EWTN News reports on a study by HarrisX and the Faith and Media Initiative claiming 92% of American media consumers believe “faith has a role in modern entertainment,” with 77% asserting such content holds broad appeal (Jan. 28, 2026). The research surveyed 12,000+ adults across religions—including 2,072 self-identified “Catholics”—about 100+ TV/movie scenes depicting faith. Key findings allege 58% find faith-themed content “more appealing,” while 61% deem it “more relatable,” including 13-15% of atheists/agnostics. Researchers recommend filmmakers avoid stereotypes and integrate faith “naturally and subtly” through “authentic emotion” and “everyday situations.” The report positions itself as a roadmap for Hollywood to create “accurate” religious portrayals.
Statistical Syncretism: Equating True Religion With False
The study’s methodology embodies the conciliar sect’s foundational error: religious indifferentism. By aggregating responses from Protestants (2,266), Muslims (2,652), Jews (2,467), and “Catholics” (2,072) as equally valid data points, researchers commit the heresy condemned by Pius IX: “Man may, in the observance of any religion whatever, find the way of eternal salvation” (Syllabus of Errors #16). The very premise that Baptist sermons, Islamic prayers, and Talmudic rituals constitute equivalent “faith content” violates the unicitas Ecclesiae (uniqueness of the Church) defined at Lateran IV: “Outside the Church there is no salvation” (Denzinger 802).
This statistical approach mirrors the abomination of desolation in post-conciliar worship spaces—where crucifixes share walls with Buddhist statues—by numerically equating Christ’s Sacrifice with pagan superstitions. When the report boasts that 15% of atheists found faith scenes “appealing,” it celebrates what Leo XIII called “the fatal error of the present age“: treating religion as emotional theater rather than the soul’s lifeline (Immortale Dei).
Naturalism Masquerading as “Authenticity”
Researchers praise scenes rated “emotional,” “reflective,” and “thought-provoking” for depicting faith through “familiar everyday situations” like family conflicts or romantic dilemmas. This reduction of supernatural faith to bourgeois sentimentality constitutes pure naturalism—the heresy Pius XII condemned as “ignoring the Fall and Redemption” (Humani Generis). The report’s ideal “faith portrayal” mirrors Modernist Karl Rahner’s “anonymous Christianity,” where grace operates through vague human experiences rather than sacraments.
Nowhere does the study demand depictions of Catholicism’s sine qua non elements: priests offering the True Sacrifice, sinners kneeling in confession, or souls trembling before Judgment. Instead, it champions the very errors Pius X decried: “Religious sentiment is to be fostered… without regard to any intellectual creed” (Pascendi #6). By urging filmmakers to avoid “stereotypes” and “making light of faith,” the report implicitly censors Catholic militancy—the zeal that moved St. Dominic to preach against Albigensian errors or St. Pius V to excommunicate Elizabeth I.
Bergoglian Betrayal in Filmmaking Advice
The report’s insistence that faith be shown “organically part of the character’s life” without “feeling like a message” directly channels antipope Bergoglio’s (“Pope” Leo XIV) blasphemy: “Proselytism is solemn nonsense” (Nov. 15, 2025). This contradicts Pius XI’s mandate that “Christ must be shown as King” through unambiguous Catholic witness (Quas Primas). The study’s recommended “subtle integration” of faith constitutes the very humanistic reduction St. Pius X warned against when Modernists “distinguished religious from social phenomena—as if God were not the Author of both” (Lamentabili #58).
EWTN’s citation of Bergoglio urging filmmakers to portray “longing for the infinite” completes this diabolical inversion. Bergoglio’s phrase—lifted from Heideggerian existentialism—replaces the Church’s telos of salvation with vague spiritual yearning. Contrast this with Pius XII’s condemnation of films “glorifying sensual passion” (Miranda Prorsus) or the Legion of Decency’s pledge to “avoid theaters showing immoral or anti-Catholic films.” The conciliar sect now peddles “faith content” indistinguishable from Protestant televangelism or Talmudic dramas.
Omissions That Damn
The study’s silence on sacrilegious “Catholic” portrayals proves its Modernist agenda. No mention is made of blasphemies like “The Young Pope” (showing a fictive pope masturbating) or “Spotlight” (framing clerical abuse as systemic). Researchers ignore how 78% of “faith-identifying” viewers tolerate—even celebrate—such desecrations, fulfilling Pius XI’s warning: “When God is forgotten… the very basis of true civilization is destroyed” (Divini Illius Magistri).
Most damningly, the report omits Catholicism’s sine qua non requirement: media must inspire conversion to the one true Church. Instead, it promotes the indifferentism condemned by Gregory XVI: “Folly to think the Church should relax her vigor” (Mirari Vos #13). The “broad appeal” celebrated here is the stench of apostasy—the “smoke of Satan” Paul VI admitted had entered the Church.
Source:
Report says majority of TV, film viewers find content with faith themes more appealing (ewtnnews.com)
Date: 29.01.2026