Culture ‘White Fragility’ author Robin DiAngelo gets tricked into paying reparations to Matt Walsh’s producer in ‘Am I Racist?’ documentary - Dumb dago bitch race traitor gets got again

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‘White Fragility’ author Robin DiAngelo gets tricked into paying reparations to Matt Walsh’s producer in ‘Am I Racist?’ documentary​

By
Ryan King
Published Sep. 8, 2024, 6:02 p.m. ET

“White Fragility” author Robin DiAngelo was hoodwinked into dipping into her own pocketbook to pay reparations to a black producer in podcaster Matt Walsh’s upcoming documentary “Am I Racist?”
An undercover, man-bun-wearing Walsh, 38, goaded DiAngelo into ponying up cash to his producer named Ben to compensate for the sins of the past by first coughing up the money himself.
Walsh, who had been conducting an interview with DiAngelo for a documentary project while feigning anti-racist sentiments and posing as an activist, summoned Ben after finishing up most of his questions.

“This is Ben, a producer on the film. I thought it would be a powerful opportunity to speak directly to a person of color and confront our racism and also, apologize for the white supremacist systems that oppress Ben,” Walsh began.

Matt Walsh summoned his black producer and paid him cash reparations while trying to trick anti-racist icon Robin DiAngelo into doing the same.Daily Wire Studios

Robin DiAngelo sat down for an interview with Matt Walsh who was cosplaying an anti-racist disciple.

Walsh, followed suit saying, “On behalf of myself and my fellow white people, I apologize — it is not you, it is us. As long as I’m standing, I will do my best to challenge it.”

Walsh then announced that he’d pay Ben reparations if he’d accept it, prompting his producer to quip, “I mean I won’t turn it down.”

Walsh then handed Ben a few bills from his wallet.
“That doesn’t make up for 400 years of oppression, but it’s all that I have to give,” Walsh said.
Taking hold of the new cash padding his wallet, Ben — fully in on the ruse — explained that he doesn’t “know if it’s ever enough” but praised Walsh for “putting in the work” and acknowledged the “small progress I think we made today.”
DiAngelo looked introspective and bewildered as that unfolded.

“That was really weird,” a perplexed and nearly speechless DiAngelo gasped before formulating a response after Walsh asked, “Did you wanna pay any—?”

“I think reparations is like a systemic dynamic and approach,” she added. “I mean I think there may be some people who would be offended by [that].”

Ben explained that he wouldn’t “turn down cash.” A solemn-looking Walsh then stressed the need to allow “ourselves to be uncomfortable.” He underscored, “This is something that I can do right now” and asked, “Why wouldn’t I do it?”

“I can go get some cash for sure,” she relented after struggling to beat back Walsh’s and Ben’s logic. “I don’t mind if that would be something that would be comfortable for you.”

After getting Ben’s blessing, DiAngelo then walked over to her pocketbook, pulled out roughly $30, and told him, “That’s all the cash I have.”

“Thanks,” a smiling Ben replied.

When DiAngelo sat down with Walsh earlier in the documentary, she asked for quick information about who he was, noting that she “has to be careful.”

DiAngelo’s book “White Fragility: Why It’s So Hard for White People to Talk About Racism” hit bookshelves back in 2018 and helped her gain fame as a so-called anti-bias training expert.


The New York Times best-selling tome features some controversial assessments of racism. She claimed that “White people raised in Western society are conditioned into a white supremacist worldview because it is the bedrock of our society and its institutions.”

At another point, she wrote in the book, “People of color may also hold prejudices and discriminate against white people, but they lack the social and institutional power that transforms their prejudice and discrimination into racism; the impact of their prejudice on whites is temporary and contextual.”

Ironically, back in 2021, DiAngelo scored a $12,750 speaking fee at the University of Wisconsin diversity forum, considerably more than the $7,500 paid to its black female keynote speaker, Austin Channing Brown.

More recently, DiAngelo has faced accusations of plagiarizing passages from minority scholars in her doctoral thesis, according to a complaint obtained by the Washington Free Beacon.

The Post reached out to DiAngelo for comment.

Walsh’s documentary is set to hit the silver screen on Sept. 13 and marks the Daily Wire’s first flick to release in movie theaters. The film is intended to function as a deconstruction of the anti-racism movement similar to how his 2022 documentary, “What Is a Woman?” examined gender ideology under a critical lens.

He went undercover and feigned a deep search into his soul to investigate the movement. Wash’s documentary also featured him crashing a high-dollar Race2Dinner, in which he cajoled liberal white women at the table to raise their glasses and toast to “being racist.”
 
Speaking of the movie "Am I Racist?"
Wide ass theatrical release, so it will be interesting to see how well it does. My expectations are low, but if it sounds like if it even makes over $10 million throughout its entire run (article states $3 million budget, and there could be a larger advert budget) it could be considered a success. Just not good for those theaters if nobody shows up.

Matt Walsh Satire ‘Am I Racist?’ Hits 1,500-Plus Theaters as Ben Shapiro’s Daily Wire Bets Big for Movie Dominance

Every now and then, a low-budget film emerges from outside the studio system and catches fire with the largely ignored right-leaning demographic, leaving mouths agape in Hollywood’s executive suites.

The Daily Wire hopes to add to the list of films that includes “The Passion of the Christ,” “I Can Only Imagine” and last year’s “Sound of Freedom” with the satire “Am I Racist?” — which marks the conservative media company’s first wide theatrical release. Starring comedian Matt Walsh, the “Borat”-style mockumentary takes aim at the DEI movement and is set to open in 1,510 theaters today, representing the most ambitious swing for the 9-year-old company founded by Ben Shapiro and Jeremy Boreing.

“They’re leaving plenty of money on the table, and we’re happy to come in and take some of it. Because, at a minimum, you are explicitly refusing to serve 50% of the audience,” Walsh says of Hollywood’s aversion to red-state sensibilities.

With its provocative conceit, “Am I Racist?” sees Walsh going undercover as a so-called beta male as he explores the world of high-paid DEI consultants, gets his DEI certification and captures wild on-camera interactions with big names in the anti-racist cottage industry — or “grifters, con artists and toxic influences,” as he dubs them — like “White Fragility” author Robin DiAngelo. The result is either hilarious or offensive, depending on which side of the MAGA fence you sit on.

Still, there’s no denying the film’s studio-level production values. In fact, several of the principals hail from traditional Hollywood backgrounds. Producer Dallas Sonnier was a manager who broke the careers of Greta Gerwig and Leslye Headland before fleeing the mainstream industry because of its “politicized nature,” he says. Director Justin Folk worked on the visual effects teams of such films as “The Matrix Reloaded” before bailing to tackle stories “more about the war of ideas and what’s going on in our country,” as he describes it. And Boreing ran Coattails Entertainment with Zachary Levi before teaming up with Shapiro.

From the Daily Wire get-go, Boreing and Shapiro envisioned expanding into entertainment content “that wasn’t deliberately insulting to our core audience,” says the former. (Shapiro, who built his brand as an anti-woke social media firebrand, once went on a 43-minute video rant about the “Barbie” movie and has a history of embracing discriminatory views.) Still, Boreing was skeptical when he heard Walsh’s pitch for his doc “What Is a Woman?”

“I didn’t want to be in the 501(c)(3) space at all,” says Boreing of his initial interpretation of nonfiction films. “I wanted to make commercial entertainment. But as Matt expressed the vision for that project, I began to see that it really wasn’t a 501(c)(3)-style documentary. It was something else.”

“What Is a Woman?” — which explores gender ideology and was also directed by Folk and produced by Sonnier — was made on a budget of less than $1 million. Sonnier says it earned more than 30 times its budget via DailyWire+. Naturally, the film sparked heated debate — some dubbed it anti-trans — globally. “Am I Racist?,” which cost about $3 million, will get a prints-and-advertising spend comparable to a Neon or A24 movie. The Daily Wire is counting on Walsh’s fan base to show. (He is one of the biggest conservative podcasters in the country, and his daily show consistently ranks in the Apple top 15.)

And Sonnier sees a gaping void at the multiplex, which the “Am I Racist?” team is glad to fill.

“Hollywood is focused on its own problems internally and can’t even contemplate what would resonate with an audience in the South or the Midwest today,” he says. “Conservative audiences have simply checked out of what Hollywood is making outside of the tentpoles.”

As Walsh sees it, the once-fertile genre of low-budget comedy is a wide-open lane.

“The left was using satire to mock the views that they disagree with,” he says, noting Sacha Baron Cohen’s “Borat” playbook. “Comedy died in Hollywood at some point. It just fell off a cliff. It got to a point where you can’t make jokes about anything anymore. There’s no one left that you can even poke fun at, except for white men, I suppose. But after a while, those jokes get pretty old too. So then, you know, everything’s stale, and I think it’s where we are now.”



https://deadline.com/2024/09/box-of...lejuice-beetlejuice-dave-bautista-1236087187/ (archive)

Filing in 4th place, and a commendable start for a wide release documentary is SDG Releasing/Daily Wire’s Matt Walsh documentary, Am I Racist? with $4.7M for the weekend at 1,517 sites after a $1.96M Friday and A Cinemascore and 5 stars on PostTrak. Diversity turnout was 64% Caucasian, 19% Latino and Hispanic, 6% Black and 4% Asian American. Mostly men at 56% with 59% of the audience being over 35 and the largest demo being 25-34 at 28%.

In terms of the political background of those buying tickets, PostTrak showed that 52% indentified as conservative and 43% as Republican, 8% politically moderate and 3% registered Democrats. The pic earned an A+ with men under 18 and women under 25. Top markets for the right-wing docu were Los Angeles, NYC, Nashville (Regal Green Hills multiplex there the best in the nation for the pic at $30K so far), Dallas-Ft. Worth and Salt Lake City. However, the top grossing areas were the South, Midwest and Mountain regions. Fifty-nine percent of those in PostTrak exits said they went to the docu because of its subject, which follows Walsh investigating diversity, equity, and inclusion practices, while 39% went because they’re fans of the right-wing commentator. “Like Tucker Carlson, he’s a draw for the right,” commended one rival marketing exec not associated with the film, on how Daily Wire hit the pic’s target audience head-on. Walsh has used the presidential election to market the movie at debates and political party confabs. What can we say? There’s not only box office to be made with right wing audiences, but docus in the post-Covid era can still pull people off the couch. Note, the trailer for Dinesh D’Souza’s Vindicating Trump is playing ahead of the Walsh docu.



That is from Friday and I guess a prediction for the weekend total. The level of PostTrak analysis is a little scary.
 
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It's probably the first time this dead egger had to interact with a black person. She is traumatised now.
 
The culture war doesn’t stop when people are dying in war, that’s when the annoying old women try to take the reins of society the most.
Which has never happened.

I honestly think this need to make everything about women, no matter the circumstance, all the fucking time is a mental illness.
 
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$7.3 million estimated through Friday, probably on track to hit $10 million. It's like it's good in relation to the low budget (unclear if $3 million includes advertising), but not impressive for the number of theaters it's in, which may have risen slightly to 1,600.

Fahrenheit 9/11 made $222 million on a $6 million budget. But maybe the more apt comparison is Fahrenheit 11/9, which made only $6.7 million on a $4-5 million budget, appearing in a similar number of theaters: 1,719.

But Am I Racist?'s numbers are still considered good, I guess, with the top opening for a political doc since F9/11. And we haven't factored in that it will appear on DailyWire+, perhaps doing better there than in the theaters since you don't have to ask the black lady at the ticket counter if you are racist.

It had the third-biggest opening weekend for a documentary in the past decade, and the top opening for a political documentary since Fahrenheit 9/11 in 2004, according to The Hollywood Reporter.
 
No need to guess then Robin DiAngelo will dislike that article about the movie "Am I racist?".

October 3, 2024

Was Am I Racist? a one-off?​

By Bill Ponton


With his new movie Am I Racist?, Matt Walsh has pulled off an impressive coup in getting several prominent DEI thought leaders to consent to interviews. Going into the exchange, they were under the impression that Matt was a DEI ally who was creating a documentary that would be sympathetic to their cause. In true Borat fashion, after baiting them, Matt draws them into discussions that, to say the least, do not paint them in a favorable light.

Using their own words, Matt was able to expose them as the delusional grifters that they are.
However, not to detract from Matt’s achievement, it is truly a marvelously entertaining movie, I have seen a version of it play out before me in the past. Back in 2020, I ran my own Borat-like experiment. In emails to several DEI officials in schools embroiled in controversy, I portrayed myself as a sympathetic party to their plight. I started by applauding their efforts to address past and present inequities involving institutional racism in their respective schools. I portrayed myself as a former black alumnus of the school who had experienced racism first-hand within the walls of that institution. This played into their Atticus Finch complex. Every DEI official romanticizes themselves in front of that fictional Southern courthouse, standing up to the belligerent mob hellbent on lynching an innocent black man.
 
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