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As beatification nears, new book explains why Fulton Sheen was ‘America’s Apostle’ #Catholic With the beatification of Archbishop Fulton Sheen approaching, a new book on the life and legacy of the evangelist and television and radio show host explains why he was “America’s Apostle.”Allan Smith, founder and director of the Archbishop Fulton J. Sheen Mission Society of Canada, published the book “America’s Apostle” on Sept. 15, just ahead of the archbishop’s beatification on Sept. 24.“I think … the title is a perfect one — ‘Americaʼs Apostle,’ because he really was an apostle to the American people in the great tradition of apostles,” Vice President and Editorial Director of EWTN News Matthew Bunson told “EWTN News Nightly” anchor Veronica Dudo on Sept. 22.The book was published through EWTN Publishing and Sophia Institute Press.“[Sheen] was a brilliant communicator; he had immense gifts on television, radio, as a writer, as a poet,” Bunson said. “But all of that was geared toward proclaiming Jesus Christ in exactly the same way that a good apostle should.”Sheen began his media career as a priest, hosting an hourlong radio show called “The Catholic Hour” in 1930 until he was consecrated an auxiliary bishop in New York in 1951 and transitioned to television, hosting “Life Is Worth Living.” At its peak, Sheen’s radio show was reaching about 4 million people weekly, and his television show was reaching about 30 million people.“Like a good apostle, he used all the means of communications at his disposal,” Bunson said. “I just mentioned television, radio, you name it. He wanted to use it. So itʼs perfectly appropriate, I think, for him to be called ‘Americaʼs Apostle.’”Sheen also reserved one hour every day for prayer in front of the Blessed Sacrament, beginning this when he was ordained in 1919 until he died in 1979. He was found dead at the age of 84 in his chapel in front of the Blessed Sacrament.Bunson explained that Sheen “made a promise on the day of his ordination” that he would do a Holy Hour in front of the Blessed Sacrament. He also noted Sheen wrote in his autobiography, “Treasure in Clay,” that he prepared for his homilies, his books, and his speeches in front of the Eucharist. The book cover for “America’s Apostle: Celebrating the Life and Legacy of Blessed Fulton J. Sheen” features a portrait of Sheen. It was released days before Sheen’s beatification set for Sept. 24, 2026. | Credit: EWTN “He made the Blessed Sacrament his way of not just preparing, but making himself holy and worthy of the people he was talking to,” Bunson said. “Because thatʼs how seriously he took what he was saying.”“So as a communicator, it wasnʼt just communicating about himself,” he said. “He was always proclaiming a person, and that was Jesus Christ. And he did that by developing and fostering his love for the Eucharist. And he did it in the Holy Hour.”“Fulton Sheen, pray for us,” Bunson concluded.
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As beatification nears, new book explains why Fulton Sheen was ‘America’s Apostle’ #Catholic With the beatification of Archbishop Fulton Sheen approaching, a new book on the life and legacy of the evangelist and television and radio show host explains why he was “America’s Apostle.”Allan Smith, founder and director of the Archbishop Fulton J. Sheen Mission Society of Canada, published the book “America’s Apostle” on Sept. 15, just ahead of the archbishop’s beatification on Sept. 24.“I think … the title is a perfect one — ‘Americaʼs Apostle,’ because he really was an apostle to the American people in the great tradition of apostles,” Vice President and Editorial Director of EWTN News Matthew Bunson told “EWTN News Nightly” anchor Veronica Dudo on Sept. 22.The book was published through EWTN Publishing and Sophia Institute Press.“[Sheen] was a brilliant communicator; he had immense gifts on television, radio, as a writer, as a poet,” Bunson said. “But all of that was geared toward proclaiming Jesus Christ in exactly the same way that a good apostle should.”Sheen began his media career as a priest, hosting an hourlong radio show called “The Catholic Hour” in 1930 until he was consecrated an auxiliary bishop in New York in 1951 and transitioned to television, hosting “Life Is Worth Living.” At its peak, Sheen’s radio show was reaching about 4 million people weekly, and his television show was reaching about 30 million people.“Like a good apostle, he used all the means of communications at his disposal,” Bunson said. “I just mentioned television, radio, you name it. He wanted to use it. So itʼs perfectly appropriate, I think, for him to be called ‘Americaʼs Apostle.’”Sheen also reserved one hour every day for prayer in front of the Blessed Sacrament, beginning this when he was ordained in 1919 until he died in 1979. He was found dead at the age of 84 in his chapel in front of the Blessed Sacrament.Bunson explained that Sheen “made a promise on the day of his ordination” that he would do a Holy Hour in front of the Blessed Sacrament. He also noted Sheen wrote in his autobiography, “Treasure in Clay,” that he prepared for his homilies, his books, and his speeches in front of the Eucharist. The book cover for “America’s Apostle: Celebrating the Life and Legacy of Blessed Fulton J. Sheen” features a portrait of Sheen. It was released days before Sheen’s beatification set for Sept. 24, 2026. | Credit: EWTN “He made the Blessed Sacrament his way of not just preparing, but making himself holy and worthy of the people he was talking to,” Bunson said. “Because thatʼs how seriously he took what he was saying.”“So as a communicator, it wasnʼt just communicating about himself,” he said. “He was always proclaiming a person, and that was Jesus Christ. And he did that by developing and fostering his love for the Eucharist. And he did it in the Holy Hour.”“Fulton Sheen, pray for us,” Bunson concluded.

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The book by Allan Smith was published on Sept. 15, about one week before the beatification. EWTN’s Matthew Bunson discusses the book and Sheen’s legacy on “EWTN News Nightly.”

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Filmmakers bet on human craft over AI for animated St. Francis musical #Catholic A 3D animated musical trilogy on St. Francis of Assisi is taking shape in Singapore, with its creators choosing a human-led animation process over AI at a moment when the industry is racing toward it.Director Benjamin Tanaka, executive producer Gabriel Patrick, and composer Ethan Hsu call the project “The Francis Chronicles.” It marks a reunion for Tanaka and Hsu, who first worked together two years ago on “One Church, One People,” the official theme song for Pope Francis’ visit to Singapore in September 2024 — his last Asia-Pacific apostolic visit before his death seven months later. Patrick, a secondary school friend of Tanaka, joined the project in January 2026.“It does feel like God’s providence — the way our paths crossed and intertwined over the last couple of years. We were each called individually first. Ben and Gabriel were both working on an animated short series about Catholic saints, while I was mulling over a faith-based musical project. When we met up late last year at a separate event, we realized the commonalities in our ideas — that was when the seeds for this project were first planted,” recalled Hsu, who is directing the music for the trilogy. A rendered 3D scene from “The Francis Chronicles” depicts St. Francis praying before the San Damiano crucifix. | Credit: Courtesy of Cantiva Studios St. Francis, a 13th-century Italian friar from the town of Assisi, has become an enduring symbol of simplicity, peace, and care for creation — echoed in Pope Francis’ second encyclical, Laudato Si’, “On Care for Our Common Home.”Eight months later, the trio set up Cantiva Studios, a Singapore film production company focused on animated features of cultural and spiritual significance for international audiences, with “The Francis Chronicles” as its flagship project.With Pope Leo XIV declaring this year the Jubilee Year of St. Francis of Assisi, the trio felt the time was right to begin the project. “His life has greatly impacted our faiths individually, and what better way to honor him than to use the gifts we have been given in storytelling and music to do just that,” Tanaka said from Cantiva Studios’ newly established production office, when asked why they decided to go ahead with a musical instead of a straight drama. They chose animation over live action, he added, because they hope to reach families with young children.Choosing craft over convenienceThe decision to animate the film by hand, using traditionally trained artists, was not an easy one. AI models can now produce polished visuals in minutes and promise significant savings in time and cost. Patrick, however — a designer by training — argued that nothing matches what human hands bring to a film: “Nothing still beats human-crafted movies in offering the viewer and the artists behind the making of the film the greatest range and freedom of authentic expression.”After extensive consultation with the Franciscan friars in Singapore, who assisted with research into the saint’s life, the trio chose a human-led production process, with artists and animators shaping the film from concept to final frame. Friar Derrick Yap, left, and Friar John-Paul Tan of the Custody of St. Anthony speak at the Festival of Praise event at the Church of St. Mary of the Angels in Singapore. | Credit: Courtesy of Cantiva Studios Tanaka, who is making his feature directorial debut with “The Francis Chronicles,” added that Pope Leo XIV’s first encyclical, Magnifica Humanitas, released in May, helped crystallize the team’s decision. “Pope Leo XIV’s timely reminder of ensuring the dignity of human labor really struck a chord with us when we finally made the call on whether to use AI,” he said. “We are proud to be making this animated musical in the most human way possible.” For the filmmakers, this decision is not a rejection of technology but one that keeps human judgment and artistry at the center of the creative process.A medieval saint for the modern worldFriar John-Paul Tan of the Custody of St. Anthony sees the timing as significant. “The last decade or so has been a telling sign about the effects of St. Francis and what his life meant then and to our generation today,” he said, speaking from the Church of St. Mary of the Angels in Singapore. He pointed to a remarkable convergence of milestones: the first pope in history to take the name Francis and a series of 800th-anniversary milestones running from the Rule of St. Francis in 2023 through his canonization in 2028. “I think all these milestones culminate to something significant that God is trying to tell us at this moment in history.”Friar Derrick Yap, custos of the Custody of St. Anthony, said he hopes the films will carry that message beyond the Church: “May the eyes of the world be opened to the beauty of creation and come to see it as St. Francis did: Brother Sun, Sister Moon, Brother Fire, and Sister Mother Earth.” An animator works on a 3D scene for “The Francis Chronicles” at Cantiva Studios’ production office in Singapore. | Credit: Courtesy of Cantiva Studios From Singapore to the worldFor a small domestic film industry, the ambition is unusual. Singapore-made films represent only a fraction of titles screened locally and face a challenging commercial landscape. A homegrown Catholic animated feature would itself be a rarity. “The Francis Chronicles” aims to go further, telling the story as an international trilogy designed for theatrical and streaming audiences beyond Singapore.To help finance development of the first film, “Francis and the Voice of Creation” — covering his early years and call from God — the trio launched a worldwide Kickstarter campaign on Sept. 8. The funds raised will go toward research, script writing, character designs, and storyboards before animation begins. A 3D-animated St. Francis of Assisi prays inside San Damiano Church in a scene from “The Francis Chronicles.” | Credit: Courtesy of Cantiva Studios The second and third films are planned to carry the story through the founding and growth of the Franciscan movement and St. Francis’ final years, when he became the first documented saint in history to receive the stigmata.Aaron Leong is a film and video producer who has been hired by Cantiva Studios for commercial video work on “The Francis Chronicles.”
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Filmmakers bet on human craft over AI for animated St. Francis musical #Catholic A 3D animated musical trilogy on St. Francis of Assisi is taking shape in Singapore, with its creators choosing a human-led animation process over AI at a moment when the industry is racing toward it.Director Benjamin Tanaka, executive producer Gabriel Patrick, and composer Ethan Hsu call the project “The Francis Chronicles.” It marks a reunion for Tanaka and Hsu, who first worked together two years ago on “One Church, One People,” the official theme song for Pope Francis’ visit to Singapore in September 2024 — his last Asia-Pacific apostolic visit before his death seven months later. Patrick, a secondary school friend of Tanaka, joined the project in January 2026.“It does feel like God’s providence — the way our paths crossed and intertwined over the last couple of years. We were each called individually first. Ben and Gabriel were both working on an animated short series about Catholic saints, while I was mulling over a faith-based musical project. When we met up late last year at a separate event, we realized the commonalities in our ideas — that was when the seeds for this project were first planted,” recalled Hsu, who is directing the music for the trilogy. A rendered 3D scene from “The Francis Chronicles” depicts St. Francis praying before the San Damiano crucifix. | Credit: Courtesy of Cantiva Studios St. Francis, a 13th-century Italian friar from the town of Assisi, has become an enduring symbol of simplicity, peace, and care for creation — echoed in Pope Francis’ second encyclical, Laudato Si’, “On Care for Our Common Home.”Eight months later, the trio set up Cantiva Studios, a Singapore film production company focused on animated features of cultural and spiritual significance for international audiences, with “The Francis Chronicles” as its flagship project.With Pope Leo XIV declaring this year the Jubilee Year of St. Francis of Assisi, the trio felt the time was right to begin the project. “His life has greatly impacted our faiths individually, and what better way to honor him than to use the gifts we have been given in storytelling and music to do just that,” Tanaka said from Cantiva Studios’ newly established production office, when asked why they decided to go ahead with a musical instead of a straight drama. They chose animation over live action, he added, because they hope to reach families with young children.Choosing craft over convenienceThe decision to animate the film by hand, using traditionally trained artists, was not an easy one. AI models can now produce polished visuals in minutes and promise significant savings in time and cost. Patrick, however — a designer by training — argued that nothing matches what human hands bring to a film: “Nothing still beats human-crafted movies in offering the viewer and the artists behind the making of the film the greatest range and freedom of authentic expression.”After extensive consultation with the Franciscan friars in Singapore, who assisted with research into the saint’s life, the trio chose a human-led production process, with artists and animators shaping the film from concept to final frame. Friar Derrick Yap, left, and Friar John-Paul Tan of the Custody of St. Anthony speak at the Festival of Praise event at the Church of St. Mary of the Angels in Singapore. | Credit: Courtesy of Cantiva Studios Tanaka, who is making his feature directorial debut with “The Francis Chronicles,” added that Pope Leo XIV’s first encyclical, Magnifica Humanitas, released in May, helped crystallize the team’s decision. “Pope Leo XIV’s timely reminder of ensuring the dignity of human labor really struck a chord with us when we finally made the call on whether to use AI,” he said. “We are proud to be making this animated musical in the most human way possible.” For the filmmakers, this decision is not a rejection of technology but one that keeps human judgment and artistry at the center of the creative process.A medieval saint for the modern worldFriar John-Paul Tan of the Custody of St. Anthony sees the timing as significant. “The last decade or so has been a telling sign about the effects of St. Francis and what his life meant then and to our generation today,” he said, speaking from the Church of St. Mary of the Angels in Singapore. He pointed to a remarkable convergence of milestones: the first pope in history to take the name Francis and a series of 800th-anniversary milestones running from the Rule of St. Francis in 2023 through his canonization in 2028. “I think all these milestones culminate to something significant that God is trying to tell us at this moment in history.”Friar Derrick Yap, custos of the Custody of St. Anthony, said he hopes the films will carry that message beyond the Church: “May the eyes of the world be opened to the beauty of creation and come to see it as St. Francis did: Brother Sun, Sister Moon, Brother Fire, and Sister Mother Earth.” An animator works on a 3D scene for “The Francis Chronicles” at Cantiva Studios’ production office in Singapore. | Credit: Courtesy of Cantiva Studios From Singapore to the worldFor a small domestic film industry, the ambition is unusual. Singapore-made films represent only a fraction of titles screened locally and face a challenging commercial landscape. A homegrown Catholic animated feature would itself be a rarity. “The Francis Chronicles” aims to go further, telling the story as an international trilogy designed for theatrical and streaming audiences beyond Singapore.To help finance development of the first film, “Francis and the Voice of Creation” — covering his early years and call from God — the trio launched a worldwide Kickstarter campaign on Sept. 8. The funds raised will go toward research, script writing, character designs, and storyboards before animation begins. A 3D-animated St. Francis of Assisi prays inside San Damiano Church in a scene from “The Francis Chronicles.” | Credit: Courtesy of Cantiva Studios The second and third films are planned to carry the story through the founding and growth of the Franciscan movement and St. Francis’ final years, when he became the first documented saint in history to receive the stigmata.Aaron Leong is a film and video producer who has been hired by Cantiva Studios for commercial video work on “The Francis Chronicles.”

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Director Benjamin Tanaka, executive producer Gabriel Patrick, and composer Ethan Hsu call the project “The Francis Chronicles.”

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Superbubble in the Large Magellanic Cloud – N44 is a complex nebula filled with glowing hydrogen gas, dark lanes of dust, massive stars, and many populations of stars of different ages. One of its most distinctive features, however, is the dark, starry gap called a “superbubble,” visible in this Hubble Space Telescope image in the upper central region.
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Superbubble in the Large Magellanic Cloud – N44 is a complex nebula filled with glowing hydrogen gas, dark lanes of dust, massive stars, and many populations of stars of different ages. One of its most distinctive features, however, is the dark, starry gap called a “superbubble,” visible in this Hubble Space Telescope image in the upper central region.

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N44 is a complex nebula filled with glowing hydrogen gas, dark lanes of dust, massive stars, and many populations of stars of different ages. One of its most distinctive features, however, is the dark, starry gap called a “superbubble,” visible in this Hubble Space Telescope image in the upper central region.

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Beacon of Light – This latest Picture of the Month from the NASA/ESA/CSA James Webb Space Telescope features Messier 77 (M77), a barred spiral galaxy famous and appreciated among astronomers for its combination of relative proximity and spectacular features to study. It is located 45 million light-years away in the constellation Cetus (The Whale).

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This latest Picture of the Month from the NASA/ESA/CSA James Webb Space Telescope features Messier 77 (M77), a barred spiral galaxy famous and appreciated among astronomers for its combination of relative proximity and spectacular features to study. It is located 45 million light-years away in the constellation Cetus (The Whale).

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Picture of the day The main altar of Santa Maria della Pace church in Brescia features the altarpiece Presentation at Temple by Pompeo Batoni. The tympanum sculptures are by Antonio Calegari. Celebrated as Candlemas in some places, this event in the life of Jesus is observed today in much of Eastern and Western Christianity. #ImageOfTheDay
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Picture of the day The main altar of Santa Maria della Pace church in Brescia features the altarpiece Presentation at Temple by Pompeo Batoni. The tympanum sculptures are by Antonio Calegari. Celebrated as Candlemas in some places, this event in the life of Jesus is observed today in much of Eastern and Western Christianity. #ImageOfTheDay

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Picture of the day
The main altar of Santa Maria della Pace church in Brescia features the altarpiece Presentation at Temple by Pompeo Batoni. The tympanum sculptures are by Antonio Calegari. Celebrated as Candlemas in some places, this event in the life of Jesus is observed today in much of Eastern and Western Christianity.
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Hubble Spots Lens-Shaped Galaxy – This NASA/ESA Hubble Space Telescope image of NGC 7722, a lenticular galaxy located about 187 million light-years away, features concentric rings of dust and gas that appear to swirl around its bright nucleus.
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Hubble Spots Lens-Shaped Galaxy – This NASA/ESA Hubble Space Telescope image of NGC 7722, a lenticular galaxy located about 187 million light-years away, features concentric rings of dust and gas that appear to swirl around its bright nucleus.

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This NASA/ESA Hubble Space Telescope image of NGC 7722, a lenticular galaxy located about 187 million light-years away, features concentric rings of dust and gas that appear to swirl around its bright nucleus.

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First Sky Map from NASA’s SPHEREx Observatory – NASA’s SPHEREx Observatory has mapped the entire sky in 102 infrared colors, as seen here in this image released on Dec. 18, 2025. This image features a selection of colors emitted primarily by stars (blue, green, and white), hot hydrogen gas (blue), and cosmic dust (red).
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First Sky Map from NASA’s SPHEREx Observatory – NASA’s SPHEREx Observatory has mapped the entire sky in 102 infrared colors, as seen here in this image released on Dec. 18, 2025. This image features a selection of colors emitted primarily by stars (blue, green, and white), hot hydrogen gas (blue), and cosmic dust (red).

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NASA’s SPHEREx Observatory has mapped the entire sky in 102 infrared colors, as seen here in this image released on Dec. 18, 2025. This image features a selection of colors emitted primarily by stars (blue, green, and white), hot hydrogen gas (blue), and cosmic dust (red).

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Massive Stars Make Their Mark in Hubble Image – This NASA/ESA Hubble Space Telescope image features the blue dwarf galaxy Markarian 178 (Mrk 178) against a backdrop of distant galaxies in all shapes and sizes. Some of these distant galaxies even shine through the diffuse edges of Mrk 178.
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Massive Stars Make Their Mark in Hubble Image – This NASA/ESA Hubble Space Telescope image features the blue dwarf galaxy Markarian 178 (Mrk 178) against a backdrop of distant galaxies in all shapes and sizes. Some of these distant galaxies even shine through the diffuse edges of Mrk 178.

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This NASA/ESA Hubble Space Telescope image features the blue dwarf galaxy Markarian 178 (Mrk 178) against a backdrop of distant galaxies in all shapes and sizes. Some of these distant galaxies even shine through the diffuse edges of Mrk 178.

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