‘The Chosen’ Season 6: Protestant Melodrama Masquerades as Passion at Antichurch Premiere
The NCR portal reports on the release of the Season 6 trailer for “The Chosen,” a Protestant-produced television drama distributed via Amazon Prime Video, which dramatizes the 24 hours of Good Friday culminating in the Crucifixion. The article highlights the emotional testimony of actor Jonathan Roumie, who describes being “weepy” and “humbled” by simulating the Passion, and notes a press conference held at the Vatican—the seat of the usurper antipope Leo XIV (Robert Prevost)—featuring creator Dallas Jenkins, an evangelical Protestant. The piece concludes with the announcement of a companion marketing album featuring contemporary Christian music artist Tyler Hubbard. This Protestant melodrama, aggressively marketed by the propaganda organs of the conciliar sect, substitutes sentimental acting for the theology of the Cross and the Holy Sacrifice of the Mass, constituting a diabolical simulation of the Sacred Mysteries.
Protestant Production Masquerading as Catholic Piety
The factual core of the report reveals a collaboration that epitomizes the ecumenism of the return condemned by Pope Pius XI in Mortalium Animos (1928): “The Church of Christ… cannot be the object of a pact or agreement between dissenting parties.” “The Chosen” is a production of Angel Studios (formerly VidAngel), created and directed by Dallas Jenkins, an evangelical Protestant. Its distribution via Amazon Prime and promotion by EWTN/NCR—the primary media arms of the conciliar sect—constitutes a textbook case of false ecumenism (falsus oecumenismus). The article notes Jenkins held a press conference “at the Vatican” (the occupied See of Peter, currently held by the usurper Robert Prevost, “pope” Leo XIV). This event signifies the complete capitulation of the conciliar structures to Protestant productions, treating a sectarian drama as a legitimate vehicle for the Sacred Mysteries. The article omits Jenkins’ Protestant theology entirely, presenting him merely as “creator, writer, and director,” thereby deceiving the faithful into consuming heterodox content under the guise of piety.
Sentimental Vocabulary Masking Theological Vacuity
The linguistic register of the article—and the testimony of Roumie—betrays a thoroughly modernist and sentimentalist anthropology. Roumie describes being “weepy,” “emotional,” “humbled,” and having an “indelible impression” from “mentally and emotionally sharing even just a percentage, a micron of a percentage, of the Lord’s passion.” This language is therapeutic, not theological. It reduces the Mysterium Fidei to a psychological experience, a “micron of a percentage” of feeling. The article speaks of a “nightly ritual of watching ‘The Chosen'” by the Hubbard family, elevating a Netflix-style binge-watching habit to a devotional act. The vocabulary—”ritual,” “connected,” “hits close to home,” “relatable”—belongs to the religion of homo psychologicus, not the Crux. As Pope Pius XII warned in Mediator Dei (1947), the liturgy is not a “spectacle” for emotional edification but the actio Christi. The article’s focus on “emotional” impact and “powerful words on the cross” reduces the Verbum Crucis to dramatic dialogue.
Simulation of the Passion vs. The Unbloody Sacrifice of Calvary
The theological bankruptcy is absolute. The article centers on the “portrayal of Jesus’ crucifixion,” “scourging at the pillar,” “arrest and trials,” and “walk to Calvary” filmed over “three weeks in Matera, Italy.” This is idolatrous simulation. The Passion of Christ is not a historical scene to be “filmed” and “reenacted” by an actor for entertainment consumption; it is the Sacrificium Calvariae made present incruente on the altar by the sacerdos alter Christus in the Actio Sacrificialis of the Mass. Pope Pius XII teaches in Mediator Dei: “The priest acts in the person of Christ… offering the Immaculate Victim.” An actor (Roumie) simulating the Victim is not alter Christus; he is a simulacrum Christi. The article quotes Roumie saying he was “playing it and reenacting it.” To “play” the Passion is sacrilege. The Council of Trent anathematizes those who say the Mass is a “bare commemoration” (Sess. XXII, Can. 3). A televised drama is precisely a “bare commemoration”—a theatrical representation—marketed as a substitute for the Sacrificium Laudis. The “press conference at the Vatican” sanctifying this production signifies the antichurch’s replacement of the Actio Sacramentalis with actio theatralis.
Symptom of the Antichurch: Entertainment Replaces Worship
This article manifests the symptoma of the conciliar apostasy: the substitution of cultus Dei with cultus hominis (worship of man/entertainment). The promotion of a Protestant product by EWTN/NCR, the “Vatican” press conference, the tie-in marketing album with “country star Tyler Hubbard” and “Capitol Christian Music Group”—this is the mercatura (merchandise) of the Gospel condemned by the Fathers. The “nightly ritual” of family viewing replaces the Rosarium and the Officium Divinum. The emotional manipulation (“weepy,” “humbled,” “indelible impression”) replaces compunctio cordis (compunction of heart) born of grace and the Sacramentum Poenitentiae. The article notes the season finale will be a “stand-alone theatrical release”—the Holy Week liturgy reduced to a cinema event. This is the abominatio desolationis standing in the holy place: the Sacred Triduum packaged as “content” for Prime Video subscribers. The conciliar sect, having abandoned the Missale Romanum of St. Pius V for the Novus Ordo fabrication, now abandons even its own fabricated liturgy for Protestant streaming content. Lex orandi, lex credendi, lex vivendi—the law of praying is the law of believing; the law of watching “The Chosen” is the law of believing in a sentimental, ecumenical, Protestantized Jesus, not the Rex Gloriae of the Tridentinum.
Source:
‘The Chosen’ Unveils Emotional Season 6 Trailer Depicting Christ’s Passion (ncregister.com)
Date: 27.07.2026