The EWTN News portal reports on October 19, 2026, that the conciliar sect’s media apparatus has produced a documentary titled Pétros Ení — Discovering the Origins, featuring the usurper “Pope” Leo XIV (Robert Prevost) and Hollywood actor Chris Pratt, to commemorate the 400th anniversary of the consecration of St. Peter’s Basilica. The film, backed by Vatican Media and the Fabric of St. Peter, reduces the Prince of the Apostles to an “imperfect, weak, broken man” whose strength lies only in subjective grace, while the true Vicar of Christ remains vacant and the sect occupies the Vatican in a Masonic psychological operation against the Church.
The Usurper on Screen: A Manifest Heretic Performing for the Cameras
The article presents “Pope Leo XIV” as a legitimate authority appearing in the “final scenes to talk more about the figure of St. Peter.” From the perspective of integral Catholic theology, Robert Prevost is a manifest heretic who, by adhering to the conciliar errors of religious liberty, false ecumenism, and the new Mass, has ipso facto to be a member of the Church and therefore cannot hold the papal office. As St. Robert Bellarmine teaches: “A manifest heretic cannot be Pope. It cannot be objected that the character remains in him, because if he remained Pope because of the character, since it is indelible, he could never be deposed. Therefore, the Fathers teach universally that a heretic, because of heresy and independently of excommunication, is deprived of all jurisdiction and power” (De Romano Pontifice, 2:30). The appearance of this usurper in a commercial documentary is not a papal act but a theatrical performance by a private individual who has publicly defected from the Catholic faith (Canon 188.4, 1917 Code), rendering his “promotion… null, void, and of no effect” (Pope Paul IV, Cum ex Apostolatus Officio).
Chris Pratt: The Protestantized Layman as Theological Consultant
The article quotes Pratt extensively: “What I would like audiences to understand about Peter after watching this documentary is that he was an imperfect man. He was a weak man. He was a human being. And I believe we are all broken, imperfect, and weak. But his strength lies in the grace of Jesus and his faith in God.” This is a Protestant anthropology that denies the munus of the Papacy. St. Peter was not merely a “weak human being” saved by subjective faith; he was the Princeps Apostolorum, the Rock upon which Christ built His Church (Matt. 16:18), endowed with the charisma veritatis certitudinis (charism of infallibility) and supreme jurisdiction over the whole Church (Vatican I, Pastor Aeternus, Denz. 1825-1831). Pratt’s reduction of the first Pope to a “broken” Everyman is the kenosis of the Petrine office, typical of the conciliar sect’s democratization of the Church. The actor’s statement that the film helped him “define my faith” epitomizes the Modernist heresy condemned by St. Pius X: “Faith, as assent of the mind, is ultimately based on a sum of probabilities” (Lamentabili sane exitu, prop. 25) and “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).
Archaeological Naturalism Replaces Supernatural Reality
The documentary’s focus on the “Roman necropolis,” “archaeological discoveries,” “documents from the Archives,” and the Greek inscription Pétros Ení (“Peter is here”) manifests a naturalistic, rationalist methodology condemned by the Syllabus of Errors: “Human reason, without any reference whatsoever to God, is the sole arbiter of truth and falsehood… it is law to itself, and suffices, by its natural force, to secure the welfare of men and of nations” (Pius IX, Syllabus, prop. 3). The tomb of St. Peter is not primarily an archaeological site but the visible foundation of the Church’s unity and the Papacy’s divine institution. As Pius XI teaches in Quas Primas: “Christ received from the Father unlimited right over all that is created, so that all is subject to His will… His reign encompasses also all non-Christians, so that most truly the entire human race is subject to the authority of Jesus Christ”. To treat the Prince of the Apostles’ burial place as a subject for a Hollywood-style documentary is to profane the sacred and subject the Church’s divine constitution to the judgment of secular media.
The Hallow Connection: Modernist Spirituality as Commercial Product
The involvement of Hallow Studios (CEO Alex Jones) for US/Canada distribution reveals the commercial and subjectivist nature of this enterprise. Hallow is a “Catholic” meditation app that promotes a therapeutic, feelings-based spirituality devoid of dogmatic rigor, sacramental theology, and the Social Reign of Christ the King. Its partnership with the conciliar sect’s media confirms the fusion of Modernism and capitalism denounced by St. Pius X: “The pursuit of novelty in the investigation of the foundations of things leads in our times to deplorable consequences, abandoning all restraint… Under the guise of more serious criticism and in the name of historical method, they aim at such a development of dogmas as appears to be their corruption” (Lamentabili sane exitu, Introduction). The documentary’s release during Lent 2027 in theaters across Mexico, Brazil, Colombia, and Spain via secular distributors (Cinépolis, Bosco Films) is a prostitution of the sacred for box-office revenue.
The 400th Anniversary: Legitimizing the Occupation of the Vatican
The film marks the 400th anniversary of the consecration of St. Peter’s Basilica (November 18, 1626) by Pope Urban VIII — a true Pope. The conciliar sect hijacks this anniversary to legitimize its occupation of the Vatican. The Syllabus condemns the error that “The Roman pontiffs have, by their too arbitrary conduct, contributed to the division of the Church into Eastern and Western” (prop. 38) and that “There is nothing to prevent the decree of a general council, or the act of all peoples, from transferring the supreme pontificate from the bishop and city of Rome to another bishop and another city” (prop. 35). By producing a film with the usurper “pope” in the very basilica consecrated by a true Pope, the sect stages a theatrical continuity that masks its substantial rupture with the Catholic Church. As Pius XI warned in Quas Primas: “When God and Jesus Christ… were removed from laws and states and when authority was derived not from God but from men, the foundations of that authority were destroyed”.
Silence on the Necessity of the Papacy for Salvation
The article’s total silence on the dogmatic necessity of the Papacy for salvation (Unam Sanctam, Boniface VIII; Pastor Aeternus, Vatican I) is the gravest accusation. There is no mention of: the primatus iurisdictionis; the charisma infallibilitatis; the duty of all faithful to submit to the Roman Pontiff; the fact that outside the Church there is no salvation (Extra Ecclesiam nulla salus). Instead, we hear Pratt’s sentimental “grace of Jesus” and the usurper’s “reflection.” This omission is not accidental; it is the essence of the conciliar apostasy: the substitution of the Church of Christ (a perfect, visible, hierarchical society with the Pope as its head) for a “Church of the New Advent” — a vague, evolving, horizontal community of “broken” individuals united by subjective experience.
Masonic Fingerprints: The Spectacle as Psychological Operation
The collaboration between the Vatican’s media apparatus, a Hollywood star, and a tech-driven spirituality app bears the hallmarks of the Masonic operation against the Church analyzed in the critique of false Fatima: “Stage 3 (1958-2000): Takeover of the narrative by modernists, concealment of the Third Secret, ecumenical reinterpretation” — now extended into Stage 4: Global media spectacle replacing the Magisterium. The “Miracle of the Sun” was a “mass optical manipulation”; this documentary is a mass media manipulation to normalize the usurper’s presence and the sect’s narrative. The choice of Chris Pratt — a celebrity from the “Guardians of the Galaxy” franchise (a pagan, syncretistic mythology) — to “define” St. Peter for the masses is a deliberate desacralization, replacing the Vicar of Christ with a vicar of Hollywood.
Conclusion: The Tomb Remains Empty of the True Pope
The documentary Pétros Ení is not a discovery of origins but a burial of the truth. The true St. Peter reigns in heaven; his true successors have been absent from the Vatican since 1958. The bones beneath the basilica testify to the perpetuity of the Petrine office, not to the legitimacy of the man in white who now occupies the apartments. As Pope Celestine I wrote of Nestorius: “He could not remove anyone by sentence who himself had already shown that he must be removed” — so too the usurper “Leo XIV” cannot confer any mission, produce any valid documentary, or teach any doctrine, for he ceased to be Pope the moment he embraced the conciliar heresies. The faithful must reject this spectacle, cling to the Tradition of the Fathers, and await the restoration of the true Papacy, for “the gates of hell shall not prevail” (Matt. 16:18) — but they have prevailed, for a time, in the abomination of desolation standing in the holy place (Matt. 24:15).
Source:
Pope Leo XIV, Chris Pratt come together for new documentary about the tomb of St. Peter (ewtnnews.com)
Date: 19.10.2026