Vatican’s Hollywood Encounter: Sacrilegious Syncretism Masquerading as Hope
Vatican News portal (November 15, 2025) reports on a gathering where antipope Leo XIV hosted actors Cate Blanchett, Spike Lee, Leslie Mann, and filmmaker Kenneth Lonergan at the Apostolic Palace. The event promoted cinema as essential for helping humanity “rediscover hope” amid declining theater attendance. Participants praised the Vatican’s embrace of art while promoting refugee advocacy through Blanchett’s UNHCR-funded project. This spectacle epitomizes the conciliar sect’s abandonment of supernatural mission (salus animarum) for naturalistic humanism.
Sacrilegious Equivalence Between Sacred and Profane
The report describes blasphemous familiarity as “Mr.” Lee gifts the antipope a New York Knicks jersey bearing his illegitimate title: “Pope Leo and the number 14”. Such trivialization of ecclesiastical dignity – treating the Vicar of Christ as a sports celebrity – violates Pius X’s condemnation of Modernist “irreverence which drags down the Sublime to the level of the ridiculous” (Pascendi Dominici Gregis, §26). The act parallels the Golden Calf worship, substituting sacred tradition with pop-culture idolatry.
Indifferentism Codified as “Dialogue”
Kenneth Lonergan’s admission of being non-Christian is met with uncritical acceptance:
“even though he’s not Christian, Catholic, or religious, the Catholic Church has been one of the great promoters of art.”
This exemplifies the conciliar sect’s embrace of religious indifferentism – explicitly condemned by Gregory XVI in Mirari Vos (§13) and Pius IX’s Syllabus of Errors (§15-18). The Vatican News platform treats Lonergan’s pagan aestheticism as compatible with Catholicism, thereby denying Extra Ecclesiam Nulla Salus.
Cinema Replaces Sacraments as Source of “Hope”
Antipope Leo’s assertion that cinemas are “the beating hearts of our communities” inverts the Church’s perennial teaching. Pius XI’s Quas Primas declared Christ’s Kingship as “the source of salvation for individuals and for the whole state” (§18), not sentimental films. Blanchett’s claim that cinema allows people to shed “tears they cannot shed in daily life” substitutes Freudian catharsis for sacramental confession – a diabolical displacement of grace by emotion.
UNHCR’s Humanitarian Paganism
The report uncritically promotes Blanchett’s UNHCR-funded “Displacement Film Fund,” framing refugee advocacy through the lens of “basic human rights and dignity” detached from Catholic truth. This echoes Bergoglio’s heretical claim that “migrants are the hope of mankind” (Fratelli Tutti, §129), denying the Kingship of Christ as the sole remedy for societal disorder. Pius XII’s Exsul Familia (§6) mandated that migrant aid must always serve evangelization – a requirement utterly absent here.
Silence on the Primacy of Supernatural Order
Nowhere does the antipope mention the Social Reign of Christ the King or the duty of nations to submit to His laws. Instead, the article reduces the Church’s mission to addressing “violence, poverty, exile, loneliness, addiction and forgotten wars” – temporal wounds divorced from their root cause: mankind’s rebellion against God. This naturalism constitutes apostasy from Leo XIII’s teaching that “the world cannot be saved from the evils which afflict it except by a return to the life and doctrines of Jesus Christ” (Annum Sacrum, §2).
Conclusion: Masonic Theater Replaces Apostolic Mission
This grotesque spectacle – where antipapal usurpers host Hollywood elites to discuss refugee films while ignoring the Blood of the Redeemer – confirms St. Pius X’s warning about Modernist infiltration: “They are everywhere… in the very veins of the Church” (Pascendi Dominici Gregis, §3). By elevating cinema above catechism and human rights above divine law, the conciliar sect proves itself a paramasonic operation masquerading as Christ’s Church.
Source:
Hollywood to the Vatican: Cate Blanchett, Spike Lee meet Pope (vaticannews.va)
Date: 15.11.2025