Jonathan Roumie’s “Solo Mio”: Wholesome Entertainment or Modernist Diversion?
EWTN News reports that Jonathan Roumie, known for portraying Christ in the Protestant-produced series “The Chosen,” stars in a new “wholesome” romantic comedy titled “Solo Mio,” released February 6, 2026. The film follows Kevin James’ character navigating post-wedding abandonment in Rome while forming friendships with Roumie’s “wannabe therapist” Neil and another honeymooner. The portal emphasizes themes of male friendship and positions the project as morally unobjectionable despite being Roumie’s “first non-faith-based role” since playing Jesus.
Sacred Persona Profaned for Secular Entertainment
The article boasts that Roumie “trades in Jesus sandals for dress shoes” to portray Neil, whom he describes as sharing Christ’s “huge heart” in wanting to “help people heal.” This blasphemous parallel between the God-Man and a therapeutic character exemplifies the confusio inter ordinem naturalem et supernaturalem (confusion between natural and supernatural orders). Pius XI’s Quas Primas condemns such leveling: “He who gives the Kingdom of Heaven does not take away earthly things” (Encyclical Quas Primas, Ā§24). By equating Christ’s divine mission with secular psychology, the actor participates in reducing Christianity to humanitarianism.
Roumie said he believes portrayals of male friendships are important because āfor whatever reason, culture or society or the world in its current state has driven culture to, I donāt know, paint this negative picture of what it means to be masculine.ā
This naturalistic framing ignores the Church’s teaching that authentic fraternity flows from sacramental grace, not therapeutic camaraderie. As the Council of Trent declares, “Without the sanctification of the Holy Ghost, men can neither have true charity among themselves nor fulfill the duties of brotherly love” (Session VI, Chapter 7). The complete omission of the necessity of sanctifying grace for virtuous friendships reveals the film’s anthropocentric foundation.
Angel Studios: Trojan Horse of Ecumenical Subversion
EWTN lauds Angel Studiosā production while ignoring their track record of undermining Catholic doctrine through Protestant narratives in The Chosen. The 1917 Code of Canon Law explicitly forbids Catholics from participating in non-Catholic religious projects (Canon 1258). Roumie’s continued collaboration with this platform constitutes material cooperation with false ecumenism condemned by Pius XI in Mortalium Animos: “The union of Christians can only be promoted by promoting the return to the one true Church of Christ” (Ā§10).
The portal’s promotion of Kevin James’ Catholic faith while ignoring his participation in a theologically ambiguous project exemplifies the conciliar sect’s betrayal of extra Ecclesiam nulla salus. Pius IX’s Syllabus of Errors condemns such indifferentism: “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” (Proposition 17).
Naturalism Masquerading as Virtue
Roumie defends the film’s “wholesome” quality by claiming it aligns with his “mission and ministry” as an artist. This appeal to subjective intention over objective content reflects Modernist subjectivism condemned in St. Pius X’s Lamentabili Sane: “Truth changes with man, because it develops with him, in him, and through him” (Proposition 58). Authentic Catholic art must elevate souls toward supernatural ends, not merely avoid explicit immorality.
āIt was a lovely change of pace for me,ā Roumie told EWTN News. āIt was nice to play a character that is not shouldering the weight of the world.ā
This statement reveals a dangerous trivialization of sacred representation. When an actor assumes Christ’s visage for mass consumption, he assumes permanent responsibility for how that portrayal affects souls. Traditional moral theology forbids clerics from theatrical performances precisely to avoid scandal (1917 CIC Canon 140). While lay actors aren’t bound by this canon, Roumie’s cavalier attitude toward transitioning from Divine Redeemer to romantic comedy participant demonstrates profound spiritual myopia.
EWTN’s Complicity in Cultural Apostasy
The portal’s uncritical promotion exemplifies the neo-church’s embrace of worldly aesthetics over doctrinal substance. Nowhere does the article mention the eternal consequences of promoting religious indifferentism through “wholesome” entertainment. Pius XII’s Mediator Dei warns: “It is a total abandonment of the divinely revealed religion to wish to fashion it according to our own whim” (Ā§36). By celebrating Roumie’s career shift without theological critique, EWTN reinforces the conciliar sect’s de facto acceptance of Protestant-Catholic syncretism.
The complete absence of references to the necessity of sacramental life, the Four Last Things, or Christ’s Social Kingship in the film’s thematic analysis proves the project’s naturalistic foundations. As the First Vatican Council dogmatized: “Faith, which is the beginning of human salvation… is a supernatural virtue whereby we… believe that what He has revealed is true” (Session III, Chapter 3). A “wholesome” comedy devoid of these truths is spiritually inert at best, soul-endangering at worst.
Source:
Jonathan Roumie trades in Jesus sandals for dress shoes in new āwholesomeā rom-com (ewtnnews.com)
Date: 06.02.2026