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Kevin Smith’s recent sit-down with Fox News Digital is a wake-up call for anyone who still believes Hollywood can’t be more tone-deaf to the spiritual needs of this country. Smith openly admitted that the original Dogma sprang from a man of real Catholic conviction, but that the sequel will be written through the lens of a filmmaker who has walked away from that faith. That admission should make thoughtful Americans ask whether the next generation of mainstream films will celebrate or belittle the moral foundations that hold our communities together.
Dogma was never a small throwaway picture — it was a 1999 film that shocked, amused, and outraged in equal measure, featuring a star-studded cast and drawing protests and millions of sharply divided opinions when it first premiered. For many conservatives and believers, the movie’s awkward balance of irreverence and reverence was tolerable only because it came from a director who claimed to believe what he was portraying. That history matters now that Smith says the sequel will be shaped by doubt rather than devotion.
What’s most striking and sobering is Smith’s admission that losing his faith left him without the shelter he once relied upon, and that his struggle with mental health played a role in that shift. He said his stay at a residential treatment center and personal reckonings helped push him away from the certainties he once held, an experience conservatives should treat with compassion but also with a warning: faith isn’t merely superstition, it is a reliable bulwark for many Americans under pressure. The cultural elites who cheer a famous director’s departure from God should not be surprised if society pays a price for fewer shared moral anchors.
Smith has confirmed he’s writing what many are already calling Dogma 2, and he admits the new project “lacks in the faith that powered that first one” but promises “pure cleverness” in its place. Hollywood’s subtle pivot from reverence to skepticism is only the latest episode in a broader campaign to replace faith with fashionable cynicism, and Smith’s own words make that shift explicit. Conservatives should be prepared to critique the sequel not just for its jokes but for the worldview it promotes to millions of impressionable viewers.
We should also remember that the original Dogma, despite its controversies, was for many a strange kind of invitation back into religious conversation — a reminder that faith can be messy and human and still worth defending. Now that the director himself says he no longer “carries that cross,” the sequel risks becoming less an exploration of faith and more a sermon of doubt, handed down from a cultural elite who increasingly treats religion as a problem to be solved rather than a treasure to be preserved. Americans who value faith, family, and freedom ought to demand better from our storytellers.
Patriots who care about passing down a moral inheritance should not be passive as Hollywood rewrites its relationship with religion. Support artists and films that celebrate faith, push back against nihilistic rewrites, and continue to insist that American culture includes room for reverence and respect. If Kevin Smith’s next film is a confession of doubt, then let it be met with vigorous debate and a louder chorus of creators who remember what held this country together in the first place.
