This is spot on.
The modern churches that have abandoned their artistic and musical patrimony are appalling. On architecture and art, I realize that tight budgets come into play, though churches that aggressively embrace modernist ugliness for its own sake can't use budgets as an excuse. But there is not even that excuse for walking away from the musical heritage and replacing it with junk.
As for Hollywood: I was struck by the author's affirmation of beauty as "the combination of wholeness, harmony, and radiance."
When was the last time you saw a movie made in that spirit?
There are a few. I have just seen one. The Sundance Film Festival ended up back online this year. Among the offerings -- and by far the best Sundance film I've seen so far -- is After Yang. A "religious" film? No. But the film is a meditation wrapped inside a science fiction movie. Like Kogonada's first film, Columbus (2017), it is quiet, thoughtful and gentle. There is not yet a trailer. I'm sure I will be posting it to the movie ping list when a trailer is available, but put it on your watchlist. When you see it, remember that this is Kogonada 2.0, and the dialogue is heavily metaphorical. There is, for example, a wonderful speech about tea in which the protagonist, who runs a small tea shop and who ritualizes tea to a considerable degree, is struggling to answer a question about why he has "given your life to tea." You will miss the point unless you understand that while Jake may be talking about tea, Kogonada is talking about something else, something which we can sense, smell and feel but for which we don't have an adequate language.
In the meantime, watch Columbus. There is a line in the film about searching for something that is "invisible yet always visible." That sounds stilted here, but it is entirely natural in the context of the film; the leads (Jin and Casey) are trying to make sense of some sketches and cryptic comments in the notebook of Jin's father, a distinguished academic architect or architectural critic, who has fallen into a coma. But the architecture is only a narrative device and a metaphor; the things that are invisible yet always visible are the things that are defined by their absence, and what the movie is really about is loneliness, emptiness and the yearning in the soul for balance, fulfilment and completion. There is no preaching. Kogonada simply presents the problem and invites the viewers to fill the empty space for themselves.
Those are the two examples that pop into my mind. Both are worth watching. I think there must be more. Suggestions?
So: Kogonada is a Korean-American who makes "American" films. Is he "Hollywood?" Columbus was made for $700,000 and was self-distributed; it was a hit on the festival circuit but very few people saw it in theaters. That was as indie as indie can be, short of shooting the whole film on an iPhone. It made a big enough impression that A24 signed on to produce After Yang. Is A24 "Hollywood?" It's not one of the legacy "major" studios, and it's not part of the Borg. It's still an independent company, though it's now large enough to be considered a mid-major. Its brand is to be deliberately unconventional. It takes risks. It can miss big, but it also produces some gems that would probably never be made by the Borg.
Sooner or later, A24 will probably be bought by one of the Borg companies, which will throw enough billions at the founder/owners, who have built a success from nothing and who will eventually be ready to retire. The Borg companies are doing the old Microsoft thing of buying up their rising competitors. The question will then become what new rising independent producer will take its place.