Methodist or Presbyterian Lord's Supper:
How the Lutheran Communion Service looked at the time of the Reformation:
I would say yes, Jesus is present in Protestant services. Jesus is present wherever two or three are gathered in His name and He is present when His word is proclaimed and studied.
But what about their Holy Communion? I would say yes, to the extent that they believe He is present. I don't think any Protestants believe in the Sacrificial aspect of their "Lord's Supper." They don't believe in transubstantiation. For most they simply believe "it" is a symbol of the Lord, like a picture of Jesus would be.
Some High Episcopal/Anglican parishes approach our dogma of transubstantiation, but I think they, nonetheless, have a different term.
But less, we forget, for the valid celebration of the Holy Sacrifice of the Mass, you need a valid priest to be the sacramental sign of the one and only High Priest, who is also the Victim in the Holy Sacrifice. That is Jesus Christ, not only High Priest and Victim but also Bridegroom--the Church is His bride.
But you might ask, in the Church there are male and female; how can man/men be brides? Our souls, no matter our physical gender, are feminine to receive the sanctifying and actual graces Jesus gives us as He gives us Himself. In Latin and most Romance languages the term soul "anima" is feminine.The maleness of the ordained priesthood is the proper "matter" for the Sacrament of Holy Orders since Christ is High Priest (not priestess) and Bridegroom, not bride or transgendered.
Anglicans don't have that nor do any other Protestant sects. Only the Eastern Orthodox Churches do.
But their Holy Communion services aren't devoid of the presence of Christ. And perhaps the Catholic Church supplies what is lacking for them?
VATICAN CITY - The Vatican newspaper has broken a yearlong silence and weighed in on director Paolo Sorrentino’s “The Young Pope,” giving the television series generally positive reviews despite what it called the “frivolous,” ”caustic” and “grotesque” way it painted the Vatican.
L’Osservatore Romano dedicated a two-page spread in Sunday’s edition to the 10-episode series, which began airing in Italy in October 2016 and in North America earlier this year.
The main essay was penned by Juan Manuel de Prada, a Spanish intellectual who explored the contradictions - in Sorrentino, in the character of Pope Pius XIII, played by Jude Law, and in the Vatican hierarchy - that were presented by the series.
“The Young Pope” opens with the improbable election of Lenny Belardo as history’s first American pope. Despite his youth, Belardo charts a deeply conservative, controversial and at times vicious papacy, still haunted by the trauma of being abandoned by his parents and raised by a nun.
The series features Diane Keaton as the nun, Sister Mary, who is convinced Lenny is a saint, and Silvio Orlando as the scheming secretary of state who spars with him. Orlando’s Cardinal Voiello, named for a popular brand of Italian pasta, is a perfect amalgam and caricature of real-life past Vatican secretaries of state in both his love of soccer and his devotion to a severely disabled child.
In his review, de Prada found that inside Sorrentino’s anti-clerical rants there was also a “docile admiration for the church.”
Sorrentino doesn’t manage to penetrate the church’s mystery “but he manages to convey his own perplexity to the viewer, who will ask how it’s possible that an institution run by ambitious, lascivious braggarts could survive all these shipwrecks,” de Prada wrote.
The newspaper’s silence during the Italian run was notable, since other Catholic media were almost unanimous in their criticism. L’Osservatore’s editor-in-chief, Gian Maria Vian, said he specifically chose not to enter into the Catholic media debate while the show was airing.
“They wanted us to either bless it or excommunicate it, and I didn’t want to play that game,” Vian said in a telephone interview Saturday. “But we intervened now because it’s an important television series, an important cultural phenomenon.”
A top L’Osservatore columnist, Lucetta Scaraffia, looked at Sorrentino’s screenplay, which she says has “criticism of the existing church, but in some way hope that something good might come from it.”








