Television personality Megyn Kelly has sparked controversy with a scathing critique of the Golden Globe-nominated film *Conclave*,
accusing it of being “anti-Catholic” and launching into a blistering attack on its portrayal of the Vatican.
In her review, Kelly didn’t hold back, calling the film’s depiction of the papal election process deeply offensive and filled with religious inaccuracies.
What followed was a fierce takedown of the movie that not only criticized its themes but also spoiled key plot points for viewers.
*Conclave*, which garnered attention for its dramatic interpretation of the secretive and high-stakes papal election process, has been lauded for its performances and direction.
However, it has also faced backlash from some religious groups who believe its portrayal of the Catholic Church is unnecessarily sensationalized and critical.
Kelly, a former attorney turned media personality, joined the ranks of vocal critics, particularly taking issue with how the movie handled sensitive religious topics.
On her show, Kelly didn’t mince words, calling *Conclave* a “blatant attack” on the Catholic Church. She accused the film of promoting an “anti-Catholic agenda,” pointing to its portrayal of Church officials and the behind-the-scenes political machinations that play a central role in the plot. According to Kelly, the film’s characterization of the Vatican as a place rife with corruption and deceit was not only damaging to the Church’s reputation but also unfairly exaggerated for dramatic effect.
“The portrayal of the Vatican in *Conclave* is nothing short of irresponsible,” Kelly stated, visibly frustrated. “It’s clear that the filmmakers set out to make the Church look like a power-hungry, corrupt institution. They take every opportunity to paint the Cardinals and the Vatican as nothing but scheming, selfish men.” She argued that this characterization failed to accurately reflect the complexities of the Catholic Church and its history, accusing the film of using the backdrop of religion as a mere vehicle for sensational storytelling.
Kelly’s critique went beyond just the themes of the movie; she also attacked the film’s accuracy. As someone with a strong interest in current events and political affairs, Kelly found fault with the way *Conclave* depicted the processes and procedures that govern papal elections. She argued that the filmmakers took dramatic liberties that not only misrepresented the process but also painted the Church in an unflattering light.
But what truly ignited the firestorm around Kelly’s review was her decision to spoil the film’s plot in her takedown. As part of her analysis, she revealed key moments from the film, including the identity of the film’s eventual Pope—a revelation that many viewers were hoping to experience firsthand. Kelly’s decision to spoil these twists angered some viewers, with many accusing her of undermining the movie’s impact and ruining the suspense for those who had not yet seen it.
In addition to the spoilers, Kelly’s commentary touched on what she saw as the film’s failure to present the complexities of Catholicism in a balanced way. “Instead of showing the Vatican’s nuanced and historical role in the world, *Conclave* goes straight for the sensational,” she added. “There’s no attempt to understand the spiritual or theological aspects of the Church. It’s all about the drama and scandal, which, frankly, feels disrespectful.”
The backlash against Kelly’s review has been mixed. Some of her supporters agree with her assessment of the film, claiming that the Catholic Church deserves a more respectful portrayal in media. Others, however, have criticized Kelly for being overly harsh and for making the film’s supposed flaws the center of attention rather than engaging with its cinematic merits.
The controversy surrounding Kelly’s take on *Conclave* also raises broader questions about how religion is portrayed in film. The intersection of faith and entertainment is often a sensitive subject, with different audiences interpreting depictions of religious institutions in vastly different ways. For some, *Conclave* might represent an engaging, if dramatic, portrayal of a historical event; for others, it’s a cinematic misstep that disrespects one of the world’s most influential institutions.
Despite the backlash, Kelly has continued to defend her position. In follow-up segments, she reiterated her concerns about the film’s handling of Catholicism and maintained that her critique was rooted in her respect for the Church, rather than any personal vendetta against the filmmakers. She emphasized that her goal was to encourage a more thoughtful, respectful approach to portraying religious themes in media.
As *Conclave* continues to generate conversation in the wake of its Golden Globe nomination, Kelly’s review has added fuel to the ongoing debate about the representation of religion in film. Whether one agrees or disagrees with her take, there’s no denying that the controversy surrounding her comments has ignited a wider discussion about the intersection of entertainment, religion, and public perception.
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