The EWTN News portal (November 14, 2026) reports on the upcoming sixth season of the television series The Chosen, focusing on the “spiritual impact” the filming of the Passion narrative allegedly had on the actor Jonathan Roumie, who portrays Jesus Christ. The article details Roumie’s subjective experience of “redemptive suffering” through “micro mortifications” on set, the “humanization” of Judas and Pontius Pilate by actors Luke Dimyan and Andrew James Allen, and the series’ distribution via Prime Video and theatrical release. This spectacle constitutes a gravely idolatrous profanation of the Holy Face of Our Lord, a quintessential fruit of the conciliar apostasy that reduces the Mysterium Fidei to a theatrical performance for mass consumption.
The Idolatrous Fabrication of a False Christ
The very premise of an actor “portraying” the Verbum Dei incarnate is a direct violation of the First Commandment and the dogmatic definition of the Council of Trent against images that induce idolatry. The Second Council of Nicaea (787) permitted veneration of icons prototype — not the fabrication of a cinematic simulacrum where a fallen man “becomes” Christ for the camera. Roumie’s statement — “let your heart and voice and face and spirit shine through so that I am not there but you are there” — reveals a demonic inversion of the Incarnation. The Hypostatic Union is not a method acting technique. The Quas Primas encyclical of Pope Pius XI teaches that Christ’s Kingship rests on the hypostatic union: “He possesses, in a word, dominion over all creatures, not by force but by essence and nature” (Encyclical Quas Primas, 1925). To suggest a human vessel can channel the Divine Person by “prayer” and “intention” is Apollinarian heresy — denying the true human intellect and will of Christ — married to Modernist immanentism, where the divine is reduced to a subjective religious experience (cf. Lamentabili Sane Exitu, props. 27, 29, 32).
The Syllabus of Errors condemns the proposition: “The prophecies and miracles set forth and recorded in the Sacred Scriptures are the fiction of poets… and Jesus Christ is Himself a myth” (Error 7). The Chosen operationalizes this error: it transforms the Historia Salutis into a “fiction of poets” (screenwriters Dallas Jenkins et al.), inviting the audience to worship the creature rather than the Creator (Rom 1:25). The “Jesus” of The Chosen is an idol forged by Hollywood, a “myth” tailored for the homo novus of the conciliar sect.
The Theatricalization of the Passion: Sacrilege as “Ministry”
Roumie describes the filming of the Crucifixion as “micro mortifications that persisted for weeks” and a “continual dialogue of just ‘help me get through this… It’s for the salvation of souls.” This is blasphemous presumption. The Unbloody Sacrifice of Calvary is perpetuated ex opere operato by a validly ordained priest in persona Christi at the altar, not by an actor on a soundstage. The Council of Trent anathematizes those who say the Mass is a mere “sacrifice of praise” or “commemoration” (Session XXII, Can. 3). Here, the Passion is stripped of its propitiatory nature — “He gave Himself as a sacrifice for our sins and eternally offers it” (Quas Primas) — and reduced to a psychodrama for the actor’s “deeper insight”.
The concept of “offering up suffering” is divorced from the Communion of Saints and the Treasury of Merit applied through the Church’s potestas iurisdictionis. In the conciliar sect, where valid Orders and Jurisdiction have been extinguished by the Novus Ordo rites and heretical intent (cf. Defense of Sedevacantism: Cum ex Apostolatus Officio, Canon 188.4), such “offerings” are spiritually sterile, if not diabolical. Roumie’s “prayer” — “I give it back to you… let your heart… shine through” — is Quietist auto-suggestion, devoid of sacramental grace. It mirrors the Lamentabili condemnation of the proposition: “Faith, as assent of the mind, is ultimately based on a sum of probabilities” (Prop. 25) — here, the “probability” that good acting equals sanctity.
Relativizing the Damnation of Judas and the Cowardice of Pilate
The most insidious theological poison in the article is the rehabilitation of the reprobate. Luke Dimyan hopes audiences see Judas not as a betrayer but as a figure of “forgive yourself because that’s what ultimately leads to redemption” and poses the satanic question: “Is there a doubt in anyone’s mind that if he [Judas] had waited… that Jesus wouldn’t forgive him?” This is Origenist universalism and Modernist denial of eternal punishment. Our Lord Himself said: “It were better for him, if that man had not been born” (Matt 26:24). St. Augustine teaches: “Judas the traitor… perished by his own wickedness” (In Ioannem, Tract. 62). To suggest Judas’s despair (metamelomai, not metanoia) could be resolved by “forgiving himself” is to deny the necessity of supernatural contrition, sacramental confession, and the objective reality of Hell.
Andrew James Allen’s portrayal of Pilate as “a real person… going through the same thing that Jesus is… suffering” in his “own way” is moral equivalence worthy of the Antichrist. Pilate, who held the potestas gladii delegated by God (Rom 13:1-4) and washed his hands of the Just One (Matt 27:24), is recast as a fellow victim. This obliterates the Syllabus condemnation of the error: “The civil government… has a right to an indirect negative power over religious affairs” (Error 41) and “In the case of conflicting laws… the civil law prevails” (Error 42). Pilate is the archetype of the state usurping God’s rights; The Chosen makes him a sympathetic protagonist, preparing the faithful for the civitas diaboli of the New World Order.
The Conciliar Sect’s Propaganda Arm: EWTN and the “Catholic” Actor
The article originates from EWTN News / Catholic News Agency — organs of the paramasonic structure occupying the Vatican. Francesca Pollio Fenton, a “staff reporter,” uncritically amplifies the marketing narrative of 5&2 Studios. Roumie is labeled a “Catholic actor” — a category error. Since the Novus Ordo “ordination” rites (1968) and the heretical “episcopal consecrations” (1968) lack the forma and intentio required by Pope Pius XII, Sacramentum Ordinis (1947), there are no valid priests or bishops in the official structures to confer the character of “Catholic” via Baptism/Confirmation in the traditional sense (though Baptism by laymen remains valid in extremis, the ordinary jurisdiction is extinct). Roumie operates entirely within the neo-church, subject to the “antipope” Leo XIV (Robert Prevost) and the “bishops” of the Church of the New Advent.
The series is distributed by Amazon (Prime Video) — a pillar of the globalist, anti-Christian technocracy. The “theatrical release” of the finale mimics the liturgical year (Good Friday to Easter), usurping the Church’s Lex Orandi. This is the counter-liturgy of the False Prophet (Apoc 13:11-15), where the “image of the beast” is given breath (animation/film) so that all who do not adore it may be slain (spiritually).
Redemptive Suffering vs. Sentimental Therapeutics
Roumie seeks “grace in suffering… where do you get it from?” and admits “I don’t claim to know how all of it works.” This agnosticism regarding the scientia crucis is the hallmark of the conciliar “theology.” True redemptive suffering is passio Christi in membris — participation in the Cross through the state of grace, animated by charity, meriting condignly for the Mystical Body (Col 1:24). It requires the Sacraments, the Traditional Mass, and submission to the Magisterium of St. Pius X and his predecessors. The conciliar sect offers only psychological catharsis — “micro mortifications” as therapy. The Syllabus condemns: “Moral laws do not stand in need of the divine sanction… human laws… receive their power of binding from God” (Error 56). The Chosen severs suffering from Divine Law, making it a self-help tool.
Conclusion: The Abomination of Desolation in High Definition
The Chosen Season 6 is not a “tool for evangelization” but a weapon of spiritual mass destruction. It presents a Jesus who is not the King of Kings (Quas Primas: “King of kings and Lord of lords”, Rev 19:16) but a relatable character; a Judas who is a misunderstood victim; a Pilate who is a conflicted bureaucrat. It replaces the Horror of the Cross with the comfort of the couch. As Pope Pius IX warned in the Syllabus (Error 80): “The Roman Pontiff can, and ought to, reconcile himself… with progress, liberalism and modern civilization.” This series is that reconciliation — the synthesis of all heresies (Modernism) packaged for the digital age. “Extra Ecclesiam nulla salus” — and The Chosen is the liturgy of the anti-Church. Let the faithful flee this idolatrous spectacle and cleave to the Traditional Latin Mass and the unbroken Magisterium where the true Redemptive Suffering is made present ex opere operato upon the altar.
Source:
Jonathan Roumie says ‘The Chosen’ Season 6 deepened his understanding of redemptive suffering (ewtnnews.com)
Date: 14.11.2026