The Chosen has now passed the halfway point of its seven seasons. Four seasons in, it is possible to take a big-picture look at the show’s trajectory.

Season four takes us from the execution of John the Baptist to the raising of Lazarus, ending on the verge of Holy Week with the apostles preparing for Jesus’ triumphant entry into Jerusalem. Biblical threads throughout the season include the falling away of Judas, and Jesus’ sorrow and frustration at his disciples’ inability to hear His predictions of His imminent death.

This season still has some of the great moments that have made The Chosen worthwhile, and these scenes are highlighted in the discussion. Jonathan Roumie's performance as Jesus remains the show's greatest strength. Unfortunately, though, the show’s weaknesses have begun to get out of hand, to the point where even its otherwise great moments are significantly undermined.

The first major issue is with the creativity of the writers. At its best, the show has shed new light on moments from the Gospel by noticing small details of Scripture and fleshing them out. Invented backstories for the Apostles served to support and color the Biblical account.

But in season four, the writers seem to be caught up in their own story ideas, so that even the Gospel moments are overshadowed by wholesale invention. Instead of enhancing the viewer’s understanding of Scripture, the show increasingly interprets the Gospel events through the lens of fictional subplots, in a way that is necessarily reductive, necessarily less interesting, and often clumsily executed. One particular fictional plotline is so badly conceived and so distracting from the Gospel that much of season four is genuinely hard to watch.

Another thing consistently undermining the show’s strengths is its busyness, and in particular its tendency to overexplain Jesus’ words from Scripture rather than letting them resonate. This problem is not new, but it stands out all the more in a weak season.

Br. Joshua Vargas and Nathan Douglas join James and Thomas for a deep and entertaining discussion of these and many other aspects of the show.

Links

Thomas's essay on Angel Studios https://www.catholicculture.org/commentary/angel-studios-hype/

Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Thomas Mirus and Nathan Douglas's mini-series on magisterial documents about cinema comes to a close with an episode covering the Vatican II era - specifically between 1963 and 1995, spanning the pontificates of Pope St. Paul VI and Pope St. John Paul II.

This was, frankly, an era of decline in terms of official Church engagement with cinema. Where previous pontificates had dealt with film as a unique artistic medium, Vatican II's decree Inter Mirifica set the template for lumping all modern mass media together under the label of "social communications" - discussing them as new technology and social phenomena rather than as individual arts.

That said, even if it leaves something to be desired artistically, boiling everything down to "communication" does result in some valuable insights. And every once in a while in this era, a pope would deliver a World Communications Day message specifically about cinema. Important themes in the documents from this time include:

-Artists should strive for the heights, not surrender to the commercial lowest common denominator

-Communication as self-gift

-Film as medium of cultural exchange

-JPII: “The mass media…always return to a particular concept of man; and it is precisely on the basis of the exactness and completeness of this concept that they will be judged.”

-The necessity to train children in media literacy so they can properly interpret, not be manipulated by, images and symbols

-The role of critics

Documents discussed in this episode:

Vatican II, Inter Mirifica (1963) https://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_decree_19631204_inter-mirifica_en.html

Address of Pope Paul VI to artists (closing address of Vatican II, 1965) https://www.vatican.va/content/paul-vi/en/speeches/1965/documents/hf_p-vi_spe_19651208_epilogo-concilio-artisti.html

Pontifical Council for Social Communications, Communio et Progressio (1971) https://www.vatican.va/roman_curia/pontifical_councils/pccs/documents/rc_pc_pccs_doc_23051971_communio_en.html

Pontifical Council for Social Communications, Aetatis Novae (1992) https://www.vatican.va/roman_curia/pontifical_councils/pccs/documents/rc_pc_pccs_doc_22021992_aetatis_en.html

Pope Paul VI, First World Communications Day address (1967) https://www.vatican.va/content/paul-vi/en/messages/communications/documents/hf_p-vi_mes_19670507_i-com-day.html

Pope John Paul II, 1984 World Communications Day address https://www.vatican.va/content/john-paul-ii/en/messages/communications/documents/hf_jp-ii_mes_24051984_world-communications-day.html

Pope John Paul II, 1995 World Communications Day address on cinema https://www.vatican.va/content/john-paul-ii/en/messages/communications/documents/hf_jp-ii_mes_06011995_world-communications-day.html

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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

The 1991 film A Brighter Summer Day, directed by Edward Yang, is considered by many one of the best movies ever made. The film is set in Taiwan, shortly after the Chinese Civil War, when the country was under martial law, with a political and cultural pressure felt at every level of society. At the center of this intricately plotted four-hour drama is the family of fourteen-year-old Xiao Si'r, whose strong sense of honor and justice is pulled in various directions as he gets caught up in a youth gang and romantically entangled with the girlfriend of a disappeared gang leader. But more than that, this incredibly textured four-hour drama gives the sense of a whole uneasy social fabric.

As this is the first Chinese-language film the Criteria hosts have covered, they are joined by film festival programmer Frank Yan, who provides crucial historical and cultural context about Taiwanese history and cinema.

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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com