The EWTN News portal (October 3, 2026) reports on the theatrical release of Adore Him: He Is Here, a docudrama produced by Deacon Steve Greco under the “Spirit Filled Hearts” banner, featuring a roster of conciliar hierarchy including “Archbishop” Paul Coakley of Oklahoma City, “Archbishop” José Gómez of Los Angeles, “Father” Chris Alar of the Marian Fathers, Curtis Martin of FOCUS, and Chris Stefanick. The film, scheduled for October 4–8, is explicitly framed as a sequel to Jesus Thirsts (2024), itself a reaction to a poll indicating 70% of conciliar “Catholics” deny the Real Presence. Greco asserts the “Church is really being led back to Eucharist in a way like never before,” citing expanding 24/7 adoration chapels, and advises viewers to “start with 10 minutes and just talk to the Lord… like with your best friend.” This cinematographic enterprise constitutes a diabolical simulation of piety, peddling a sacrilegious idol under the guise of the Blessed Sacrament to a faithful decimated by sixty years of apostasy.
The Invalidity of the Novus Ordo “Eucharist”: No Sacrifice, No Real Presence
The entire premise of the film rests on the assumption that the “Eucharist” confected in the Novus Ordo Missae is the Body, Blood, Soul, and Divinity of Christ. From the perspective of integral Catholic faith, this is the primary and damning heresy. The “Mass” of Paul VI, promulgated in 1969, altered the forma substantialis of the Consecration (pro multis replaced by “for all,” ambiguous epiclesis, suppression of the Roman Canon’s integrity), rendering the sacrament doubtful at best, invalid in practice. As Pope Pius XII taught in Mediator Dei, the Church has no power to change the substance of the sacraments instituted by Christ. The “consecration” performed by men ordained in the post-1968 Pontifical Rite—a rite stripped of the essential form for the priesthood (ut offerre possis)—produces mere bread. To expose this bread for “adoration” is not worship of latria due to God alone; it is idolatry, a violation of the First Commandment. The film’s tagline, “He Is Here,” is a blasphemous lie when pronounced over a host consecrated by an invalid “priest” using a defective form in a rite fabricated by Modernists (Bugnini, the freemason architect). Lex orandi, lex credendi (the law of praying is the law of believing): the Novus Ordo rite expresses a Protestant theology of the “Lord’s Supper”; its “fruit” cannot be the Catholic Real Presence.
The “Clergy” in the Film: Invalidly Ordained, No Jurisdiction, Manifest Heretics
The “prominent Catholic figures” paraded in this production—Coakley, Gómez, Alar, Martin, Stefanick—are not Catholic clergy or laity in communion with the Church. They are functionaries of the conciliar sect occupying the Vatican structures. “Archbishop” Coakley and “Archbishop” Gómez were “ordained” bishops in the invalid 1968 rite by “bishops” themselves defectively consecrated; they possess no jurisdiction, no orders, no mission. They publicly profess the heresies of Vatican II: religious liberty (Dignitatis Humanae), ecumenism (Unitatis Redintegratio), collegiality destroying papal primacy. By the principle ipso facto (St. Robert Bellarmine, De Romano Pontifice), a manifest heretic ceases to be a member of the Church and loses all office. As the Defense of Sedevacantism file demonstrates, Bellarmine teaches: “A manifest heretic cannot be Pope… he cannot be the head of something of which he is not a member.” This applies a fortiori to “bishops” and “priests.” Their participation in this film is not “witness”; it is the theatrical validation of a counterfeit priesthood. Curtis Martin (FOCUS) and Chris Stefanick are lay architects of the “New Evangelization,” a program explicitly designed to integrate Catholics into the one-world religion of the Antichrist, replacing extra ecclesiam nulla salus with “accompaniment” and “encounter.”
Subjectivism and Charismatic Emotionalism Replace Objective Sacramental Theology
Greco’s methodology reveals the Protestant/Charismatic soul of the conciliar sect. “Talk to the Lord like with your best friend,” “open up your heart to his love,” “God will come to you in a powerful way and show you that you are his beloved.” This is enthusiasm (enthusiasmos), not Catholic piety. It reduces the Mysterium Fidei to a subjective religious experience, a sensus fidei detached from fides quae creditur. The Council of Trent anathematizes those who say the sacraments confer grace ex opere operato only through faith alone (Session VII, Canon 8). The film’s goal—”activate Jesus,” “activate the Holy Spirit,” “energized and to receive graces”—treats the Divine as a spiritual battery to be tapped by human technique (silence, conversation, habit). This is Pelagianism disguised as mysticism. The Lamentabili Sane (1907) condemned the Modernist proposition: “The dogmas of faith should be understood according to their practical function, i.e., as binding in action, rather than as principles of belief” (Prop. 26). Greco’s “practical function” of adoration—life transformation, hope, joy—is pure Modernist pragmatism. True Catholic adoration flows from the Sacrifice of the Mass (Sacrosanctum Concilium of the true Church, not the conciliar parody), acknowledging Christ the King (Quas Primas: “Christ reigns in the minds of men… in the wills of men… in the hearts of men”), not from a self-generated “connection.”
The “70% Unbelief” Statistic: Fruit of the Conciliar Apostasy, Not a Call for “Revival”
The article cites the poll showing “roughly 70% of Catholics don’t believe in the real presence” as the catalyst for the first film. This statistic is not a pastoral challenge to be solved by better marketing; it is the inevitable theological fruit of sixty years of sacramental invalidity and doctrinal corruption. When the “Mass” becomes a “memorial meal” celebrated at a table by a “presider” facing the people, when the Tabernacle is exiled to a side chapel, when “Communion” is received in the hand standing, the sensus catholicus is systematically destroyed. The “Eucharistic Revival” launched by the USCCB (the episcopal conference of the sect) is a fraudulent band-aid on a mortal wound. As Pius XI warned in Quas Primas: “When God and Jesus Christ… were removed from laws and states… the foundations of that authority were destroyed.” When the True Mass and True Doctrine are removed from the sanctuary, the foundation of faith is destroyed. No film, no “24/7 adoration” of an invalid host, no “habit of going a few times a week” can restore what the conciliar revolution deliberately dismantled. The “revival” is a rebranding of the abomination of desolation (Matt 24:15).
The Masonic/Modernist Agenda: Distraction from the Vacant See and the True Mass
The production of high-budget films (Jesus Thirsts, Adore Him) by “Deacon” Greco—operating within the EWTN/USCCB media apparatus—serves a strategic purpose: to occupy the faithful with pious simulations while the Sede Vacante continues and the True Mass remains suppressed. The “False Fatima Apparitions” file details the Masonic strategy of “implantation of the message,” “globalization of the cult,” and “ecumenical reinterpretation.” This film is Stage 3: the ecumenical, charismatic reinterpretation of Eucharistic piety, stripped of propitiatory sacrifice, papal authority, and doctrinal definition. It creates a false consensus around a “Jesus” who is not the Christ of the Council of Trent, but the “Christ of faith” of Modernism (condemned in Lamentabili, Props. 27-38). The faithful are told “Jesus is real” in the chapel down the street, diverting them from the only place He is truly present: upon the altars of priests validly ordained in the Apostolic Rite, offering the Unbloody Sacrifice of Calvary under the authority of the true Roman Pontiff (the last being Pius XII). The film is a psychological operation to pacify the remnant with emotional surrogates.
Silence on the Social Kingship of Christ: Reduction to Private Piety
Conspicuously absent from the film’s narrative—and the article’s reporting—is any reference to the Social Kingship of Christ. Pius XI in Quas Primas instituted the Feast of Christ the King precisely to combat “the secularism of our times, so-called laicism”, declaring: “His reign encompasses also all non-Christians, so that most truly the entire human race is subject to the authority of Jesus Christ.” The film reduces the Eucharist to a private therapeutic device (“transform their life,” “give them hope and joy”). This is the heresy of Americanism (condemned by Leo XIII, Testem Benevolentiae) and Liberalism (condemned in the Syllabus, Props. 77-80), which confines religion to the private sphere. The “bishops” Coakley and Gómez, as officials of the sect, collaborate with the civil power (the US government, the UN agenda) in the destruction of Christendom. Their “adoration” poses no threat to the Civitas Diaboli; it sanctifies the status quo. True Eucharistic adoration is the heartbeat of the Church Militant, demanding the Rex Gentium rule over laws, education, and public life. The film’s silence on this is the loudest scream of its apostasy.
Conclusion: Adore Him: He Is Here is not a Catholic film; it is a sacrilegious spectacle produced by the synagogue of Satan (Apoc 2:9) occupying Rome. It invites souls to adore a piece of bread consecrated by invalid ministers in a heretical rite, using Modernist methods (subjectivism, emotionalism) to achieve naturalistic ends (well-being, “activation”). The only authentic response for a Catholic is rejection: “Get thee behind me, Satan” (Matt 16:23). Seek the True Mass. Keep the Faith. Non praevalebunt.
Source:
New film depicts the transformative power of Eucharistic adoration (ewtnnews.com)
Date: 03.10.2026