Abstract

The chromatic reconfiguration of angelic iconography provides a critical lens for examining how sacred imagery negotiates continuity and rupture within cultural memory. Nowhere is this clearer than in D. J. Caruso’s Netflix drama Mary, where the Archangel Gabriel appears not in the traditional white garment but in blue. While blue is often associated with depth, peace, and the celestial realm, its application to Gabriel destabilizes conventional religious symbolism. Through Charles Sanders Peirce’s semiotic lens, the analysis traces how the chromatic shift operates across iconic resemblance, indexical reference, and symbolic convention. Traditionally, white signifies purity, holiness, and divine messengers, reinforcing a spiritual connection between angels and God. The use of blue, however, introduces a modernized interpretation that reshapes audience perceptions, detaching angelic representation from its transcendental significance. By situating this reinterpretation within the discourse of religious iconography, the study contends that such deviations, while innovative, also risk reconfiguring the theological foundations of angelic symbolism. This study interrogates the evolving nature of sacred imagery in contemporary media, questioning whether reimaginings like Caruso’s reinforce divine associations or contribute to the secularization of religious figures in visual culture.