The EWTN News article reports on the 33rd annual Movieguide Awards, where series like “House of David” and “The Chosen” were honored for promoting “Christian values, biblical truth, and messages of redemption, hope, and faith.” Acceptance speeches emphasized God’s personal guidance and cultural reclamation through media. This event, organized by a Protestant-founded group and covered by a conciliar news outlet, exemplifies the post-conciliar Church’s substitution of supernatural Catholic doctrine with a vague, naturalistic, and ecumenical “faith” utterly repugnant to integral Catholic theology.
The Naturalistic Reduction of Supernatural Faith
The entire premise of the Movieguide Awards—celebrating content that “reflect Christian values” and “point hearts toward Christ”—is a profound betrayal of Catholic doctrine. The criteria explicitly exclude any reference to the supernatural ends of man, the necessity of the Catholic Church for salvation, or the absolute primacy of the Sacraments. This aligns perfectly with the errors condemned by Pope Pius IX in the Syllabus of Errors, particularly Error 16: “Man may, in the observance of any religion whatever, find the way of eternal salvation, and arrive at eternal salvation.” The awards’ ecumenical inclusivity treats “Christian values” as a generic moralism, severing them from the exclusive, salvific truth of the Catholic Church. As Pius IX declared, the Church “has not the power of defining dogmatically that the religion of the Catholic Church is the only true religion” (Error 21) is a condemned proposition. Yet the Movieguide framework operates on this very falsehood, granting legitimacy to any production that uses vaguely “biblical” language, regardless of its adherence to Catholic truth.
Ecumenical Syncretism and the Profanation of Sacred History
The celebration of “House of David,” filmed on a stage originally used for Cecil B. DeMille’s Protestant “King of Kings,” is symptomatic of the conciliar sect’s obsession with reclaiming cultural ground through syncretism. DeMille’s film is a product of Protestant sentimentalism, not Catholic tradition. The series’ stated purpose—showing David as a guide who “no matter how far away we may stray from Christ”—uses Old Testament typology in a way that obscures the hierarchical, sacrificial nature of the Davidic kingdom as a prefiguration of the Church, not an individualistic spiritual journey. This mirrors the modernist hermeneutics condemned by St. Pius X in Lamentabili Sane Exitu, Proposition 59: “Christ did not proclaim any specific, all-encompassing doctrine suitable for all times and peoples, but rather initiated a certain religious movement, applicable to different times and places.” The reduction of David to a generic spiritual mentor strips the narrative of its supernatural purpose: to prefigure the Messias and His unique kingdom, the Catholic Church.
The Omission of the Supernatural: Silence on Grace, Sacraments, and Judgment
The most damning evidence of apostasy is the total silence on the supernatural. The article quotes actor Michael Iskander thanking God as his “anchor and sail,” a purely personal, emotional piety devoid of any reference to grace, the Sacraments, or the authority of the Church. This reflects the modernist error of reducing religion to subjective experience, condemned by Pius X in Proposition 25: “Faith, as assent of the mind, is ultimately based on a sum of probabilities.” The awards celebrate “redemption” and “hope” as abstract concepts, never defining them in terms of the Redemptive Sacrifice of Calvary, the Sacrament of Penance, or the Final Judgment. This is the naturalistic religion prophesied by Pius IX in the Syllabus, Error 58: “All the rectitude and excellence of morality ought to be placed in the accumulation and increase of riches by every possible means, and the gratification of pleasure.” The “messages” of these productions are reduced to psychological uplift, not the call to repentance, faith, and baptism necessary for salvation.
The Idolatry of “Freedom” Against the Reign of Christ the King
The “Faith and Freedom Award” is a direct assault on the doctrine of Pope Pius XI in Quas Primas. Pius XI unequivocally taught that Christ’s reign is not optional for individuals or states: “Let rulers of states therefore not refuse public veneration and obedience to the reigning Christ, but let them fulfill this duty themselves and with their people, if they wish to maintain their authority inviolate and contribute to the increase of their homeland’s happiness.” The award’s criteria—celebrating “independence, faith in midst of oppression, individual dignity, and freedom”—invert this teaching, promoting a naturalistic liberty antithetical to the social reign of Christ. This is the precise error of the modern secular state condemned in the Syllabus, Error 77: “In the present day it is no longer expedient that the Catholic religion should be held as the only religion of the State, to the exclusion of all other forms of worship.” The conciliar sect, by endorsing such awards, actively promotes the separation of Church and state (Error 55: “The Church ought to be separated from the State, and the State from the Church”) and the false god of “freedom” over the exclusive sovereignty of Christ.
The Conciliar Sect’s Cultural Capitulation
Jon Erwin’s speech about “reclaiming ground” on a stage used by DeMille reveals the bankruptcy of the conciliar strategy. This is not the reclamation of sacred space for the true worship of God; it is the desecration of Catholic cultural heritage by merging it with profane, Protestant-inspired entertainment. The “air in L.A.” he feels is the spirit of the world, not the Holy Ghost. This capitulation is the logical fruit of Vatican II’s “engagement” with the world, which St. Pius X identified as the synthesis of all heresies—Modernism. The Syllabus (Error 39) condemns the notion that “The State, as being the origin and source of all rights, is endowed with a certain right not circumscribed by any limits.” Yet the Movieguide model accepts the State’s (or in this case, Hollywood’s) cultural framework and merely injects a watered-down “Christian” message, surrendering the Church’s right to form all culture according to the mind of Christ.
Conclusion: An Abomination of Desolation in Media
The Movieguide Awards, lauded by EWTN, are a perfect spectacle of the post-conciliar apostasy. They replace the Unbloody Sacrifice of Calvary with cinematic events, the Magisterium with “biblical truth” as defined by Protestants, and the Social Kingship of Christ with the idol of “freedom.” The acceptance speeches, with their vague theism and focus on personal feeling, are the natural outcome of a sect that has exchanged the deposit of faith for a psychological crutch. As Pius XI taught in Quas Primas, the Kingdom of Christ “encompasses all men” and demands the ordering of all laws, education, and public life to His glory. The conciliar sect, by celebrating such naturalistic productions, proves it has utterly renounced this duty, choosing instead to serve the “prince of this world” through the glamour of Hollywood. This is not evangelization; it is the final stage of the Masonic operation against the Church, where the very language of faith is emptied of its supernatural content and used to prop up a new, man-centered religion.
Source:
‘House of David,’ ‘The Chosen’ win big at the Movieguide Awards (ewtnnews.com)
Date: 09.03.2026