‘Am I Racist?’ Proves Conservatives Don’t Need Hollywood

The decade’s biggest documentary came from outside Hollywood.

Way outside.

The Daily Wire’s “Am I Racist?” earned north of $12 million during its theatrical debut. That’s more than any other fact-based film since “Bears” scored $17 million in 2014. The conservative Daily Wire went Hollywood several years ago, creating original films, TV shows and comedy specials. “Racist?” was its first theatrical release.

So far, so good … from a fiscal perspective alone. Now, Justin Folk’s documentary is available exclusively for Daily Wire+ subscribers.

The film finds Daily Wire podcaster Matt Walsh going undercover to expose DEI (Diversity, Equity and Inclusion) policies and those who espouse them. Think author Robin DiAngelo, who fled X around the time the film hit theaters Sept. 13 and has yet to return.

The film’s box office haul may sound modest, but the vast majority of documentaries fail to crack the $1 million mark at the U.S. box office.

One quick, high-profile example? Director Rob Reiner’s “God & Country,” an anti-Trump film that earned plenty of media attention, nabbed just $108K in its theatrical run.

Rob Reiner’s Anti-Trump Film ‘God & Country’ Gets Humiliated At The Box Officehttps://t.co/UDhiHtumyb

— JOSH DUNLAP (@JDunlap1974) February 21, 2024

 

How did “Am I Racist?” hit the documentary jackpot? It wasn’t based on any high-profile media appearances. Walsh didn’t drop by “The Tonight Show” or “Late Night with Seth Meyers.” He wasn’t prominently featured on “Saturday Night Live” nor did he land a Vanity Fair profile.

He didn’t even wolf down wings on the “Hot Ones” YouTube series.

He did appear on a crush of independent and right-leaning platforms including “The Megyn Kelly Show,” “Ruthless” and “The Joe Rogan Experience.”

Rogan dubbed the film, “One of the best comedies I’ve seen in a long time.” 

That media blitz wouldn’t have been possible a decade ago. Walsh and his colleagues would have struggled to get the word out about their film, relying solely on social media to guide their way.

Things are different now.

Alternative media outlets are now as vital, if not more, than traditional platforms. Plus, they have passionate audiences who hold deep bonds with their hosts.

Films traditionally have another advantage over “Am I Racist?”

Movie critics offer de facto publicity simply by reviewing titles. It’s why studios large and small deploy PR teams to provide movie screenings and viewing links for critics.

Reviews help audiences avoid clunkers. They also tell readers what new films are hitting theaters or streaming platforms next. That builds awareness in a crowded media marketplace.

Most movie critics, though, avoided “Am I Racist?” Rotten Tomatoes has only 14 “certified” critics reviewing the film, a number that took time to build.

Most mainstream releases receive 100s of reviews at the site, many before the film’s official release date.

Over at Metacritic, that number sinks to one – Film Threat magazine. 

‘Am I Racist?’ is a film Hollywood would NEVER make!

Stream it NOW exclusively on Daily Wire+#AmIRacistPartner pic.twitter.com/58rwyQepZx

— Nick Adams (@NickAdamsinUSA) October 29, 2024

The critical community took a knee rather than review “Am I Racist?” It became a hit despite that snubbing.

The lesson is simple.

The media landscape is changing, something we’re watching in real time during the current election cycle. The biggest political “get” this year came via “The Joe Rogan Experience,” not any CNN or late-night TV interview.

Conservatives who want to bring their stories into the marketplace have plenty of ways to do just that. They can distribute content on a conservative platform (The Daily Wire, The Blaze, etc) or independently release it via YouTube, Rumble or X.

And, when it’s time to let people know about the product in question, they can tap dozens of prominent podcasts and YouTube channels to spread the word.

Hollywood remains at the top of the content food chain and will stay there for the foreseeable future. Conservative creators can still get their work into the public space and, if it’s good enough, turn a tidy profit along the way.

Editor’s Note: It’s a brutal time to be an independent journalist, but it’s never been more necessary given the sorry state of the corporate press. If you’re enjoying Hollywood in Toto, I hope you’ll consider leaving a coin (or two) in our Tip Jar.

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