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EULA MAE TARKINGTON  

Who’s Eula Mae Tarkington? She’s a warm, wise, and gently humorous Southern grandmother who feels like someone you’ve known all your life (even if she’s fictional). She’s the kind of woman who speaks from her rocking chair on a creaky front porch, barefoot or in house shoes, snapping beans or shelling peas while she talks. Her voice is slow and deliberate, laced with a thick Alabama drawl, old-fashioned sayings, and a quiet but unshakable faith. She never preaches at you; instead, she tells stories about neighbors, childhood memories, garden mishaps, or something that happened at the Piggly Wiggly, and somehow every tale circles back to the way God keeps pursuing His children with the same patient love she shows a stubborn tomato plant or a prodigal grandson. She’s practical, tender-hearted, and a little sassy when the occasion calls for it. There’s mischief in her eyes and laugh lines etched deep from decades of joy and sorrow. She calls everybody “sugar” or “hon,” remembers your people even if she’s never met you, and believes the best cure for most troubles is a glass of sweet tea, a slice of pound cake, and remembering whose you are. In short, Eula Mae is the spiritual, storytelling heart of a small Southern town (the grandmother you wish you’d had, or the one you’re grateful you do), wrapped in a floral housecoat and armed with a Mason jar and a Bible that’s falling apart from use.

Eula Mae Tarkington – Is Tellin’ It

In our Eula Mae series, each ten video shorts (which run less than 3 minutes each) are compiled to create a 20 – 30 minute thematic block as would be seen in a 30-minute television series episode.  The video shorts are listed below and available for individual viewing as they are released on YouTube, ‘X’ (formerly Twitter), Rumble and other outlets.  Once the 10-video shorts are released, we will compile and release the next thematic block. It is with that said, we are joyful in sharing with you:
Eula Mae Tarkington – Is Tellin’ It

    

 

WHAT DID GROK SAY:

Is Tellin’ It!

Literary Arc: Episodes 1–10
 
This opening block functions as a classic origin story and manifesto—introducing Eula Mae’s voice, her divine calling, and the practical mechanics of the series itself. Barbour structures it as a gentle onboarding: we meet Eula on her 75th birthday, follow her obedience step-by-step (writing → hardware store “coincidence” → meeting Ronnie → launching on social media), and watch her wrestle with early doubts and low engagement. The pace is leisurely, mirroring Eula’s “nice, leisurely stroll under the parasol of his love.”
  • Episodes 1–2: Divine commissioning and voice-setting. Eula hears the Lord’s call to write about “you an’ me” over 75 years. She establishes the rules: authentic Southern articulation, short-and-sweet (with a little sour), no arguing with the Trinity.
  • Episodes 3–4: Providence in motion. A dripping faucet leads to a “jes’ so happened” encounter with Charley Taylor, then Ronnie—the tech-savvy young man with a past who becomes her collaborator. Themes of grace, timing, and redemption surface early.
  • Episodes 5–7: Memory, doubt, and early feedback. Ezekiel’s dry bones become a metaphor for resurrecting forgotten life stories. Alzheimer’s anecdote shows gospel power in weakness. Initial posts yield low views and a dropped call with Becca—Eula’s Peter-like doubt (“Did the Lord really call me?”) and frustration at 12-second attention spans.
  • Episodes 8–10: Discernment and resolve. The Lord teaches “clear cut” spiritual demographics and gracious online engagement. Eula critiques ugly Christian infighting, calls for humility before the cross, and refuses to “prostitute” the gospel for clicks. The block closes with plans for a compiled longer video and a tease: “I think I might jes’ go fishin’.”
Literarily, the episodes are tightly self-referential—Eula narrates the very process of creating the series we’re watching. Humor is warm and self-deprecating (Facebook boot, AI accusation, paint-dryin’ barns). Recurring motifs—dripping faucets, dry bones, gnawin’ worries, clear-cut division—plant seeds that will bloom later. The block ends not with triumph but quiet faithfulness, priming us for whatever comes next.Theological Arc: Episodes 1–10These episodes lay the foundational theology of the entire series: intimate, sovereign, non-manipulative relationship with a personal Savior who speaks in everyday moments.Key threads:
  • Divine Initiative & Personal Relationship (1–3): Jesus wakes Eula on her birthday, calls her by name, and commissions simple obedience. He speaks familiarly (“All righty then”), walks leisurely, and uses her unique voice—no generic “Christianese” required.
  • Providence Over Coincidence (3–4): Nothing “jes’ so happens.” God orchestrates dripping faucets, hardware-store encounters, and troubled young men like Ronnie for kingdom purposes. Grace meets stupidity at the right time.
  • Resurrection Power in Weakness & Memory (5): Ezekiel’s valley of dry bones illustrates how the Spirit breathes life into forgotten years and fading minds (Shirley’s hymn-sing miracle).
  • Faithfulness vs. Results (6–7, 10): Early low engagement tests Eula. She refuses to measure success by virality or manipulate attention—results belong to God. Good news (Jesus) before bad news (judgment).
  • Clear-Cut Spiritual Reality (8–9): The world divides simply: those who walk with Jesus and those who don’t. Online engagement must reflect humility before the cross, not denominational superiority or ugly disputing.
  • Authenticity Over Performance (7, 9–10): No prostituting morals for clicks. True peace comes from Jesus’ presence, not entertainment value. Gnawin’ worries don’t consume the believer.
The arc moves from calling → obedience → testing → refinement → resolved trust. Eula models a faith that rejects platform metrics and cultural pressure, insisting the gospel spreads through ordinary faithfulness, not cleverness or spectacle.Overall MovementEpisodes 1–10 are the spiritual and narrative genesis—Eula Mae is called, equipped, launched, and quickly humbled. Yet she emerges with clarity: her task is simply to “tell it” as the Lord gives it, without bait or prostitution of the message. The final tease—“I think I might jes’ go fishin’”—beautifully foreshadows the later noodling/no-bait metaphors.This block establishes the series’ warm, uncompromising tone: deeply evangelical, gently humorous, ruthlessly authentic. We’re not here for viral fame or doctrinal combat, but for a leisurely stroll with Jesus down a rural Alabama back road.Masterful foundation, Mr. Barbour. The table is set, the voice is unmistakable, and we’re already walkin’ alongside Miss Eula—parasol and all.