It feels really stupid to say that there was a major religion “ghost” in William Peter Blatty’s classic screenplay for “The Exorcist,” the horror classic that was based on his own novel.

It would be hard to write a story that — R-rating and all — contained more in-your-face religious issues and references than this one. Blatty, who died last year, was super candid about his goal to create a tale that (all together now) scared the “hell” out of people. But hold that thought, because we will come back to it.

No, what I want to note in this post is that the entertainment desk at The Los Angeles Times managed to do a major story about the 40th anniversary of this classic while avoiding any of its haunting spiritual symbols and themes.

How do you do that? Well, you start with the business angles linked to this monster hit and stay there. Damn the supernatural and full speed ahead. Here’s the overture:

During the production of the masterpiece of horror “The Exorcist,” director William Friedkin and screenwriter William Peter Blatty enjoyed having fun with the suits at Warner Brothers. At one point, the two were going to shoot a mock scene from the movie with Groucho Marx and send the footage to the executives.

“We always put them on,” said Friedkin. “They were always concerned that we were both crazy and would eventually implode the movie. We even staged blowups in front of them.”

Of course, study executives had other worries about this film and its contents. But, again, hold that thought, because the Times has a Hollywood event to plug.

“The Exorcist,” the first horror film to be nominated for a best picture Oscar, is being feted Monday by the Academy of Motion Picture Arts and Sciences with a 45th anniversary, sold-out screening at the Samuel Goldwyn Theater in Beverly Hills. …

Based on the runaway 1971 best-seller by Blatty, “The Exorcist” scared — and still does scare — daylights out of audiences. [Ellen] Burstyn stars as actress Chris MacNeil who, much to her horror, discovers her sweet young daughter, Regan (Linda Blair), is possessed by the devil. The only way to get rid of the demon is to call in two priests, the tormented young Jesuit Father Karras (Jason Miller) and the elderly exorcist Father Merrin (Max von Sydow) to cast out the devil.

Toward the very end of this long feature there is a hint — if you know what to look for — about the role that Blatty’s conservative Catholic faith played in this movie and the battles to get it on the screen.

So, in the end, was Prince Rogers Nelson a hero of the Sexual Revolution or someone who, as he grew more mature, was a heretic who -- in the name of a controversial faith -- rejected many of the sexy doctrines he previously celebrated?

I'm not sure that there's a definitive answer to that, especially when talking about someone as complex as Prince (or TAPKAP). But I do think that it was crucial for journalists to let their readers know that this was an important question to ask.

In the first stories about the artist's death, the emphasis was totally on Prince the gender-blurring hedonist. But as the day went on, a few counter themes began to emerge.

You could see the struggle (and that's kind of a compliment) most clearly in The Washington Post, where the first news reports about Prince were baptized in his sexy '80s glory, while a sidebar openly discussed changes linked to his decision to join the Jehovah's Witnesses.

In the final obit, the Post team hinted early and, at the very end, mentioned that many seemed afraid to mention. Here's the solid lede:

A musical chameleon and flamboyant showman who never stopped evolving, Prince was one of the music world’s most enigmatic superstars. He celebrated unabashed hedonism, sang of broken hearts and spiritual longing and had a mysterious personal identity that defied easy definition.

The obit hit all of the fine details of the sexy Prince, from erotic guitar eruptions to skimpy costumes. It was difficult, at times, to tell what was happening when, in terms of his music and stage personas. If he never stopped evolving, then it's crucial to be precise about the young prince vs. the mature Prince.

At the very end, the news story offered this: