The NC Register/EWTN News portal reports that Prime Video and 5&2 Studios announced on April 3, 2026, the release of Season 6 of *The Chosen* for November 15, 2026. The six-episode season will depict the 24 hours of Good Friday, culminating in the crucifixion, with the finale as a stand-alone theatrical release in spring 2027. Creator Dallas Jenkins stated the season aims to explain the “why” of the crucifixion, calling it a “theatrical event.” Actor Jonathan Roumie described the filming as leaving him “weepy” and “humbled,” while co-star Abe Bueno-Jallad noted the cast’s intense focus. Filming occurred in Matera, Italy, in June 2025, with Jenkins calling it “the most challenging and difficult” shoot. The production exists under a 2025 deal with Amazon MGM Studios, granting Prime Video exclusive U.S. streaming rights.
This portrayal of the crucifixion, while emotionally charged, represents a profound theological deformation. It reduces the supreme, propitiatory sacrifice of Calvary—the very heart of Catholic doctrine and the unbloody sacrifice of the Mass—to a human-centered drama focused on subjective emotional experience. This naturalistic reduction is not a harmless artistic choice but a symptom of the post-conciliar apostasy, which systematically omits the supernatural, hierarchical, and juridical dimensions of the Redemption as defined by the immutable Magisterium before 1958.
Naturalistic Reduction of the Sacred Mystery
The ARTICLE emphasizes the actors’ emotional responses—Roumie’s “weepy” Mass attendance and “indelible impression,” Bueno-Jallad’s “goosebumps”—as the primary fruit of the production. This focus on affective experience aligns with the Modernist heresy condemned by St. Pius X in *Lamentabili sane exitu*, which rejects objective, supernatural revelation in favor of a subjective, internal religious sense. Proposition 25 of that decree states: “Faith, as assent of the mind, is ultimately based on a sum of probabilities.” The *Chosen*’s methodology, by its own admission, seeks to make viewers feel the “why” through human drama, not to present the *mysterium fidei* as defined by the Church. The crucifixion is thus stripped of its nature as the *sacrificium propitiatorium* (propitiatory sacrifice) and becomes a psychological narrative about human suffering and love, echoing the “false striving for novelty” (Lamentabili, I) that abandons the heritage of the Fathers.
Omission of Christ’s Royal Authority and the Social Kingship
The ARTICLE is utterly silent on the *kingship* of Christ crucified, a central pillar of Catholic doctrine defined by Pope Pius XI in *Quas Primas*. That encyclical, instituting the feast of Christ the King, declares: “Christ the Lord is King of hearts because of His love… But, if we delve deeper… the name and authority of king in the proper sense belong to Christ the Man.” Pius XI further explains that Christ’s reign encompasses “all men… individuals and states,” and that “the state is happy not by one means, and man by another; for the state is nothing else than a harmonious association of men.” The *Chosen*’s portrayal, by focusing narrowly on the 24 hours of the Passion as a personal, emotional journey, completely omits the *public* and *social* dimension of Christ’s kingship. It fails to present the crucifixion as the moment where Christ, as King, redeems all human societies and demands the public recognition of His law. This omission is a direct capitulation to the secularist error condemned in the *Syllabus of Errors* (Error 55: “The Church ought to be separated from the State, and the State from the Church”) and to the naturalistic humanism that reduces religion to private sentiment.
The Crucifixion as Mere Historical Drama, Not Propitiatory Sacrifice
The ARTICLE mentions the “crucifixion scene” as a cinematic achievement but never connects it to the *Holy Sacrifice of the Mass*. This is a catastrophic omission. The Council of Trent (Session XXII, Canon 1) dogmatically defines: “If any one saith, that in the mass a true and proper sacrifice is not offered to God; or, that to be offered is nothing else but that Christ is given us to eat; let him be anathema.” The crucifixion on Calvary and the Mass are one and the same sacrifice, made present in an unbloody manner. By presenting the crucifixion as a past historical event to be “reenacted” for emotional impact, the *Chosen* implicitly denies the *real presence* of that sacrifice in the current liturgical action (which, in the post-conciliar “Mass,” is already gravely compromised). This aligns with the Modernist error in *Lamentabili*, Proposition 46: “In the early Church, there was no concept of a Christian sinner whom the Church absolves with its authority… even when penance was recognized as an institution of the Church, it was not called a sacrament.” The show’s framework treats the Passion as a story to be felt, not as the eternal, efficacious sacrifice that redeems the world and is continually offered to the Father.
Symptomatic of the Conciliar Apostasy: The “Why” Without the “What”
Dallas Jenkins’ stated goal—to explain the “why” of the crucifixion—is itself a product of the conciliar revolution. The “why” in Catholic doctrine is absolutely clear: to satisfy divine justice for sin, to redeem humanity, to establish the New Law, and to found the Church. This is defined in the *Syllabus*’s condemnation of Error 22: “The obligation by which Catholic teachers and authors are strictly bound is confined to those things only which are proposed to universal belief as dogmas of faith by the infallible judgment of the Church.” The *Chosen*’s “why,” however, is framed in vague, humanistic terms (“extraordinary events”) that can be interpreted through the lens of modern psychology or social justice, not through the immutable dogmas of the Trinity, the Incarnation, and the Atonement. This is the “synthesis of all heresies” (Pius X, *Pascendi Dominici gregis*)—replacing defined doctrine with a fluid, immanentist narrative. The show’s distribution on Prime Video, a secular corporate platform, further signifies the Church’s capitulation to the world, contrary to Pius XI’s demand in *Quas Primas* that “the state must leave the same freedom to the members of Orders and Congregations” and that rulers must “publicly honor Christ and obey Him.”
Conclusion: A Call to Reject Naturalistic Perversions
The *Chosen*’s Season 6, therefore, is not a tool of evangelization but a symptom of the great apostasy. It presents the crucifixion—the central act of divine worship and the foundation of the social reign of Christ—as a naturalistic spectacle designed to elicit feelings, not to teach dogma. It omits the Church’s necessary role as the sole interpreter of Scripture and the sole dispenser of the grace merited by that sacrifice. It ignores the juridical fact that Christ is King, whose law must govern all nations. In doing so, it participates in the “democratization of the Church” and “false ecumenism” explicitly rejected by the pre-1958 Magisterium. The faithful are called to reject such naturalistic distortions and to cling to the immutable faith, which teaches that the crucifixion is a *supernatural*, *propitiatory*, and *kingly* act, made present in the Most Holy Sacrifice of the Mass offered by priests in communion with the true, pre-conciliar Church. Any portrayal that reduces this mystery to human drama is an instrument of the “abomination of desolation” standing in the holy place.
Source:
‘The Chosen’ Season 6 Release Date Announced (ncregister.com)
Date: 03.04.2026