The National Catholic Register, propaganda organ of the conciliar sect, reports on the latest blasphemous venture from 5&2 Studios: The Chosen in the Wild with Bear Grylls, premiering on Prime Video. Actors from the sentimentally modernist series The Chosen — including Jonathan Roumie, who presumptuously portrays Our Lord Jesus Christ — are subjected to survivalist stunts: leaping from planes, eating scorpions, scaling cliffs, all under the gaze of Bear Grylls, a secular adventurer. Grylls, Dallas Jenkins (creator of The Chosen), and the cast engage in “personal conversations about their lives and their faith,” with Grylls claiming he “felt a presence” during Roumie’s episode. This spectacle exposes the conciliar sect’s total capitulation to the world: the Sacred Person of Christ reduced to a character study, the Holy Faith trivialized into emotional therapy, and the Church’s mission replaced by streaming-content synergy.
The Blasphemy of an Actor “Playing” the Incarnate Word
The very premise of The Chosen — a “multi-season series about the life of Christ” — constitutes a grave offense against the Majestas Dei. The Second Council of Nicaea (787) defined that sacred images are for veneration, not for dramatic re-enactment by actors who “know at heart, you’re not that guy,” as Grylls admiringly notes of Roumie. The Council of Trent (Sess. XXV) teaches: “Images of Christ… are to be had and retained particularly in temples, and due honor and veneration are to be given them” — not to be simulated by a layman in a streaming series. Roumie’s admission that the role “messes with your head and heart” reveals the diabolical inversion: the creature presumes to “inhabit” the Creator, generating confusion not devotion. Pope Pius XI, in Quas Primas (1925), warned that “when God and Jesus Christ were removed from laws and states… the foundations of that authority were destroyed”; how much more when the King of Kings is reduced to a “character arc” for entertainment?
Bear Grylls: The Secular Shaman of the Neo-Church
Bear Grylls — a Protestant adventurer known for eating raw animals and manufactured survival scenarios — becomes the spiritual director of this farce. He “always says a prayer, like, ‘Jesus be with me'” before episodes, yet his “faith” is the generic, content-free religiosity of the post-conciliar world. His declaration that he “felt a presence” with Roumie is the classic Modernist substitution of sentiment for grace, of vital immanence for the objective Reality of the Sacraments. St. Pius X condemned this in Pascendi Dominici Gregis (1907): “The Modernist… makes the religious sense the foundation of faith… thus making faith consist in a certain intimate feeling”. Grylls’ “wild” becomes the new cathedral, physical danger the new asceticism, emotional vulnerability the new confession. The Syllabus of Errors (1864) anathematized the proposition: “The Roman Pontiff can, and ought to, reconcile himself, and come to terms with progress, liberalism and modern civilization” (Error 80); here the conciliar sect reconciles Christ with Amazon Prime and survivalist TV.
Dallas Jenkins and the Democratization of Revelation
Jenkins, the creator, seeks to “introduce you to what they’re like as human beings, what their journey has been like playing these characters.” This is the hermeneutic of the homo religiosus: Revelation is not the deposit of faith guarded by the Magisterium, but the “journey” of actors. The Lamentabili Sane Exitu (1907) condemned: “Revelation was merely man’s self-awareness of his relationship to God” (Prop. 20) and “Christ did not proclaim any specific, all-encompassing doctrine suitable for all times and peoples, but rather initiated a certain religious movement” (Prop. 59). The Chosen embodies these errors: it adds dialogues, invents backstories, and presents a “relatable Jesus” tailored to modern sensibilities. Now, the actors’ “personal conversations” become the new catechesis. The Syllabus condemned: “Every man is free to embrace and profess that religion which, guided by the light of reason, he shall consider true” (Error 15); here, the “faith” on display is the actors’ subjective experience.
The “Wild” as the New Liturgical Space of the Apostasy
Grylls asserts: “The wild opens people up… you get to see the real people.” This is the liturgy of the Church of the New Advent: nature replaces grace, adrenaline replaces the Holy Ghost, the “real person” replaces the alter Christus. The True Church teaches that “grace perfects nature” (gratia naturam non destruit sed perficit), but here nature supplants grace. The actors “arrived ready to be honest and to talk about their journey” — the language of therapy, not theology. St. Paul warns: “For the time will come when they will not endure sound doctrine; but having itching ears, will heap to themselves teachers according to their own lusts” (2 Tim 4:3). This series is precisely that: a heap of teachers (actors, a survivalist, a producer) offering the itching ears of millions a Christ without the Cross, a Church without the Sacraments, a faith without dogma.
EWTN and the National Catholic Register: Propagandists for the Abomination
That EWTN News and the National Catholic Register promote this series as “faith content” proves their integration into the conciliar sect’s entertainment-industrial complex. They do not warn that The Chosen violates the Second Commandment by making a graven image of the Divine Person for dramatic purposes; they do not condemn the blasphemy of an actor “feeling the presence” while playing God; they do not cite Quas Primas on the “secularism of our times, so-called laicism, its errors and wicked endeavors”. Instead, they amplify the marketing. Pope Pius IX, in Quanta Cura (1864), condemned the “frauds and machinations of these sects… the synagogue of Satan, which gathers its troops against the Church of Christ”. The conciliar media are the voice of that synagogue, baptizing the world’s filth as “Catholic content.”
Commercial Syncretism: Amazon Prime, MGM, and the 30 Pieces of Silver
The series is produced by 5&2 Studios for Amazon MGM Studios, airing on Prime Video. The profit motive is explicit: “This show is made specifically for those hundreds of millions of people around the world who love this TV show and are invested and care about the characters and just want to know more.” The Sacred Heart of Jesus is not a “character” for fan engagement; the Redemption is not “content” for subscriber retention. Our Lord drove the money-changers from the Temple (Jn 2:15); the conciliar sect invites Amazon into the sanctuary. The Syllabus condemned: “The civil government… has a right to an indirect negative power over religious affairs” (Error 41); here, the corporate state (Amazon) dictates the form and distribution of “religious” content, and the conciliar sect obeys.
The Ultimate Fruit: Idolatry of the Human
Grylls’ climactic blasphemy: “You could feel a presence there… both of us said that was kind of weird, but good.” This “presence” is not the Real Presence of the Blessed Sacrament, nor the indwelling of the Trinity in the state of grace. It is the numen of the Modernist “religious sense,” the demonic counterfeit that St. Pius X identified as the “synthesis of all heresies” (Pascendi). The actor who “plays Jesus” and the survivalist who “prays to Jesus” meet in the wilderness — and the True Jesus, King of Kings and Lord of Lords (Apoc 19:16), is nowhere acknowledged as the Judge of the living and the dead. The series offers a Christ without judgment, a Cross without blood, a Resurrection without glory. It is the abomination of desolation (Mt 24:15) broadcast in 4K HDR.
No Catholic may watch, promote, or endorse this series. It is a work of the conciliar sect, which has no authority, no mission, and no sacraments. “Come out from among them, and be ye separate, saith the Lord, and touch not the unclean thing” (2 Cor 6:17). The True Church, the Ecclesia Militans of Tradition, continues to offer the Unbloody Sacrifice of Calvary, to teach the immutable Faith, and to await the Parousia of the true Christ the King — not the next episode drop on Prime Video.
Source:
‘The Chosen’ Cast Heads Into the Wilderness With Bear Grylls in New Series (ncregister.com)
Date: 03.08.2026