A Sacrilegious Spectacle Masquerading as Devotion
The article from EWTN News announces the release of Season 6 of the popular series “The Chosen,” which will dramatize the 24 hours of Good Friday, culminating in a theatrical release of the crucifixion. The piece quotes creator Dallas Jenkins stating the season aims to explain the “why” of the crucifixion, while actor Jonathan Roumie describes the filming as leaving him “absolutely humbled and moved.” The production filmed in Matera, Italy, with a Vatican press conference held, and the series streams exclusively on Prime Video. This event is presented as a monumental spiritual achievement, yet from the perspective of integral Catholic faith, it represents a profound and dangerous synthesis of Modernist errors: the secularization of the sacred, the primacy of emotion over doctrine, and the reduction of the Redemption to a consumable narrative product.
1. Theological Bankruptcy: The Passion Reduced to Human Drama
The entire premise of “The Chosen” Season 6 is antithetical to Catholic theology. The Passion and Death of Our Lord Jesus Christ is not a story to be “explained” through human speculation or emotional manipulation. It is the *unbloody sacrifice of Calvary* made present on the altar, the one sufficient atonement for sin, the pivotal event in the history of salvation. The article’s focus on the “extraordinary events of these 24 hours” and the actors’ “heavy burden” and “goosebumps” shifts the focus from the *objective, supernatural reality* of the Redemption to a *subjective, human experience*. This is the very error condemned by St. Pius X in *Lamentabili sane exitu*:
Proposition 25: Faith, as assent of the mind, is ultimately based on a sum of probabilities.
Proposition 26: The dogmas of faith should be understood according to their practical function, i.e., as binding in action, rather than as principles of belief.
The series treats the crucifixion as a dramatic narrative whose value lies in its emotional impact (“I just get weepy… I’ve seen stuff that gives me goosebumps”), not as the unique, historical, and salvific act of God. This is the religion of sentiment, not of faith. It is a Pelagian-ish focus on human feeling and artistic interpretation, utterly divorced from the *sacrifice propitiatory* that re-presents the one sacrifice of Christ. The “why” of the crucifixion is not a mystery to be unpacked by screenwriters; it is defined by the Church’s infallible teaching: for our redemption from sin and death, to reconcile us with God, and to merit grace. Any other “why” is human invention.
2. The Error of “Experiential Religion” and the Hermeneutics of Continuity
The language employed—focus on the cast’s focus, the “incredible stuff happening on set,” the “indelible impression”—is pure Modernist subjectivism. It mirrors the “experience-based” faith condemned by Pope Pius X. The Modernist, as described in *Pascendi Dominici gregis*, seeks to “vitalize” doctrine through personal religious experience. Here, the “vitalization” is through the actors’ emotional journey. The truth of the Passion is not communicated; it is *re-enacted* and felt. This is a direct assault on the *deposit of faith*, which is objective and transcendent.
Furthermore, the very act of producing a multi-season series about the life of Christ, with the final season on the crucifixion, embodies the conciliar error of the “hermeneutics of continuity.” It implies that the story of Jesus is a progressive narrative that can be adapted, expanded, and dramatized for modern sensibilities, as if the Gospels were a rough draft to be perfected by contemporary artists. This contradicts the immutable nature of Revelation. The Gospels are not raw material for Hollywood; they are the inspired, inerrant, and definitive account of salvation history. To treat them otherwise is to fall into the error of *Lamentabili*’s Proposition 54: “Dogmas, sacraments, and hierarchy… are merely modes of explanation and stages in the evolution of Christian consciousness.”
3. The Vatican’s Endorsement: Apostasy in Plain Sight
The most damning evidence of the series’ neo-church approval is the “press conference held at the Vatican.” This is not a neutral location; it is the seat of the conciliar sect’s apostasy. For the “authorities” occupying the Vatican to host a press conference for a Protestant-produced series (the creator, Dallas Jenkins, is not Catholic) that dramatizes the most sacred mysteries is a supreme act of religious indifferentism. It directly violates the Syllabus of Errors of Pope Pius IX:
Error #18: Protestantism is nothing more than another form of the same true Christian religion, in which form it is given to please God equally as in the Catholic Church.
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.
By sharing a platform with the producers of “The Chosen,” the Vatican officials implicitly equate their own (heretical) conciliar religion with the Evangelical Protestantism of Jenkins. They treat the Passion of Christ as a common cultural artifact, suitable for inter-denominational celebration. This is the ecumenism of the “abomination of desolation,” where the unique, all-sufficient sacrifice of the Mass is obscured by a shared, emotional narrative about a “historical Jesus.”
4. The Prime Video Deal: The Commodification of Salvation
The announcement that Season 6 will stream “exclusively on Prime Video” and that the finale will be a “stand-alone theatrical release” exposes the ultimate goal: commercial profit and mass consumption. The Redemption is packaged as a product. The “sweet yoke” of Christ is transformed into entertainment content for a streaming service owned by a secular corporation. This is the final stage of the secularization condemned by Pope Pius XI 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… the entire human society had to be shaken.”
Here, God is not merely removed from the state; He is removed from the *sacred* and placed into the *marketplace*. The crucifixion becomes a “stand-alone theatrical event,” competing with blockbuster films for audience share. This is the logical outcome of the conciliar church’s embrace of the “cult of man” and its rejection of the *social reign of Christ the King*. The article even notes the deal includes future projects like “The Chosen in the Wild with Bear Grylls,” reducing sacred history to a reality-show adventure format. The blasphemy is staggering.
5. The Fatal Omission: The Mass, Grace, and the Supernatural
The article’s gravest sin is one of *omission*. In all the quotes about the “impact” of filming the crucifixion, there is **not a single mention** of the Holy Sacrifice of the Mass, the source and summit of Catholic life. There is no reference to the sacrament of penance preparing the actors, to the Eucharist as the true re-presentation of the sacrifice, to the necessity of sanctifying grace, or to the final judgment. The entire focus is on this-worldly emotions, mental impressions, and professional challenges. This silence is the hallmark of the Modernist and naturalistic mentality. As Pius XI taught in *Quas Primas*, the Kingdom of Christ is “primarily spiritual and relates mainly to spiritual matters.” Yet here, the spiritual is entirely evacuated, replaced by psychological and cinematic experience. The “heavy burden” carried by actors is not the burden of sin requiring sacramental absolution; it is the professional burden of a demanding shoot. The “surrender to Christ” mentioned by Jenkins is a vague, emotional surrender, not the doctrinal surrender of the intellect and will to the defined truths of the Faith.
6. The “Catholic” Media Collusion: EWTN as a Vector of Apostasy
The article’s source, EWTN News, is a primary propagator of this naturalistic, post-conciliar “Catholicism.” Its reporter, Francesca Pollio Fenton, frames the story as faith-based entertainment news, interviewing actors about their feelings. This is not Catholic journalism; it is the religion of the media age. It promotes the false idea that encountering the Gospel through Hollywood drama is a valid substitute for sacramental grace and doctrinal instruction. This aligns perfectly with the errors of the “moderate rationalism” condemned in the Syllabus:
Error #8: As human reason is placed on a level with religion itself, so theological must be treated in the same manner as philosophical sciences.
Error #12: The decrees of the Apostolic See and of the Roman congregations impede the true progress of science.
Here, “theological” is treated as a subject for dramatic arts. The “decrees” of the Church on the sacredness of the Passion, the theology of the sacrifice, and the prohibition against irreverent treatment of sacred things are ignored in favor of the “progress” of cinematic storytelling.
Conclusion: A Perversion of Sacred Things
The release of “The Chosen” Season 6 is not a blessing, but a curse. It is the ultimate expression of the conciliar sect’s apostasy: taking the most sacred, supernatural mystery of the Christian faith—the crucifixion of the God-man—and reducing it to a six-episode drama series for mass consumption on a secular streaming platform, endorsed by the “authorities” in the Vatican. It replaces the *unbloody sacrifice* with a *bloody spectacle*, the *grace of the sacraments* with *emotional catharsis*, and the *social kingship of Christ* with the *sovereignty of the entertainment industry*. The actors’ tears are not the tears of contrition for sin; they are the tears of sentimentalism. The Vatican’s press conference is not an act of evangelization; it is an act of apostasy, placing the Passion of Christ on the same level as a film premiere. This is the religion of the Antichrist: a beautiful, moving, and utterly empty counterfeit that leads souls away from the *sole true religion* and the *one sacrifice of the New Law*.
Source:
Release date for Season 6 of ‘The Chosen’ announced (ewtnnews.com)
Date: 03.04.2026