classical translations, to support assertions about events like the census under Quirinius and the Sanhedrin's deliberations. Critics of the methodology, including academic historians, have argued that the approach prioritized narrative flow over scholarly consensus, occasionally filling evidentiary voids with assumptions, but the authors maintained it mirrored by privileging verifiable data over speculation. No on-site fieldwork in the was publicly detailed for this volume, unlike Dugard's travels for modern-era Killing books, relying instead on library and digital archival review completed over roughly 18 months prior to the September 24, 2013, publication.

Key Contributors and Influences

Bill O'Reilly, the primary author and a former host of on , collaborated with Martin Dugard, a and veteran co-author in O'Reilly's "Killing" series, to produce Killing Jesus. O'Reilly conceived the project and provided the narrative voice, drawing on his background as a history enthusiast and broadcaster, while Dugard handled extensive research and initial drafting, leveraging his expertise in historical from prior works like Into and contributions to the series' earlier volumes. No additional researchers or contributors are credited in the book's acknowledgments beyond standard editorial support from publisher . O'Reilly attributed the book's inception to personal inspiration, stating in a 2013 that ideas arrived "in the middle of the night" and, as a Catholic, he believed they stemmed from the , motivating a historical examination of ' life and death separate from theological interpretation. This personal element informed the decision to frame the narrative as secular history, though critics have argued it subtly shapes the portrayal. The collaborative process mirrored that of preceding books, with Dugard synthesizing primary accounts to support O'Reilly's accessible, dramatized style aimed at general audiences. Influences on the content included the evidentiary approach of the Gospels—Matthew, Mark, Luke, and John—as core sources for ' biography, supplemented by Roman historical records detailing figures like , , and Emperor to contextualize the era's politics and violence. The book's methodology echoed the formula refined in Killing Lincoln (2011) and Killing Kennedy (2012), emphasizing vivid reconstruction of events from verifiable facts while eschewing endnotes in favor of a bibliography of classical texts, such as those by and , and modern histories of the and Jewish-Roman relations. This blend prioritized narrative momentum over academic citation, influenced by the commercial success of the series' prior entries, which sold millions by rendering complex in thriller-like prose.

Content and Historical Narrative

Synopsis of the Book

provides a historical narrative of of Nazareth's life and , framed by the political instability of Roman-occupied and imperial 's power dynamics. Authors Bill O'Reilly and Martin Dugard draw on ancient accounts to depict events leading to Jesus' death as driven by clashing ambitions among rulers, priests, and revolutionaries, rather than divine inevitability alone. The book commences in 5 BCE amid King Herod the Great's paranoid massacre of Bethlehem's infants, triggered by prophecies of a rival king, setting a tone of violent suppression against perceived threats to Jewish and Roman authority. It interweaves this with 's foundational shifts, including Julius Caesar's 44 BCE , Augustus's consolidation of power, and Tiberius's 14 CE ascension, which installed prefects like in 26 CE to enforce order in volatile . Parallel developments cover Herod's successors—Archelaus's exile, Antipas's —and high priests and Caiaphas's Temple control, highlighting systemic tensions between Jewish elites accommodating and Zealot insurgents seeking revolt. Jesus emerges around 28 CE via baptism by , whose ascetic preaching and execution by Antipas in 29 CE underscore messianic fervor's risks. The narrative details Jesus gathering disciples like Peter and , delivering sermons such as the , performing acts reported as healings and feedings that amplify his following, and clashing with over laws and Temple commerce. These provoke fears of Roman reprisal, as Jesus' claims to kingship challenge both religious hierarchy and imperial stability. The climax unfolds during circa 33 CE: ' entry into incites crowds hailing him as , leading to the Temple cleansing, institution, arrest after Judas's betrayal, nocturnal trial under , Pilate's dawn interrogation amid amnesty pressures, and handover to despite Pilate's reluctance, framed as expediency to avert unrest. The account emphasizes historical contingencies—like Pilate's career ambitions and Caiaphas's four-year priestly term tied to Roman favor—over theological motifs, concluding with ' death's immediate aftermath and its world-altering ripples.

Portrayal of Key Historical Figures and Events

The book depicts of as a historical from , born circa 6–4 BCE to a carpenter father, who amasses followers through parables and miracles emphasizing moral reform, , and opposition to among elites, ultimately positioning him as a perceived threat to Roman stability and Jewish Temple authority. His entry into Jerusalem on a , amid crowds hailing him as king, escalates tensions by evoking messianic prophecies, while his disruption of Temple commerce—overturning moneychangers' tables—directly challenges the economic and religious power of the Sadducean priesthood. Pontius Pilate emerges as the Roman prefect of from 26 to 36 CE, portrayed as a career soldier and administrator ruthless in quelling dissent, having previously massacred Galileans and used Temple funds for an aqueduct, which fuels Jewish animosity toward him. During ' trial, the narrative presents Pilate as politically astute yet cornered: he interrogates privately, finding no evidence of treason against Caesar, but yields to pressure from Caiaphas and the crowd to authorize , prioritizing order over justice to avert unrest. Caiaphas, from 18 to 36 CE and a Sadducee collaborator with , is shown as a calculating guardian of Temple revenues and Roman favor, viewing Jesus' popularity and claims to divinity as blasphemous agitation that risks provoking imperial crackdown on Jewish autonomy. The book highlights his orchestration of the trial, where Jesus affirms his messianic identity, leading Caiaphas to declare and demand execution, then maneuvering to shift responsibility to Pilate by framing it as . Herod Antipas, tetrarch of and from 4 BCE to 39 CE, appears as a client ruler entangled in family scandals and the Baptist's execution, who during the trial mocks as a purported miracle-worker after finding no threat, deferring back to Pilate in a jurisdictional shuffle that underscores Roman-Jewish power dynamics. is depicted as a disillusioned disciple motivated by greed or frustration with ' pacifism, accepting 30 pieces of silver to betray his location in , later tormented by remorse and suicide. Key events unfold as a confluence of religious fervor and political calculus: the serves as Jesus' final meal with disciples, where he predicts betrayal and institutes symbolic rites of bread and wine as his body and blood, heightening emotional stakes amid encroaching arrest. The subsequent apprehension, condemnation for , nocturnal transfer to Pilate, interrogation by Herod, scourging, and march culminate in circa 30–33 CE at Golgotha, a Roman penalty reserved for rebels, with the narrative emphasizing physical brutality—flogging, , nail piercing—while attributing the execution to elite fears of messianic revolt disrupting .

Claims of Historical Accuracy

Sources and Methodology

The authors of Killing Jesus relied on a combination of ancient primary sources and select secondary historical works to frame the political and social context of first-century Judea. Primary sources prominently featured include Flavius Josephus's Antiquities of the Jews (c. 93–94 CE), which provides detailed accounts of Herod the Great's reign, the massacre of infants in Bethlehem, and tensions between Jewish leaders and Roman authorities; Tacitus's Annals (c. 116 CE), referencing the execution of "Christus" under Pontius Pilate during Tiberius's rule; and Suetonius's Lives of the Twelve Caesars (c. 121 CE), offering insights into Emperor Tiberius's character and Roman administrative practices. Philo of Alexandria's writings, such as On the Embassy to Gaius, were also utilized for perspectives on Pilate's governance and Jewish-Roman interactions. These non-Christian sources were prioritized to substantiate verifiable historical events surrounding figures like Herod Antipas, Caiaphas, and Pilate, rather than theological interpretations. The book's bibliography lists around ten secondary sources, with four specifically addressing Jesus's execution and trial, including modern analyses like Ann Wroe's Pontius Pilate and Joan E. Taylor's Pontius Pilate. The New Testament Gospels are referenced as historical documents for Jesus's ministry and trial but are presented selectively to align with extrabiblical corroboration, with supernatural elements omitted to maintain a secular narrative focus on political intrigue and power dynamics. This approach draws from the methodology employed in prior volumes of the "Killing" series, where co-author Martin Dugard conducted archival research and site visits to locations like Jerusalem and Rome, while Bill O'Reilly synthesized the material into a chronological, novelistic prose emphasizing causal chains of events—such as Roman imperial ambitions clashing with Jewish messianic expectations—without endorsing doctrinal claims. Critiques of the methodology highlight its limited engagement with peer-reviewed scholarship, favoring accessible popular histories over exhaustive academic debates, and note potential interpretive liberties in harmonizing sparse primary evidence with timelines—for instance, aligning Herod's death in 4 BCE with nativity accounts despite chronological variances in sources. While the authors assert fidelity to "facts" corroborated across multiple attestations, scholarly evaluators argue this overlooks evidentiary gaps, such as the absence of contemporary Roman records for Jesus's , and risks conflating narrative convenience with historical rigor; nevertheless, the reliance on attested ancient texts like and aligns with standard practices for reconstructing Herodian and early imperial history.

Debates on Factual Reliability

Scholars and historians have debated the factual reliability of Killing Jesus, with critics arguing that the book prioritizes narrative flair over rigorous , leading to verifiable errors and uncritical acceptance of sources. While and Dugard assert the work draws from ancient texts like the Gospels, , and to present a "true" account, reviewers from both conservative Christian and secular perspectives highlight deviations from established historical consensus. For instance, the book erroneously states that the northern kingdom of fell to the in 722 BC, when it was conquered by the Assyrians as recorded in 2 Kings 17:5–6. Similar timeline inaccuracies appear, such as claiming the canonical Jewish Scriptures were compiled "five hundred years before Christ," overlooking later compositions like around 430 BC. Methodological critiques focus on the book's heavy reliance on the New Testament Gospels as primary historical documents without engaging two centuries of scholarly analysis questioning their verbatim accuracy or composition dates. The authors footnote a claim of "growing acceptance" of the Gospels' but sidestep debates over their , potential legendary accretions, and independent corroboration for non- events. This approach, per biblical scholar critiques, transforms the text into speculative reconstruction rather than verifiable , exemplified by unfootnoted details like the of Judas of Gamala or internal thoughts of figures such as Pilate. Conservative reviewers further note omissions, such as attributing tomb visitors solely to and one other Mary, contradicting :10's mention of at least five women, and misidentifying as a prostitute without direct scriptural warrant. Defenders, including some popular reviewers, contend the book effectively synthesizes accessible history for non-experts, emphasizing corroborated elements like Jesus' execution under around AD 30–33, aligning with and . However, even sympathetic analyses acknowledge its novelistic present-tense style and selective sourcing—favoring apologetic scholars like Craig Evans over critical ones—undermine claims of objectivity, rendering it more inspirational than evidentiary. These debates underscore broader tensions in popular , where empirical verification yields to dramatic retelling, potentially misleading readers on the causal chains of first-century Judean politics and Roman administration.

Publication and Commercial Impact

Release Details and Marketing

, co-authored by Bill O'Reilly and Martin Dugard, was released on September 24, 2013, by , an imprint of . The hardcover edition featured 304 pages and was priced at $28.00, positioning it as the third volume in O'Reilly's bestselling "Killing" series following and . An unabridged audiobook version, narrated by Robert Petkoff, was simultaneously released by Macmillan Audio. Marketing efforts capitalized on O'Reilly's prominence as host of on , with promotions including on-air discussions and segments dedicated to the book's historical narrative of Jesus' life and death. O'Reilly appeared on CBS's on September 27, 2013, to discuss the book's content and research methodology, emphasizing its secular historical approach over theological interpretation. Additional promotional activities encompassed events, such as one held on November 7, 2013, allowing direct audience engagement with the author. The campaign highlighted the book's basis in primary historical sources and its alignment with the series' formula of narrative-driven accounts of pivotal assassinations, aiming to attract readers interested in non-religious examinations of biblical events.

Sales Figures and Market Performance

Killing Jesus: A History, released on September 24, 2013, by , quickly became a commercial powerhouse, debuting at number one on bestseller list for and holding the top spot for its debut week. It maintained strong performance, logging 15 weeks on the New York Times list by January 2014. The book also reached number one on USA TODAY's Best-Selling Books list, underscoring its broad market appeal amid O'Reilly's established television audience. In terms of unit sales, Killing Jesus emerged as the best-selling title of , with approximately 1.5 million copies sold that year according to industry tracking. This figure reflected robust initial demand, driven by pre-release buzz—including Amazon rankings placing it at number one in religious history categories—and O'Reilly's promotional efforts on . The success bolstered the "Killing" series' momentum, contributing to cumulative series sales exceeding 19 million copies worldwide by , though exact lifetime figures for Killing Jesus alone remain less precisely documented beyond the peak. Market performance extended into subsequent formats, with the paperback edition ranking number four on the New York Times paperback nonfiction list as late as April 2017, indicating sustained consumer interest even amid O'Reilly's personal controversies. Overall, the book's sales trajectory highlighted the series' formulaic appeal—blending historical narrative with accessible prose—to a mainstream, non-academic readership, generating significant for its publisher while reinforcing O'Reilly's as a prolific nonfiction author.

Reception and Critiques

The book Killing Jesus: A History by Bill O'Reilly and Martin Dugard garnered significant enthusiasm from general readers, evidenced by its strong performance in consumer review platforms and bestseller rankings. On , it holds an average rating of 4.0 out of 5 stars from nearly 40,000 user reviews, with many praising its engaging, narrative-driven approach to contextualizing ' life amid Roman imperial politics and Jewish temple dynamics, describing it as providing "sensory texture" to biblical events without overt religious advocacy. Readers often highlighted the book's accessibility, likening it to a fast-paced historical thriller that made feel immediate and relevant, appealing to those unfamiliar with scholarly texts. Public feedback on platforms like Amazon and echoed this sentiment, with reviewers calling it "fascinating" for detailing the political machinations of figures like and that led to ' execution, and appreciating its focus on verifiable historical events over theological interpretation. One common thread in user comments was its value as an entry point for non-experts, with readers noting how it wove together archaeological and textual evidence to explain the era's tensions, though some acknowledged its popularized style sacrificed depth for readability. High engagement levels, such as over 9,000 Amazon reviews, underscored broad , particularly among audiences drawn to O'Reilly's prior "Killing" series successes. While overwhelmingly positive in tone, popular critiques occasionally pointed to perceived simplifications or dramatic flourishes, yet these did not detract from its entertainment value for casual readers seeking a vivid retelling of ' final days. Forums like featured discussions where users recommended it as "not bad" pop history, suitable for those prioritizing story over academic rigor, reflecting a reception that prioritized its commercial appeal and narrative momentum over exhaustive analysis. Overall, the book's resonance with the popular audience stemmed from its ability to humanize historical figures and events, fostering widespread word-of-mouth endorsement among everyday consumers.

Scholarly and Theological Evaluations

Scholars have widely critiqued Killing Jesus for its lack of historical rigor, factual inaccuracies, and failure to engage critically with sources. The book contains errors such as attributing Israel's fall in 722 BC to the rather than the Assyrians, and misdating the compilation of canonical Scriptures to 500 years before Christ, overlooking evidence like Ezra's work around 430 BC. It relies predominantly on the Gospels and Roman accounts while dismissing two centuries of scholarly regarding their , presenting a style that blends speculation—such as precise timings for events like ' death on April 7, AD 30—with purported facts, without adequate footnotes or verification. Andreas Köstenberger, a scholar, describes it as non-scholarly, with "embarrassing gaffes" like incorrect dating of the (AD 30 versus possible AD 33) and ' age at death (36 versus a maximum of 35), arguing it omits elements and key teachings, reducing the account to selective history rather than comprehensive analysis. Theological evaluations from Christian perspectives highlight the book's secularizing tendencies and omissions of doctrinal depth. It treats miracles, such as the raising of Lazarus, as "legends" or unverified reports, avoiding affirmation despite Gospel attestations, and downplays ' messianic identity and deity during his lifetime, deferring such claims to post-resurrection contexts. Reviewers from evangelical outlets note the absence of central teachings, like ' exclusive claim in :6 or his words of forgiveness from the cross, attributing this to a focus on over spiritual mission, which results in a tone that prioritizes Roman cruelty and taxation dynamics without theological nuance. Influences of Roman Catholic interpretation appear, such as equating Mary with the "woman" in , presented without critique or alternative views. While some praise its accessibility and Roman background for illuminating cultural context, critics argue it functions more as than , failing to grapple with soteriological implications of the .

Media Adaptations

2015 Television Film

The 2015 television film is a produced by Channels, adapting the 2013 book Killing Jesus: A History by Bill O'Reilly and Martin Dugard. Directed by Christopher Menaul, the film dramatizes the of , emphasizing political, social, and historical conflicts in the that culminated in his crucifixion. It premiered on the Channel on March 29, 2015, coinciding with , and aired in 171 countries. The production featured a budget of $12 million, marking it as National Geographic's most expensive original movie at the time. Haaz Sleiman portrayed , with supporting roles including Kelsey Grammer as King Herod, as , and as . Executive producers included and Bill O'Reilly, with the screenplay by Patrick Williams. The film runs 132 minutes and focuses on human elements of Jesus' ministry, largely omitting supernatural miracles to align with a secular historical perspective, similar to the source book. Casting Sleiman, a Lebanese-born Muslim , generated controversy among some viewers who questioned the suitability of a non-Christian in the role. The premiere drew 3.7 million viewers in the United States, setting a record for the highest-rated original film in Channel history, surpassing previous adaptations like Killing Kennedy. It outperformed competitors such as and MSNBC in key demographics during its time slot. Critical reception was mixed, with a 43% approval rating on based on seven reviews. described it as "unrelentingly drab," critiquing its pacing and dramatic execution. Variety praised its straightforward focus on political intrigue surrounding ' death but noted a lack of spiritual depth. observed that the secular emphasis outweighed spiritual aspects, aligning with the book's approach of prioritizing verifiable historical events over faith-based elements. Audience responses varied, with users rating it 4.7 out of 10, some appreciating the historical context while others found the portrayal chaotic or insufficiently faithful to biblical accounts.

Production and Reception of the Adaptation

The 2015 television film Killing Jesus was produced by for the Channel, with serving as an executive producer. Directed by Christopher Menaul and written by , the adaptation drew from the 2013 book by Bill O'Reilly and Martin Dugard, focusing on the historical and political context of ' life and death. Filming took place entirely in with a crew of 250, emphasizing an authentic ancient setting in the Moroccan desert. Haaz Sleiman portrayed Jesus, selected for his ethnic authenticity as a Lebanese to depict a "muscular " rather than a traditional ethereal figure. The cast included as King Herod, as , and as Pilate, among others, contributing to performances noted for their intensity in conveying political intrigue. The production aimed for historical realism, prioritizing secular and political narratives over explicit spiritual elements, aligning with the source book's approach. Upon its premiere on March 29, 2015, the film received mixed critical reception, with reviewers critiquing its emphasis on human politics at the expense of theological depth. Variety described it as competently made but lacking innovation in portraying Jesus' story, positioning it as a prelude to more biblically focused series. The Los Angeles Times noted that the secular perspective outweighed spiritual aspects, treating prophecies as secondary to earthly events. Audience response was similarly divided, reflected in an IMDb rating of 4.7 out of 10 from over 2,000 users and a 43% critics' score on based on seven reviews. Christian outlets expressed concerns over its moral framing and creative liberties diverging from scriptural accounts, rating it as offensive in some evaluations. Despite criticisms, the film's atmospheric authenticity from Moroccan locations and strong were praised for enhancing its dramatic tension.

References

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