This blog is based on references in the Bible to fear. God wills that we “BE NOT AFRAID”. Vincit qui se vincit" is a Latin phrase meaning "He conquers who conquers himself." Many theologians state that the eighth deadly sin is fear. It is fear and its natural animal reaction to fight or flight that is the root cause of our failings to create a Kingdom of God on earth. This blog is dedicated to Mary the Mother of God. "
Fr. Donald Calloway argues that the modern obsession with aliens, UAPs, and UFOs is becoming a major spiritual distraction and even a deception in the battle for souls. He warns that the cultural excitement around extraterrestrial phenomena is pulling people away from the Gospel, the sacraments, and especially the messages of the Blessed Mother. youtu.be
Key Points from the Video
The alien/UFO craze is an “unholy distraction.”
It diverts attention from the real spiritual battle and from the messages Heaven has already given through Marian apparitions. youtu.be
Confusion and division are growing.
The topic is becoming a wedge among believers, creating fascination, fear, and speculative thinking instead of prayer and discernment. youtu.be
The Blessed Mother has already warned us.
Fr. Calloway stresses that Our Lady’s messages—Fatima, Lourdes, Guadalupe, Akita—contain everything we need to navigate these times. The danger is forgetting them while chasing sensational phenomena. youtu.be
The real battle is spiritual, not extraterrestrial.
The enemy uses distraction, confusion, and false wonders to pull souls away from Christ. Marian apparitions, by contrast, always call to repentance, prayer, and fidelity. youtu.be
Survival in these times requires spiritual discipline.
Fr. Calloway emphasizes prayer (especially the Rosary), sacramental life, and staying anchored in the Church’s teaching. youtu.be
1. Evil works through deception and false signs
The CCC teaches that evil often manifests as confusion, false wonders, and counterfeit spiritual experiences (CCC 2115–2117).
Seeking secret knowledge
Consulting hidden powers
Chasing sensational phenomena
These open the door to spiritual danger.
This aligns with the video’s warning that the alien/UFO obsession is becoming a false locus of meaning.
2. Evil darkens the conscience
CCC 1790–1794 teaches that conscience can be blinded by:
Ignorance
Sin
Bad example
Cultural pressure
Disordered curiosity
The UFO phenomenon, as described in the video, is exactly this kind of cultural pressure that clouds judgment and distracts from truth.
3. Evil is confronted by truth, not spectacle
The CCC insists that Christians confront evil by:
Clinging to revealed truth (CCC 142–150)
Rejecting superstition and occult curiosity (CCC 2110–2117)
Remaining faithful to prayer and sacrament (CCC 2558–2565)
This mirrors Fr. Calloway’s insistence that Marian apparitions call us back to repentance, prayer, and fidelity, not spectacle.
4. Marian apparitions are heaven’s antidote to deception
Authentic apparitions always:
Lead to Christ
Call for conversion
Strengthen faith
Warn against sin
Promote prayer and sacramental life
The CCC affirms that private revelation (like Marian apparitions) helps the faithful live the Gospel more fully (CCC 67).
Thus, Marian messages are not distractions—they are weapons against deception.
5. The Christian confronts evil by staying awake
The CCC repeatedly warns that the faithful must remain vigilant, discerning spirits, and resisting the enemy’s attempts to confuse or divide (CCC 2846–2849).
The video’s message is essentially this:
Stay awake. Do not be seduced by the noise of the age. Listen to the Mother who leads you to her Son.
Romans 14:12 “Each of us will give an account of himself to God.”
What truth about my life would I finally have to admit if I stood before God tonight?
That’s it.
No committee.
No excuses.
No comparisons.
Just you — and the truth of your life.
And that’s why the smoke matters now.
Because in the next life, there’s no more choosing, no more changing, no more offering.
Only accounting.
So tonight — cheap stick, cheap pour, cheap grace —
burn off what needs burning,
own what needs owning,
and start the account you’ll one day have to give.
Smoke in this life, not the next.
Absolutely, Richard. Here is The Bigamist (1953) in the exact Proud Rebel format you requested — masculine, disciplined, morally serious, and tuned to your devotional‑cinematic cadence.
THE BIGAMIST (1953)
Edmond O’Brien • Joan Fontaine • Ida Lupino
Directed by Ida Lupino
A noir without shadows and a melodrama without hysteria, The Bigamist is a quiet tragedy of human frailty. Ida Lupino directs with a tenderness that refuses to condemn and refuses to excuse. Edmond O’Brien plays a man divided not by lust but by loneliness. Joan Fontaine gives the first wife a dignity that aches. Lupino herself embodies the second wife with a wounded independence that feels painfully real.
This is not a scandal picture.
It is a study in the slow erosion of conscience.
It is a noir about isolation, longing, and the moral cost of trying to be two men at once.
1. Production & Historical Setting
Post‑War Dislocation and Domestic Noir
Released in 1953, the film belongs to the era when noir moved from alleys and nightclubs into kitchens, offices, and adoption agencies.
The darkness is no longer visual — it is psychological.
America is prosperous, but its men are restless.
The war is over, but the emotional fallout lingers in marriages stretched thin by ambition, distance, and unspoken wounds.
Ida Lupino’s Humanist Direction
Lupino was the only woman directing studio‑level dramas in the 1950s.
Her style is:
restrained
compassionate
morally unflinching
She refuses caricature.
She refuses villains.
She insists on the dignity of the wounded.
Edmond O’Brien’s Divided Man
As Harry Graham, O’Brien plays a man who is not predatory but exhausted — a man who drifts into sin not through desire but through emotional starvation.
His performance is the film’s moral tension:
a good man doing a terrible thing, slowly, almost helplessly.
Fontaine and Lupino: Two Poles of Womanhood
Joan Fontaine plays Eve with poise, intelligence, and a quiet ache — a woman who loves her husband but cannot see his loneliness. Ida Lupino plays Phyllis with a working‑class realism — guarded, tender, and resigned to disappointment.
The tragedy is that both women are worthy of love.
The sin is that Harry tries to love them both.
2. Story Summary
Harry and Eve Graham
A successful San Francisco couple unable to have children.
Eve is industrious, focused, and emotionally distant without meaning to be.
Harry feels unnecessary in his own home.
The Los Angeles Detour
On a business trip, Harry meets Phyllis — a waitress with a dry wit and a wounded past.
Their connection is not lust but recognition:
two lonely people who stop pretending they aren’t lonely.
A friendship becomes a romance.
A romance becomes a pregnancy.
A pregnancy becomes a second marriage.
The Investigation
When Harry and Eve apply to adopt, the agency’s investigator uncovers the double life.
The film becomes a confession — not to the law, but to the truth Harry has avoided.
The Courtroom
There is no dramatic outburst.
No villain.
No absolution.
Just a man standing between two women he loves, knowing he has broken both.
The Ending
The judge’s sentence is less severe than the moral reality:
Harry must face the consequences of trying to be two husbands, two fathers, two selves.
The film ends not with punishment, but with sorrow — the sorrow of a man who finally sees himself clearly.
3. Spiritual & Moral Resonances
A. Sin as Drift, Not Decision
Harry does not leap into adultery.
He slides into it — slowly, quietly, through neglect, loneliness, and unguarded affection.
The film becomes a meditation on how sin often begins:
not with rebellion, but with weariness.
B. The Wound of Emotional Neglect
Eve’s ambition is not sinful, but it blinds her to her husband’s hunger for connection.
The film warns that marriages die not from hatred but from silence.
C. Compassion Without Excuse
Lupino refuses to demonize Harry.
But she also refuses to justify him.
This is Christian realism:
seeing the sinner clearly without denying the sin.
D. The Double Life as Spiritual Disintegration
Harry’s two marriages symbolize a deeper fracture:
a man who has lost integrity — the unity of self.
Noir becomes moral theology:
duplicity destroys the soul long before the law intervenes.
E. Mercy and Consequence
The film ends with neither condemnation nor absolution.
It ends with truth — and the possibility of repentance.
4. Hospitality Pairing — The Divided Heart Spread
Maduro cigar — earthy, conflicted, carrying the weight of unspoken burdens
A rye with a sharp edge — something like Rittenhouse or Old Overholt, mirroring the film’s moral bite
Simple diner fare — a plate of roast chicken or meatloaf, echoing Phyllis’s working‑class world
A dim lamp and a quiet room — the atmosphere of confession, not spectacle
5. Reflection Prompts
Where am I drifting toward compromise rather than choosing it outright.
What loneliness in my life is becoming spiritually dangerous.
Who in my world needs presence more than provision.
Where is my integrity divided — and what would wholeness require.
What truth am I avoiding because it will wound someone I love.
Tue, May 19 – Tuesday Reflection Virtue: Calling & Belonging Cigar: Corojo — balanced, chosen Bourbon: Woodinville — rich, steady Line:“Where am I placed in grace?”
Purgatory is fire, not metaphor.
Some of the people we love are there now — burning, longing, unable to pray for themselves.
They wait on us.
And this is where the Our Father cuts straight through a man’s excuses:
“Thy will be done.”
Not someday.
Not after death.
Now.
If God’s will is purification, then the wise man begins it here.
If God’s will is mercy for the dead, then the faithful man intercedes now.
If God’s will is belonging, then a man stands where grace has placed him and acts.
Hallowtide reminds us:
remember your dead,
pray for their release,
ask God to finish in them what they can no longer ask for.
Smoke in this life, not the next.
THE PROUD REBEL (1958)
Alan Ladd • Olivia de Havilland • Dean Jagger
Directed by George Seaton
A frontier drama carved from restraint and quiet suffering, The Proud Rebel trades gunfights for moral endurance. Alan Ladd gives one of his most interior performances — a father carrying wounds he never names. Olivia de Havilland anchors the film with a steadiness that feels like grace under pressure. And Dean Jagger supplies the menace of a man who mistakes power for righteousness.
This is not a swaggering Western.
It is a pilgrimage of loyalty, sacrifice, and the long road of love between a father and his son.
It is a Western about belonging, and the cost of earning it.
1. Production & Historical Setting
Post‑Civil War Western Humanism
Released in 1958, the film belongs to the late‑’50s shift toward character‑driven Westerns.
The frontier is not mythic here — it is wounded, rebuilding, and suspicious of outsiders.
The war is over, but its scars remain.
The West becomes a place where men try to rebuild what violence took from them.
The Domestic Western
This is a Western of:
farms instead of saloons
barns instead of canyons
a kitchen table instead of a gunfight
The drama is intimate.
The stakes are emotional.
The violence, when it comes, is the last resort of a man who has run out of options.
Alan Ladd’s Quiet Gravitas
As John Chandler, Ladd plays a father whose entire life has narrowed to one mission: heal his son.
He is a man of few words, carrying grief like a second skin.
His restraint is the film’s moral center.
Olivia de Havilland’s Grounded Strength
Linnett Moore is not a romantic accessory.
She is the film’s conscience — steady, practical, and unafraid to challenge a man’s pride.
Her presence gives the story its moral horizon.
Dean Jagger’s Burley Patriarch
Jagger plays a man who believes force is justice.
He is not evil — he is hardened, territorial, and convinced he is right.
He becomes the test of whether John will choose violence or sacrifice.
2. Story Summary
John Chandler (Alan Ladd)
A former Confederate soldier traveling the frontier with his mute son, David.
The boy’s silence is the wound the father cannot heal.
Linnett Moore (Olivia de Havilland)
A widowed farmwoman struggling to keep her land.
She offers shelter reluctantly — then compassion deliberately.
The Conflict
A dispute with the Burley family escalates into a legal and moral battle.
John is forced to choose between:
defending his son with violence
or protecting him through humility and sacrifice
The Father’s Burden
John’s love for David is absolute.
His willingness to suffer for his son becomes the film’s emotional spine.
The Turning Point
When John is imprisoned, Linnett steps forward — not as a savior, but as someone who has chosen to belong to this wounded pair.
The Resolution
The boy’s voice returns not through force, but through love.
The film ends not with triumph, but with a family formed through suffering, loyalty, and grace.
3. Spiritual & Moral Resonances
A. Love as Long Obedience
John’s journey is not heroic in the Hollywood sense.
It is heroic in the Christian sense:
love that suffers, endures, and refuses to abandon.
B. Belonging as Gift, Not Possession
Linnett’s farm becomes a sanctuary — not because she owns it,
but because she opens it.
Belonging is not claimed; it is offered.
C. The Father’s Wound and the Son’s Silence
David’s muteness is a symbol of trauma.
John’s gentleness is the antidote.
The film becomes a meditation on how love heals what violence breaks.
D. Violence as Last Resort
The film insists that true strength is restraint.
John fights only when he must — and even then, he pays the cost.
Martyrdom in May is not a theme but a progression. These four films form a single ascent: a man learns to see rightly, to love faithfully, to surrender vengeance, and finally to offer his life without reserve. A Short Film About Love begins the month by stripping desire of its illusions; it shows how distorted longing must die before any true gift of self can emerge. Make Way for Tomorrow then reveals the quiet crucifixion of fidelity — the kind of daily, hidden sacrifice that forms the backbone of every Eucharistic life. By the time Ben‑Hur arrives, the pattern is unmistakable: the blood of Christ breaks the cycle of retaliation and reorders the heart toward mercy.
The month culminates in The Passion of Joan of Arc, where the interior work becomes visible witness. Joan stands before her judges with nothing left to protect, her face becoming the icon of a soul fully offered. In her, the Eucharistic mystery reaches its final clarity: a life consumed in obedience, a body given up, a will aligned with God’s. The May sequence teaches that martyrdom is not an event but a formation — the slow, disciplined shaping of a man into something that can be placed on the altar and broken for others.
BEN‑HUR (1959)
Charlton Heston • Stephen Boyd • Jack Hawkins • Haya Harareet
Directed by William Wyler
A monumental epic where vengeance, empire, and divine interruption collide with the ancient world’s most uncomfortable truth: no earthly power can save a man from himself. Ben‑Hur is both spectacle and spiritual crucible—an Old World tragedy reborn as a New Testament conversion. Charlton Heston’s Judah is a man forged in hatred; Stephen Boyd’s Messala is a man consumed by ambition. Between them stands Rome, fate, and the quiet, unyielding presence of Christ.
1. Production & Historical Setting
Released in 1959 by MGM, Ben‑Hur stands at the intersection of:
The Golden Age of Biblical Epics — Hollywood’s last great era of widescreen religious storytelling, where faith and spectacle were not enemies but partners.
Cold War moral clarity — a world hungry for stories of courage, sacrifice, and redemption.
The widescreen revolution — MGM’s 70mm Ultra Panavision format, designed to overwhelm the senses and resurrect ancient civilizations with unprecedented scale.
Post‑war spiritual searching — audiences wrestling with suffering, justice, and the possibility of divine mercy after global catastrophe.
The world is vast: Roman arenas, desert caravans, galleys, palaces, and the dusty roads of Judea.
But the moral terrain is intimate—betrayal, hatred, forgiveness, and the terrifying freedom of grace.
The cultural backdrop:
Rome as the archetype of totalizing political power
Jewish identity under occupation
Friendship twisted into rivalry
Slavery as both physical and spiritual bondage
The emergence of Christ as a quiet revolution
The longing for justice in a world ruled by force
The film’s power lies in its contrasts:
Heston’s volcanic intensity, Boyd’s icy ambition, and the silent, luminous presence of Christ—who never speaks, yet commands the entire narrative.
2. Story Summary
Judah Ben‑Hur, a Jewish prince of Jerusalem, lives in uneasy peace under Roman rule. His childhood friend Messala returns as a Roman tribune—ambitious, hardened, and eager to use Judah’s influence to secure political control.
Judah refuses.
The friendship fractures.
A falling roof tile becomes the pretext for Rome’s cruelty:
Judah is condemned to the galleys.
His mother and sister are imprisoned.
Messala washes his hands of mercy.
Judah survives the impossible:
Years chained as a galley slave
A naval battle that becomes his rebirth
Adoption by the Roman consul Quintus Arrius
A return to Judea with wealth, status, and a single purpose—revenge
The story tightens:
Judah discovers his mother and sister are lepers.
Messala’s pride becomes his downfall.
The chariot race becomes the arena of justice—brutal, operatic, unforgettable.
Then comes the turning point:
Judah encounters Christ—first as a giver of water, later as the condemned King.
At the foot of the Cross, Judah’s hatred breaks.
His mother and sister are healed.
His soul is freed.
The ending is quiet, triumphant, and spiritually unanswerable.
3. Spiritual & Moral Resonances
A. Vengeance as a Spiritual Prison
Judah’s hatred is understandable, even righteous.
But it becomes his master.
The film exposes the spiritual corrosion of revenge—how it devours the very justice it seeks.
B. The Seduction of Power
Messala is not a monster.
He is the logical product of Rome: ambition without conscience.
His tragedy is the tragedy of every age that worships strength.
C. The Silent Christ
Christ never speaks.
He simply appears—giving water, walking the Via Dolorosa, dying on the Cross.
His silence is the film’s theology:
grace does not argue; it transforms.
D. Suffering as the Forge of Conversion
Judah’s journey is not from weakness to strength, but from hatred to mercy.
His suffering becomes the doorway to freedom.
E. Redemption as a Gift, Not a Reward
No one earns salvation in Ben‑Hur.
It arrives—unexpected, undeserved, unstoppable.
4. Hospitality Pairing — The Pilgrim’s Table
A bowl of lentil stew — the food of travelers and the poor
A loaf of rustic bread — simple, sustaining, Eucharistic in its symbolism
A cup of red wine — the color of sacrifice, covenant, and victory
A clay lamp — the light of hope in occupied Judea
A table set low to the ground — humility as the posture of conversion
A setting for nights when you want to honor justice, mercy, and the God who overturns empires with a whisper.
5. Reflection Prompts
Where has vengeance disguised itself as justice in my life?
What friendships have been twisted by pride or ambition?
Where am I still living as a slave to old wounds?
How is Christ silently present in my suffering?
What part of my heart needs the healing that comes only at the foot of the Cross?
“Ben‑Hur” and the Catholic Drama of Redemption
A Film Review and Spiritual Reflection
There are films that impress, films that inspire, and films that convert. Ben‑Hur belongs to the last category—a cinematic pilgrimage from hatred to mercy, from Rome’s iron fist to Christ’s open hand. It is not merely a biblical epic; it is a catechesis in widescreen.
I. The Plot as a Passion Narrative in Disguise
Judah’s story mirrors the spiritual arc of every sinner:
Betrayal
Suffering
False justice
Rage
Encounter
Conversion
Healing
His journey is not parallel to Christ’s—it is drawn into Christ’s.
The chariot race is not the climax.
The Cross is.
II. What the Film Reveals About the Human Condition
Judah undergoes a threefold death:
Social death — stripped of honor
Physical death — chained in the galleys
Spiritual death — consumed by hatred
Only Christ can reverse all three.
Rome can break a man.
Christ can resurrect him.
III. The Catholic Counter‑Vision: How a Soul Is Saved
The Church teaches that salvation unfolds through:
1. Encounter
Judah meets Christ twice—once in thirst, once in despair.
Both times, Christ gives water.
2. Conversion
Judah’s hatred dissolves not through argument but through the sight of innocent suffering.
3. Healing
His mother and sister’s leprosy becomes the outward sign of the inward disease Christ has come to cure.
4. Mission
Judah leaves the Cross not triumphant, but transformed.
IV. The Film’s Prophetic Warning
Ben‑Hur warns every age:
Empires rise and fall.
Power intoxicates.
Justice without mercy becomes cruelty.
Hatred masquerades as righteousness.
Only Christ endures.
V. What the Film Teaches Catholics Today
The film asks:
What chains still bind me?
What grudges still rule me?
What wounds still define me?
And it answers:
Freedom is not the absence of Rome.
Freedom is the presence of Christ.
VI. The Final Scene as a Cinematic Resurrection
The healing of Judah’s family is not sentimental.
It is sacramental.
A sign of the Kingdom breaking into history.
A preview of the Resurrection.
A reminder that no hatred, no empire, no wound is stronger than the mercy of God.
VII. Conclusion: The Film as a Call to Conversion
Ben‑Hur is not merely a spectacle.
It is a summons.
A call to lay down the sword.
A call to forgive.
A call to be healed.
A call to follow the silent Christ who conquers not by force, but by love.
Judah’s victory is not in the arena.
It is at Calvary.
And so is ours.
Smoke in This Life and Not the Next
Ben‑Hur — After the Race
Tonight’s Smoke: the roughest, cheapest cigar in the stable Tonight’s Pour: a harsh, unrefined bourbon that burns like iron Reason: victory without peace deserves a bitter companion
The Reflection
Judah steps out of the arena a champion.
The crowd roars.
Rome trembles.
Messala lies broken.
But inside, Judah feels none of it.
He lights the cigar.
The smoke is acrid, uneven, almost insulting.
It fits the moment.
Because the truth hits him harder than the race:
He has defeated Messala, but not the hatred that made the race necessary.
The cheap smoke scratches his throat.
The cheap bourbon burns his chest.
He lets them.
They are the first honest sensations he’s felt all day.
He realizes:
Revenge delivered its promise,
but not its peace.
Justice was won,
but the wound remains.
The victory is real.
The emptiness is greater.
This is the moment every man faces after he “wins” the wrong battle.
The moment when the soul whispers: “This wasn’t the cure.”
The Purgatory Note — The Fire Behind the Fire
If Judah had the language of the saints, he would recognize the feeling:
He has entered the first fire of Purgatory —
the fire of seeing himself clearly.
The saints describe three purgatorial pains that match Judah’s soul exactly:
1. The Pain of Loss
He has everything he wanted,
and nothing he needed.
2. The Pain of Clarity
He sees the truth:
Messala was not the only man chained by hatred.
3. The Pain of Rigor
God does not heal a man by sparing him the truth.
He heals him by showing him the truth without anesthesia.
Judah is not being punished.
He is being purified.
The race was not his triumph.
It was his diagnosis.
The Smoking Question to Ponder
If the victory I long for finally arrived tonight, would it heal me — or expose me?
That is the question that drives Judah toward the Cross.
It is the question that drives every man toward God.
Virtue: Shelter & Intercession Cigar: Mild, maternal (Connecticut Shade) Bourbon: Larceny Small Batch – soft, enduring Reflection: “Whose prayers have shaped my path?”
The Devotion
The days after the Ascension are days of holy absence—
not abandonment,
but the strange tenderness of a God who withdraws so that His people may learn to stand.
The Church waits between two worlds:
Christ risen, Christ ascended,
and the Spirit not yet poured out.
It is the season of intercession,
the season when Heaven feels close enough to touch
yet silent enough to require faith.
A Connecticut Shade belongs to this day—
gentle, maternal, a wrapper that shelters rather than scorches.
Larceny Small Batch follows it:
soft, enduring, the taste of a mercy that stays with a man long after the glass is empty.
Together they form a quiet vigil,
a smoke and a sip that ask a single question: Who has prayed me into the man I am?
And into this vigil steps the soul of Leonarde Collin.
For fourteen days she served her niece,
a soul permitted by God to finish her purification through charity.
And then—on the final night—she appeared in glory:
brilliant as a star,
her face bearing the peace of one who has reached the end of suffering.
She thanked her niece.
She promised to pray for her family.
She urged her to remember that all earthly trials bend toward one end: the salvation of the soul.
This is the mystery of today:
Heaven does not merely watch.
Heaven intercedes.
The saints do not simply rejoice.
They shelter.
The Purgatory Line
A soul once confessed:
“I did not know how many hands held me up.
I thought I walked alone.
But every step of my salvation was carried by the prayers of others.”
Not pride.
Not rebellion.
Not scandal.
Blindness.
A life lived unaware of the invisible network of grace
woven by mothers, grandmothers, godparents, friends,
and the quiet saints who adopt us without our knowing.
Purgatory is often the unveiling of this truth—
the revelation of every prayer that steadied our feet
when we believed we were standing on our own.
The Cigar & Bourbon
Connecticut Shade — mild, maternal.
A wrapper like a protective hand,
a smoke that teaches gentleness without weakness.
Larceny Small Batch — soft, enduring.
A bourbon that lingers,
the taste of a mercy that does not rush,
does not demand,
does not abandon.
Together they form a discipline of gratitude—
the willingness to acknowledge the unseen intercessors
who have carried us farther than we ever realized.
The Question for the Night Smoke
“Whose prayers have shaped my path?”
Not:
“Who have I impressed?”
but
“Who has quietly lifted me before God?”
Let the smoke rise like the petitions of the saints—
a thin, steady column
reminding your soul that you have never walked alone.
MAY 17 Sunday within the Octave of the Ascension
Pentecost Novena-St. Justin-Pinot Grigio Day
Psalm 27, verse 1:
The LORD is my light and my salvation; whom should I FEAR? The
LORD is my life’s refuge; of whom should I be afraid?
This verse is
and should be our declaration of faith.Let us commit it to memorization and repeat it to ourselves daily or
when fear and doubt rears its ugly head within our depths.Doing this will help us trust the Lord and
develop a true relationship of love with the Trinity through prayer.God will become our sanctuary, and we will be
able to put away our fears and rest in the arms of God.
We will no
longer have to pretend that we are not afraid for we will trust the Lord with
our whole being offering our lives, families, time and treasure with total
peace. We will be able to sleep and
awaken easily. The old Navajo adage will
no longer apply to us; you cannot wake a
person who is pretending to be asleep; due to our faith in God.
Through our
reliance in Him we will be able to say with King David, “I believe that I shall
see the bounty of the LORD in the land of the living. Wait for the LORD with
courage; be stouthearted and wait for the LORD.” (Psalm 27:13-14).
Copilot’s Take
Psalm 27 opens with a defiant clarity that every age of
believers must reclaim: “The LORD is my light and my salvation; whom should I
fear?” David is not offering poetry; he is issuing a declaration of spiritual
non‑compliance. Fear is the currency of every power that seeks to dominate the
human person, whether ancient empires or modern ideological movements. The
Christian who internalizes this verse becomes ungovernable by anything except
God. The Catechism affirms that human freedom finds its perfection in Him
alone, and any system that attempts to replace God with the State, the Party,
or the Collective inevitably becomes coercive.
In our own time, we see movements rising in major
cities and cultural centers that echo the old materialist dream: a world
without God, without transcendence, without the human soul. Whether these
currents appear in New York demonstrations or in the election of officials
sympathetic to authoritarian philosophies, the spiritual mechanism is the same.
They depend on fear — fear of exclusion, fear of punishment, fear of standing
alone. But Psalm 27 dismantles that strategy. David does not deny the existence
of enemies; he simply denies their authority. The Christian does not pretend
danger is imaginary. The Christian simply refuses to bow before it.
The Church’s response to such pressures is never panic
or rage. It is courage — the virtue that steadies the heart and clears the
mind. Courage is not loud. Courage is fidelity. It is the quiet refusal to
surrender conscience, to dilute truth, or to let ideology replace the Gospel.
The Catechism teaches that Christians must resist “structures of sin,” not with
violence or despair, but with the unshakable conviction that Christ has already
conquered. We do not fight for victory; we fight from victory.
Evil advances only where Christians retreat. History
shows that oppressive systems flourish when believers grow weary, isolated, or
silent. But when Christians pray, fast, speak truth, and remain rooted in the
sacraments, the tide turns — not always politically, but spiritually, which is
the deeper battlefield. The Lord becomes our refuge not by removing conflict,
but by transforming our posture within it. The man who trusts God sleeps
differently, walks differently, speaks differently. He is no longer pretending
to be asleep, as the Navajo adage warns; he is awake, alert, and anchored.
David ends the psalm with a command that fits our
moment: “Wait for the LORD with courage; be stouthearted and wait for the
LORD.” This is not passive waiting. It is the waiting of a soldier at his post,
the waiting of a watchman who knows dawn is coming. It is the waiting of a
Christian who refuses to let fear dictate his loyalties or his hope. In an age
of ideological pressure, the stouthearted believer becomes a sign of
contradiction — a living reminder that no earthly movement, however loud or
confident, can eclipse the sovereignty of God.
39.
As in every Eucharistic celebration, the Risen Lord is encountered in the
Sunday assembly at the twofold table of the word and of the Bread of Life. The
table of the word offers the same understanding of the history of salvation and
especially of the Paschal Mystery which the Risen Jesus himself gave to his
disciples: it is Christ who speaks, present as he is in his word "when
Sacred Scripture is read in the Church". At the table of the Bread of
Life, the Risen Lord becomes really, substantially and enduringly present
through the memorial of his Passion and Resurrection, and the Bread of Life is
offered as a pledge of future glory. The Second Vatican Council recalled that
"the Liturgy of the Word and the Liturgy of the Eucharist are so closely
joined together that they form a single act of worship". The Council also
urged that "the table of the word of God be more lavishly prepared for the
faithful, opening to them more abundantly the treasures of the Bible". It
then decreed that, in Masses of Sunday and holy days of obligation, the homily
should not be omitted except for serious reasons. These timely decrees were
faithfully embodied in the liturgical reform, about which Paul VI wrote,
commenting upon the richer offering of biblical readings on Sunday and holy
days: "All this has been decreed so as to foster more and more in the
faithful 'that hunger for hearing the word of the Lord' (Am 8:11) which,
under the guidance of the Holy Spirit, spurs the People of the New Covenant on
towards the perfect unity of the Church".
This Sunday is a joyous preparation for Pentecost. Because this
Sunday eagerly awaits the coming of the Holy Spirit (see the Mass proper’s), it
is not surprising that there was once a special papal ceremony to foreshadow
the Pentecost event. On this day the Pope would celebrate Mass in the church of
Santa Maria Rotonda, the former Pantheon in Rome with its large opening in the ceiling. After
his sermon, roses were thrown from the opening as a symbol of the Paraclete's
imminent arrival. From this custom comes the original name of the Sunday: Dominica
de Rosa.
"When. . .the Spirit of truth. . .has come, He
will bear witness concerning Me. And you also bear witness. . .The hour is
coming for everyone who kills you to think that he is offering worship to
God" (Gospel).
The Apostles make the first Novena, recommended
by Christ Himself, in preparation for the coming of the Holy Spirit. The
Introit presents their Novena prayer, and ours, too.
In the background St. Stephen is shown being stoned to
death. The cross upside down, indicates how St. Peter was crucified. We are to
"bear witness" to Christ and His Church against a world that will
condemn us to death. thinking that they are "offering worship to
God" (Gospel).
A witness! Yes, interiorly, to "be watchful in
prayers;" exteriorly, by "mutual charity among yourselves"
(Epistle). For this we now offer "this. . .sacrifice" (Secret), to
"purify us' from past disloyalties and to "strengthen" us for
future testimony.
Excerpted from My Sunday Missal, Confraternity
of the Precious Blood
Goffine’s Devout
Instructions, 1896.
At
the Introit of the Mass, the Church sings: " Hear, O Lord, my voice, with
which I have cried to Thee, alleluia. My heart hath said to Thee, I have sought
Thy face; Thy face, Lord, will I seek; turn not away Thy face from me,
alleluia, alleluia. The Lord is my light and my salvation, whom shall, I fear?"
Prayer.
O almighty and everlasting God grant us ever to
entertain a devout affection towards Thee, and to serve Thy majesty with a
sincere heart.
EPISTLE, i. Peter iv. 7-11.
Dearly
Beloved: Be prudent and watch in prayers. But before all things have a constant
mutual charity among yourselves; for charity covereth a multitude of sins.
Using hospitality one towards another without murmuring. As every man hath
received grace, ministering the same to one another, as good stewards of the
manifold grace of God. If any man speaks, let him speak as the words of God. If
any man minister, let him do it as of the power which God administereth: that
in all things God may be honored through Jesus Christ our Lord.
Practice.
The
virtues here recommended are excellent preparatives for receiving the Holy
Ghost, for nothing makes us more worthy of His grace than temperance, prayer,
charity, unity, and hospitality towards our neighbors. Endeavor, therefore, to
exercise these virtues, and every day during the following week pray fervently
to the Holy Ghost for help in your endeavors.
GOSPEL. John xv. 26, 27; xvi. 1-4.
At
that time Jesus said to His disciples: When the Paraclete cometh Whom I will
send you from the Father, the Spirit of truth, Who proceedeth from the Father,
He shall give testimony of Me: and you shall give testimony, because you are
with Me from the beginning. These things have I spoken to you, that you may not
be scandalized. They will put you out of the synagogues: yea, the hour cometh
that whosoever killeth you will think that he doth a service to God. And these
things will they do to you, because they have not known the Father nor Me. But
these things I have told you, that when the hour shall come, you may remember
that I told you.
What
kind of sin is scandal?
It is a frightful sin. By it countless sins are
occasioned, thousands of souls are carried to perdition, while the loving
design of God for the salvation of men is frustrated.
How,
in general, is scandal given?
By saying, doing, and neglecting to do something which
becomes the occasion of sin to another.
When
do parents give scandal?
When they set a bad example to their children. When they
do not correct them for doing wrong, or neglect to keep them from what is bad
and to teach them that which is good.
How
do employers give scandal?
In much the same way that parents give scandal to their
children: when, by bad example or by command, they keep their servants or other
employees from divine service, or neglect to make them attend it. When they
themselves use, or give to others, flesh-meat on days of abstinence. When they
order the commission of sin.
A
custom has survived in some parts of this country of opening the New Testament
at random on this day, considering that in the page chosen there may be, as it
were, some final message from Jesus as he makes his way back into heaven. Each
one in turn opens the New Testament and reads the whole chapter he has lighted
on, while the rest of the family or group help him to make that chapter
practical for himself.
Thou, of all
consolers, best,
Visiting the troubled breast,
Dost refreshing peace bestow.
The Gift of Piety
The gift of Piety begets in our hearts a filial
affection for God as our most loving Father. It inspires us to love and respect
for His sake, persons and things consecrated to Him, as well as those who are
vested with His authority: His Blessed Mother and the Saints, The Church and
its visible Head, our parents and superiors, our country and its rulers. He who
is filled with the gift of Piety finds the practice of his religion not a
burdensome duty but a delightful service. Where there is love, there is no labor.
Prayer
Come, O Blessed Spirit of Piety, possess my heart.
Enkindle therein such a love for God that I may find satisfaction only in His
service and, for His sake, lovingly submit to all legitimate authority. Amen.
St.
Justin, Apologist and Martyr[5]
(c. 100-165), who was one of the most important Christian writers of the
second century. Justin himself tells how his study of all the schools of
philosophy led him to Christianity, and how he dedicated his life to the
defense of the Christian faith as "the one certain and profitable
philosophy."
St.
Justin is particularly celebrated for the two Apologies which he was
courageous enough to address in succession to the persecuting emperors
Antoninus and Marcus Aurelius. One of them contains a description of the rites
of baptism and the ceremonies of Mass, thus constituting the most valuable
evidence that we possess on the Roman liturgy of his day. He was beheaded in
Rome in 165. Justin is also referred to as "the Philosopher."
of
The Most Reverend Thomas J. Olmsted, Bishop of Phoenix,
to Priests, Deacons, Religious and the Lay Faithful of the Diocese of Phoenix
on the Sacrament of the Holy Eucharist
My
beloved Brothers and Sisters in Christ,
Part
I
Eucharist – Mystery
to Be Revered
13. The Eucharist is the supernatural food
that keeps us going along the difficult journey towards the Promised Land of
eternal salvation: “Whoever eats my flesh has eternal life”. To see the
truth of these words, we must turn to the context for which they were spoken.
I. The Mass as the new Exodus from Slavery of
Sin
14. The Eucharist comes to us through the
Mass. Our normal experience of the Eucharist is at Mass, the central ritual –
or liturgical – celebration which takes place every day and is a weekly
obligation for the faithful. What we often call the Sacrifice of the Mass is
the place where the Church has always believed we eat and drink the Body and
Blood of Christ. The Mass must be understood within the context of the Last
Supper where “Jesus took bread […] and gave it to his disciples, saying,
‘Take and eat; this is my body’ […] Then he took a cup, […] he gave it to them,
saying, ‘Drink from it, all of you. This is my blood of the covenant’” (Mt
26:26-28).
15. At the Last Supper, which the Church
commemorates today, Jesus took part in and forever transformed the Jewish
Passover ritual meal. It is here we see the context in which Jesus desires His
Body and Blood to be consumed as food. This is the context where we discover
the beauty of the grand mystery of the Eucharist as the fulfillment of both the
Jewish Passover and the Covenant of Israel.
. To be continued…
Bible in a year
Day 316 Absolute Surrender
Fr. Mike discusses our call to
deny ourselves and take up our cross, specifically focusing on God’s call to
renounce all that is ours and trust in him. He also highlights the story of
Mary and Martha and encourages us not to allow the cares of life to choke the
life of God out of our lives as Martha allowed her troubles and anxieties to
do. Today’s readings are from Luke 9-10 and Proverbs 26:4-6.
The
Pinot Grigio complements any meal but sometimes it’s best by itself. Lorrie
C
If you’re a wine aficionado, you
know that there’s nothing quite like the fresh taste of a great vintage of wine
to go with an incredible meal. There are so many vintages to choose from it can
sometimes be a challenge to find the perfect pairing. Thankfully, there’s Pinot
Grigio, an incredible wine that’s been known for hundreds of years in the
world’s most respected wine regions. Pinot Grigio Pinot Grigio Day celebrates
this astonishing wine and its ability to be paired with just about anything, or
just enjoyed on its own.
History
of Pinot Grigio Day
Pinot Grigio has a long history, as
we already mentioned above, and shares part of its genetic heritage with Pinot
Noir and Pinot Gris. As the years went by it came to be one of the most popular
vintages to be grown and produced, with over 15,000 Hectares being used to grow
the grape necessary to produce it. If you’ve never had this fine wine and want
to know how it tastes, it has been described as having an acidic,
lighter-bodied flavor, most of the noted as having a recognizable ‘spiciness’
to them.
Depending on where you’re getting
your Pinot Grigio from it may come under a different name, with examples being
the Auxerrois Gris from Alsace, the Grauer Monch from Germany, and the Rulander
from Romania. While the basic profile of the wine remains the same, there are
variations based on where and how its produced that lead to sweeter and drier
varieties being available. Pinot Grigio Day is your opportunity to go out and
buy a bottle or ten and start sampling a delicious variety of what the world
has to offer in the way of excellent wines.
How
to celebrate Pinot Grigio Day
As we already mentioned there’s no
better way to celebrate this day than by getting yourself a fine bottle of
Pinot Grigio and pouring it out with some friends. Given that there are
multiple varieties of this wine it could be good to schedule a wine tasting
where everyone brings a bottle of Pinot Grigio from a different region, to
ensure that everyone gets the chance to enjoy the wide world of Pinot Grigio.
Don’t let this holiday pass you by without taking the time to appreciate one of
viticultures finest products.
Things you can do with Pinot Grigio
besides drinking it!
Of course, having a delicious glass
of Pinot Grigio is the best way to celebrate this day! However, there are a
number of other things that you can do with Pinot Grigio, aside from drinking
it. There are so many different recipes that call for Pinot Grigio. So, why not
celebrate with a delicious meal incorporating Pinot Grigio and a glass of the
wine to wash it down with? Fish dishes always work really well with this type
of wine. Nevertheless, there are many other recipes whereby Pinot Grigio can be
incorporated.
Did you know that you can use Pinot
Grigio in a pie and tart crust? You have probably heard about creating a tender
pie crust with vodka. However, you can also use this delicious white wine. The
science is very similar. Unlike water, gluten is not created when flour and
alcohol or mixed together. If you overwork gluten, baked goods can end up
tough. Therefore, you can enjoy a much more tender crust if you use less
gluten. Moreover, the touch of Pinot Grigio is going to add a bit of sweetness
to the crust as well, so it’s a win-win!
If you’re looking for a great
dinner idea to go with your bottle of white wine on Pinot Grigio day, how about
a chicken cacciatore? In some countries, the tomato-based version of this dish
is more well-known. However, with this version, chicken is served with a white
sauce. You can prepare this with red chillis, oil, and garlic. You can then add
some olives and a bottle of pinot grigio, cooking it for a long time so that
all of the flavors are melded together properly. Ten minutes before you are
finished cooking, add plenty of fresh rosemary to the sauce.
If this doesn’t sound like the
right dish for you, how about a pasta carbonara? You can add more flavor to
your pasta dish by adding a splash of Pinot Grigio to the pan after the
pancetta has been sauteed. You won’t look back after trying this version. There
is a gamey aftertaste to the smoked pancetta cubes. However, you can get rid of
this with the Pinot Grigio, which makes the pure pancetta flavor outstanding.
It really takes your dish to the next level, and this is a sort of concept that
can be applied to a lot of different dishes when it comes to adding Pinot
Grigio.
Last but not least, why not create
your own cocktail with Pinot Grigio? Of course, you’re still going to be
technically drinking it, but we’ve bent the rules a little bit for this one!
There are some amazing Pinot Grigio cocktails on the Internet. Spend some time
looking for a recipe you love. One of our favorites is a Hugo Spritzer. To make
this cocktail, you will need your favorite Pinot Grigio (or any old bottle!)
combined with soda water, elderflower syrup, mint leaves, some wedges of lime,
and some ice. It’s a refreshing cocktail, which goes down a treat.
Around the Corner
May 22 - 24, 2026
Feast of the Flowering Moon is held annually on Memorial Day weekend in historic, downtown
Chillicothe, Ohio.
The festival offers plenty of
family-friendly entertainment for residents and visitors to Chillicothe, Ohio.
Featured activities include Native American music and dancing, crafters,
exhibitors, Mountain Man Encampment with working craftsmen and demonstrations,
entertainment and much more.
·Today in honor of the Holy Trinity do the Divine Office giving
your day to God. To honor God REST: no shopping after 6 pm Saturday till
Monday. Don’t forget the internet.
Tyrone Power • Susan Hayward • Jack Elam
Directed by Henry Hathaway
A frontier thriller stripped to bone and nerve, Rawhide turns a lonely stagecoach relay station into a crucible where civility, courage, and human decency are tested under siege. Tyrone Power sheds his swashbuckler polish to play a man forced into responsibility; Susan Hayward burns with fierce maternal protectiveness; and Jack Elam delivers one of the most unsettling villains in Western cinema.
This is not a cattle‑drive Western.
It is a moral pressure chamber—a study of fear, duty, and the moment when ordinary people must decide whether they will stand firm or be broken.
1. Production & Historical Setting
Postwar Western Realism
Released in 1951 by Twentieth Century‑Fox, Rawhide belongs to the era when Westerns were shifting from mythic heroics to psychological tension.
The frontier is no longer a place of adventure—it is a place where the thin line between order and chaos is exposed.
The Siege Western
This is a Western without open plains.
The drama is interior:
a relay station,
a corral,
a kitchen table,
a single locked room where fear and strategy collide.
The claustrophobia is intentional.
The West becomes a spiritual testing ground.
Tyrone Power’s Transformation
Power plays Tom Owens, a refined heir being “toughened up” by his father’s company.
He begins as a gentleman out of place—polished, educated, untested.
The siege forces him into manhood not through bravado, but through responsibility.
Susan Hayward’s Fierce Gravitas
Hayward’s Vinnie Holt is not a damsel.
She is a woman forged by grief, duty, and the instinct to protect a child.
Her strength is not masculine imitation—it is maternal ferocity.
Jack Elam’s Tevis: The Unhinged Threat
Elam’s performance is a revelation:
a man whose impulses are violent, lustful, and unpredictable.
He is not a mastermind—he is chaos incarnate.
The Frontier as Moral Laboratory
The relay station becomes a microcosm of the human soul:
isolated, vulnerable, and forced to confront the reality of evil.
The world is small:
a kitchen, a barn, a single stagecoach line.
But the moral terrain is vast—
courage, fear, sacrifice, and the cost of protecting the innocent.
2. Story Summary
Tom Owens (Tyrone Power)
A civilized man sent to the frontier to learn the business.
He is one week from returning to San Francisco when fate intervenes.
Vinnie Holt (Susan Hayward)
A strong, guarded woman traveling with her orphaned toddler niece.
When the cavalry warns of escaped convicts, children are barred from the coach.
Vinnie is forced to stay at Rawhide—furious, armed, and untrusting.
The Takeover
Four escaped convicts arrive:
Zimmerman, the calculating leader
Tevis, the volatile brute
Yancy, the weak follower
Gratz, the silent muscle
They kill a friend of the stationmaster and seize the outpost.
Their plan: ambush tomorrow’s gold shipment.
The Forced Marriage Ruse
To protect Vinnie from Tevis, Tom claims she is his wife.
This lie becomes their shield—and their shared burden.
The Siege
The film tightens like a noose:
coded glances,
failed escape attempts,
rising tension between the outlaws,
Tevis’s escalating menace toward Vinnie.
Tom and Vinnie become reluctant allies—
two strangers bound by danger, dignity, and the need to protect a child.
The Final Confrontation
As the gold-bearing stage approaches, violence erupts.
The outlaws turn on each other.
Tom must finally act—not as a hero, but as a man who refuses to let evil triumph.
The film ends with survival, not triumph.
A man and woman who endured the night and protected the innocent.
3. Spiritual & Moral Resonances
A. Courage as Responsibility, Not Glory
Tom’s transformation is not about swagger.
It is about accepting the burden of protecting others.
This is the Christian model of courage:
duty before ego.
B. The Sacred Instinct to Protect the Innocent
Vinnie’s ferocity is not anger—it is vocation.
She embodies the Marian instinct:
the fierce, holy defense of the vulnerable.
C. Evil as Disordered Desire
Tevis is not a mastermind.
He is the embodiment of unrestrained appetite—
lust, violence, impulse.
He forces the protagonists into vigilance and moral clarity.
D. The Siege as a Spiritual Image
The relay station becomes the soul under attack:
isolated, pressured, forced to choose between fear and fidelity.
E. Endurance as Victory
The film insists that sometimes survival itself is the triumph—
the refusal to surrender to fear, despair, or moral collapse.
4. Hospitality Pairing — The Frontier Vigil Spread
A dark, earthy Maduro cigar — rugged, slow-burning, echoing the dust and tension of the siege.
A rye whiskey with frontier bite — sharp, clarifying, like the moral decisions forced upon Tom and Vinnie.
Black coffee boiled “cowboy style” — bitter, honest, elemental.
A bowl of beef‑and‑barley stew — simple, sustaining, the food of people who must endure.
A leather-bound notebook — a place to reflect on duty, courage, and the cost of protecting others.
5. Reflection Prompts
Where am I being called to step into responsibility rather than comfort.
What “relay stations” in my life feel isolated, pressured, or under siege.
Who depends on my courage, even if they never say it.
Where do I need to protect the innocent—physically, emotionally, or spiritually.
What form of evil in my life resembles Tevis: impulsive, chaotic, and demanding vigilance.
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