The Catholic News Agency portal reports on the December 15, 2025 premiere of “Seeking Beauty,” a travel show hosted by David Henrie at the Vatican’s movie theater. The series, produced by EWTN Studios with Digital Continent and Novo Inspire, claims to help viewers “encounter God through beauty” while touring Italian sites like the Vatican Gardens and St. Peter’s Basilica. Executive Producer Edmundo Reyes describes it as an “evangelization tool,” with Henrie framing the content as “easy consumption” entertainment containing hidden spiritual “medicine.” The conciliar sect’s collaboration with media entities promoting aestheticized religion exposes their abandonment of depositum fidei (the deposit of faith) in favor of naturalistic spectacle.
Beauty Disconnected From Dogma Serves Antichurch Agenda
The program’s reduction of evangelization to visual tourism constitutes theological vandalism, substituting sacramental efficacy with emotional impressions. Pius XI’s encyclical Quas primas establishes that Christ’s kingship requires nations’ public submission to His authority, not mere aesthetic appreciation: “When once men recognize, both in private and in public life, that Christ is King, society will at last receive the great blessings of real liberty, well-ordered discipline, peace and harmony.” The show’s focus on architectural wonders while omitting the necessity of conversion from heresy and paganism echoes the condemned proposition: “Good hope at least is to be entertained of the eternal salvation of all those who are not at all in the true Church of Christ” (Pius IX, Syllabus of Errors, 17).
By featuring art historian Elizabeth Lev – who publicly defends the Vatican II rupture with Tradition – and painter Kelly Medford without critical examination, the production legitimizes modernists who equate Catholic beauty with subjective emotional experience. This violates the Church’s perennial teaching that art must serve truth, as St. Pius X decreed: “Art which departs from truth and morality is not art but artifice” (Vehementer Nos, 1906). The program’s cinematographic techniques likely manipulate viewers through emotional stimuli while avoiding doctrinal precision, embodying Modernist errors condemned in Lamentabili sane exitu: “Truth changes with man, because it develops with him, in him, and through him” (Proposition 58).
EWTN’s Conciliar Captivity Exposed
EWTN Studios President Peter Gagnon’s participation in the Vatican premiere underscores the network’s full assimilation into the Antichurch apparatus. Reyes’ description of the show as retraining viewers “to look at beauty differently” employs classic Modernist equivocation, implying doctrinal development rather than immutable Truth. This mirrors the condemned assertion that “Revelation was merely man’s self-awareness of his relationship to God” (Lamentabili, 20).
The production’s Spanish season – filmed in a nation devastated by conciliar compromises – symbolizes how neo-church media exploit Catholic cultural remnants while gutting their supernatural substance. Henrie’s admission that “you’re not sitting down for a history lesson” confesses the program’s deliberate avoidance of Catholicism’s dogmatic foundations, reducing the Faith to disposable entertainment. Such methodology implements Paul VI’s disastrous Ecclesiam Suam strategy of accommodation: “We will meet with the spokesmen of these separated Christian communities… not to measure how far apart we are, but to appreciate what we have in common.”
Silence on Apostasy Speaks Volumes
Nowhere does the program address the Vatican’s sacrilegious desecrations – from Pachamama worship in St. Peter’s to the Synod on Synodality’s heresies. This calculated omission exemplifies the conciliar sect’s systematic replacement of supernatural religion with cultural anthropology. Pius XII’s Mediator Dei condemns such aestheticized distortions: “The Church is without question a living organism… but it does not follow that the sacred liturgy should be considered as a kind of ‘workshop’ for constant experimentation.” The show’s exclusive focus on visual beauty while ignoring the Most Holy Sacrifice of the Mass – the true source of Catholic culture – reveals its fundamentally naturalistic orientation.
By premiering in the Vatican theater under antipope Leo XIV’s regime, the production implicitly endorses the conciliar sect’s illegitimate authority. True Catholics recall St. Paul’s warning: “What fellowship has light with darkness? What accord has Christ with Belial?” (2 Cor 6:14-15). The program’s alleged evangelization bears poisonous fruit by directing souls toward apostate structures rather than urging flight from the “abomination of desolation” (Mt 24:15) occupying St. Peter’s. As Our Lord taught: “By their fruits you shall know them” (Mt 7:16) – and collaborationist media productions yield only confusion and complicity.
Source:
‘Seeking Beauty’ travel show with David Henrie premieres at Vatican (catholicnewsagency.com)
Date: 16.12.2025