We believed that Generation Z was returning en masse to the Church. An error in a survey is to blame for the mirage

Stadiums vibrating with thousands of twenty-somethings raising their arms, eyes closed, singing to god. International pop stars posing in nun’s habits on the covers of their most anticipated albums. And, as a backdrop, an incessant barrage of headlines announcing the unthinkable: the massive return of the youth to the church pews. Over the past few months, the world seemed to witness a fascinating twist in the script. Generation Z, the most secular and secularized demographic cohort in history, was re-embracing Christianity. However, when you scratch the surface of this apparent spiritual awakening, what emerges is not a collective epiphany, but a trap. A gigantic demoscopic mirage. What they sold us as the great rebirth of faith is, in reality, a monumental miscalculation where the armies of artificial intelligence, the mischief of paid online surveys and the desire to believe in a revival have completely distorted the true—and much more complex—religious transformation of young people. We believed that faith was returning to the streets, but the fault was in the method. The spark that ignited the narrative of the great Christian revival jumped in the United Kingdom with the publication of the report The Quiet Revivalcommissioned by the Bible Society. Based on survey data YouGov, The study showed a spectacular figure: monthly church attendance among English and Welsh young people aged 18 to 24 had quadrupled, going from a marginal 4% in 2018 to a resounding 16% in 2024. The news spread like wildfire. Entire dioceses held conferences to “turn up the volume” on this revival, and politicians in the British Parliament used the report as proof that “Christianity is neither oppressed nor decayed,” as reported by BBC. However, demographic experts were quick to raise alarm bells. Surveys considered the “gold standard” of sociology for using random probability samples—such as the British Social Attitudes wave Labor Force Survey— showed a diametrically opposite film. According to these rigorous metersthe percentage of practicing Christians between 18 and 34 years old had not only not risen, but had fallen from 8% in 2018 to 6% in 2024. The danger of surveys opt-in If young people are not filling the churches, where do the miracle figures come from? The answer lies in the architecture of the internet itself. The report of the Bible Society was based on surveys opt-inthat is, panels where users voluntarily register in exchange for financial rewards or points. Demographer Conrad Hackett warns that this format suffers an “existential threat.” Those who respond to these surveys usually seek to maximize your profits filling out questionnaires at full speed, lying about their age to access more surveys, or using Virtual Private Networks (VPN) from other countries to get paid in hard currency. Worse still, Artificial Intelligence has come into play. The researchers have detected armies of chatbots programmed to imitate humans and fill out surveys en masse. The fake young people in these polls are so unreliable that, in similar studies carried out in the USA12% of those surveyed opt-in under 30 years old even stated that he had a license to pilot a nuclear submarine. The “great awakening” was largely an algorithmic hallucination. The situation in our land In Spain, the optical illusion is similar. Phenomena like Hakuna Group Music They managed to bring together 12,000 young people at the Vistalegre Palace, while events such as Calls They gathered 6,000 people at the Movistar Arena. Both are betting on Contemporary Worship Music (CWM), an evangelization format of Protestant and evangelical heritage, full of giant screens, pop-rock and raw emotions. But the noise of the stadiums clashes head-on with the silence of the parishes. The comparison of the official reports of the Spanish Episcopal Conference (CEE) is devastating. If we analyze the transition from the previous exercises to the most recent data, the fall of the sacraments is an undeniable constant: Baptisms: They fell from 152,426 registered in 2023 at 146,370 in 2024which represents a year-on-year decrease of 3.97%. The magnitude of the collapse is better understood if we look in the rearview mirror: in 2007the Church celebrated no less than 325,271 baptisms annually. Communions and weddings: Inertia drags the rest of the life cycle. First communions fell by almost 5% (standing at 154,677), and Catholic marriages fell by 6%, remaining at a reduced 31,462 ecclesiastical unions. Institutional collapse has other profound social consequences. Given the collapse of baptismal prayers, more than 150 Spanish town councils now offer “civil baptisms” or lay welcome ceremonies to celebrate the arrival of newborns. At the same time, the bleeding of vocations has left Spain with only 15,285 priests, whose average age is around a worrying 65 years. The problem It’s so pressing that has forced bishoprics like that of Tui-Vigo to make lay women official to lead “Celebrations of the Word” in the villages in the face of the total lack of priests. The only discordant note—the small statistical lifeline to which the Church clings—is the baptism of children over 7 years of age. This figure experienced a reboundrising from 11,835 in 2023 to 13,323 in 2024. A figure that suggests a paradigm shift in Spanish Catholicism: conversions that are much more thoughtful, personal and less conditioned by “cultural” inertia. The great gap between Spirituality and Religion To understand Generation Z in Spain, two concepts must be drastically separated: the Catholic institution and the search for the transcendent. Here comes into play what my partner in Xataka defined as: “The 29-59% paradox.” According to the Barometer on Religion and Beliefs in Spain (BREC) of 202561% of young people between 18 and 24 years old declare themselves indifferent, agnostic or atheist. Only 29% define themselves as Catholic, a figure much lower than the 46% national average. However, just because they don’t set foot in a church doesn’t mean they are pure materialists. That same report reveals that 59% of young people firmly believe in the existence of the soul and 45% in “energies.” As the sociologist Mar Griera explainswe are not facing a return to dogma, … Read more

The Oscar idyll with independent cinema is not a mirage, and ‘anora’ razing this year is the best test

The whims and trends of Hollywood go through Rachas and now (and for a few years) it is the turn of independent cinema: ‘Anora’ has made a full of five Oscars and confirms a trend that had been seen for years: the blockbusters are no longer the beautiful girl of the industry, which prefers to reward the small, emotional and remote tapes of the Blackbides of the blockbusters. Five Oscar, five. Be Baker He has taken with ‘Anora’ five Oscarfour of them for Baker on a personal capacity: Best film, best address (Baker), Best Screenplay (Baker), Best Assembly (Baker) and best cast actress (Mikey Madison). It is especially striking that Baker has collected four of these five awards (including best movie, since he produces it), marking a total record in the history of the Oscars: never before one person had won so many awards in the same gala. It is an unusual recognition. Triumph for independent. With this success of ‘Anora’, this edition of the Oscar completely reveals a type of cinema that is made with six million dollars (and raises more than 40), which makes Sean Baker the movie one of the cheapest to win the Grand Prix of the Night. And there is a second winner: the indie neon -only distributor that two years ago It was A24 With ‘everything at once everywhere, which already has experience in these lides, since it was the one that took the Korean’ parasites’ to the United States, facilitating its victory in 2019. The indie sweeps. As We have commented previouslythe Oscars have been rewarding independent or, at least, at least, regardless of the great proposals of the Majors: ‘All at once everywhere‘In 2022,’Coda‘In 2021,’Nomadland‘(2020) or’Parasites‘(2019) have been the most recent. The only exception on this streak took place last year, with ‘Oppenheimer‘, But in this edition we return to the fold, in what is confirmed that it is more than a coincidence: next year we will have to be very attentive to the proposals in the margins, because in view it is that they start more likely to success. A convulsed year. The sweep of ‘Anora’ has left almost without prizes to the rest of the favorites, who have had to settle for secondary and very distributed awards. ‘Emilia Pérez’ has been punished for Karla Sofía Gascón’s tweetsand he has only taken cast actress for Zoe Saldaña; ‘The Brutalist’, maybe also affected by the use of AI In the movie, he stays with photography, music and actor for Adrien Brody; ‘The substance‘, another that could have put up the gala, does not wear an actress or director, and is made up of makeup and hairdressing. Of secondary actor, in short, the favorite Kieran Culkin wins. Below the blockbusters. That ‘Dune 2‘ and ‘WICKED‘They have gone home only with technical awards (sound and visual effects one; costume and production design another) makes the Oscar turn very clear. Above all, taking into account how good it went to ‘Oppenheimer’ last year; And no, it is not useful that in reality, that is an author film: the same can be said of ‘Dune 2’, which also belongs to a genre very dear to Nolan. Small movies is what he likes now, and Majors Like Disney, Warner or Universal will do well in taking note of it. All Oscar 2025 winners Best movie Anora (winner) The Brutalist A Complete Unknown Conclave Dune: Part 2 Emilia Pérez I’m still here Nickel Boys The substance WICKED Best leading actor WELL PROTECTIVE ACTRESS Best address Sean Baker (Anora) (Winner) Brady Corbet (The Brutalist) James Mangold (A Complete Unknown) Jacques Audiard (Emilia Pérez) Coralie Fargeat (the substance) Best cast actor Yura Borisov (Anora) Kiera Culkin (To Real Pain) (Winner) Edward Norton (A Complete Unknown) Guy Pearce (The Brutalist) Jeremy Strong (The Amprentice) Best cast actress Monica Barbaro (A Complete Unknown) Ariana Grande (Wicked) Felicity Jones (The Brutalist) Isabella Rossellini (conclave) Zoe Saldaña (Emilia Pérez) (winner) Best animated film Best animated short film Beautiful Men In the Shadow of the Cypress (winner) Magic Candies Wander to Wonder Yuck! Best photography The Brutalist (winner) Dune: Part 2 Emilia Pérez Maria Callas Nosferatu Best costume design A Complete Unknown Conclave Gladiator II Nosferatu WICKED (Winner) Best documentary feature film Black Box Diaries NO OTHER LAND (Winner) Porcelain Ware Soundtrack Oh a Coup d’Etat Sugarcane Best documentary short film Death by Numbers I am ready queen Incident Instruments of a Beating Heart The Only Girl in the Orchestra (Winner) Better assembly Anora (winner) The Brutalist Conclave Emilia Pérez WICKED Best International Film Best makeup and hairdresser To Different Man Emilia Pérez Nosferatu The substance (winner) WICKED Best music The Brutalist (winner) Conclave Emilia Pérez WICKED Wild robot Best original song The evil (Emilia Pérez) (winner) The Journey (Six Triple Eight) Like a Bird (the lives of Sing Sing Sing) My path (Emilia Pérez) Never Too Late (Elton John: Never Too Late) Best Production Design The Brutalist Conclave Dune: Part 2 Nosferatu WICKED (Winner) Best Short Film in Real Action To Lien Anuja I’M not a robot (winner) The Last Ranger The Man Who Could Not Remain Silent Best sound A Complete Unknown Dune Part 2 (winner) Emilia Pérez WICKED Wild robot Better visual effects Best adapted script A Complete Unknown Conclave (winner) Emilia Pérez Nickel Boys The lives of sing sing Best original script Anora (winner) The Brutalist To Real Pain SEPTEMBER 5 The substance Header | Gtres In Xataka | There is a “ghost” category of the Oscar that is not spoken: it is so demanding that there have never been films that opt ​​for it

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