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Newsweek
4 days ago
- Entertainment
- Newsweek
Angel Studios Builds Christian Film Empire Outside Hollywood System
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Angel Studios, best known for its breakout hit Sound of Freedom, is challenging Hollywood by focusing on a market often overlooked by major studios: faith-based audiences. Founded in 2013 by Neal Harmon and his brothers Jeffrey, Daniel, and Jordan, the independent Christian media company emerged from a desire to find uplifting content for their children. Jeffrey Harmon, the studio's co-founder and Chief Content Officer, told Newsweek that they're thriving because Hollywood has an "allergic reaction to faith content." Challenging the Hollywood Model Angel Studios had their first major breakthrough with the 2023 release of Sound of Freedom. The Jim Caviezel movie, based on the real-life efforts of Tim Ballard to combat child trafficking, became an unexpected smash success. Initially projected to gross $25 million, it went on to make over $250 million worldwide and become one of the most successful independent movies of all time. "That takes a movie that has a viral element to it. You can't just force market into that big of a movie," Harmon told Newsweek. Angel Studios co-founder Jeffrey Harmon speaks with Newsweek about their new series "Testament," the lack of religious films in the industry and whether Hollywood is dying. Angel Studios co-founder Jeffrey Harmon speaks with Newsweek about their new series "Testament," the lack of religious films in the industry and whether Hollywood is dying. Photo-illustration by Newsweek/Getty/Canva Since then, the studio has steadily released a string of more minor movies and TV shows. Animated movie The King of Kings, a loose adaptation of Charles Dickens' The Life of Our Lord, was released in April and made $67 million at the box office. Their most recent live action movie, The Last Rodeo, was released in theaters on May 23. Its not just that Angel Studios is a Christian media company that makes it different from the rest of Hollywood. The studio relies on an unconventional model where projects are greenlit by the Angel Guild, a community of over 1 million members who pay monthly dues and vote on which projects move forward. "Rather than a dozen people in Hollywood making all the decisions... we have 1.2 million people... and they are voting on all the movies," Harmon explained. Though Harmon sometimes disagrees with the guild's decisions, he says their collective judgment often outperforms his own. "When you have a million people having their voices heard, they know better than I do." Tapping Into a Growing Christian Audience In early 2024, Pew Research Center reported that 62 percent of American adults identified as Christian. Despite this, the number of Hollywood movies featuring Christian themes remains few and far between. Harmon said Angel Studios is uniquely positioned to serve this demographic. "Those people want to have more of their faith represented in movies and TV series, and we're able to provide that." Rather than waiting for traditional studios to cater to this audience, Harmon says, "We're saying, 'That's fine, we'll take them.' We'll provide authentic, faithful views... rather than a more negative, nihilistic view." Jeffrey Harmon attends the premiere of "Sound of Freedom" on June 28, 2023 in Vineyard, Utah. Jeffrey Harmon attends the premiere of "Sound of Freedom" on June 28, 2023 in Vineyard, Angel Studios Gen Z remains the most frequent moviegoing demographic, with older generations, especially Baby Boomers, attending less often. And the Pew research also showed one interesting trend; after years of decline, Gen Z is driving somewhat of a religious revival. Gen Z men in particular are actually more likely to attend weekly religious services than past generations. Angel Studios is keenly aware of this trend. "We are releasing eight movies this year, we're a top 10 U.S. distributor, and I think young people understand that where timeless art is created and where our timeless art is presented is in the theaters," Harmon said. Expanding Beyond the US Angel Studios recently surpassed one million guild members from 170 countries. As well as ramping up their production slate, the studio is looking to expand its footprint beyond the US. In 2024, the studio partnered with U.K.-based Kova Releasing for faith-centered films like Bonhoeffer and The King of Kings. Their latest series, Testament, a modern reimagining of the Book of Acts, was filmed in the U.K., and several other productions are being filmed by the studio in the U.K. and Ireland over the coming months. Harmon believes the show connects with audiences by reflecting how global cultures personalize religious art. "If you go to Africa, Jesus and the apostles are African; in India, they look Indian... people take Jesus into the context that they understand," he explained. Testament places Biblical themes in a dystopian setting. "This world... is different than what we've ever seen before for a Jesus film," Harmon said. With plans to double their guild membership and a potential public listing ahead, Angel Studios is poised to expand further. Testament will premiere June 8 on and the Angel TV & Mobile app.
USA Today
12-05-2025
- USA Today
I work with sex trafficking victims. Here's how Diddy's trial could help them.
I work with sex trafficking victims. Here's how Diddy's trial could help them. | Opinion As the public watches Diddy's trial unfold, another audience will be, too: Current victims of human trafficking who don't yet recognize their own exploitation. Show Caption Hide Caption Diddy news: Prosecutors add new charges to criminal case in indictment Embattled music mogul Sean "Diddy" Combs was hit with two additional sex crimes charges ahead of his May trial in New York City. This column discusses sex trafficking. If you or someone you know is in danger or in an unsafe situation, the National Human Trafficking Hotline can help. Advocates are available 24/7 by calling 1-888-373-7888 or texting 233733. With Sean 'Diddy' Combs' trial for sex trafficking charges now underway, the public will be exposed to a rare, high-profile human trafficking case. But beyond the spectacle, there's an invisible audience paying close attention: current victims of human trafficking who don't yet recognize their own exploitation. At Restore NYC, an anti-trafficking organization serving thousands of survivors across the United States, cases like Combs' often raise the same question from our community: If they weren't locked in a basement or chained to a bed, why didn't they just leave? The answer to that question often varies across cases. Sometimes victims don't report their trafficker due to a fear of deportation. Others are tethered to their trafficker by housing instability, abusive relationships or lack of income. But a surprising number of victims stay in these situations because they simply don't know they're being trafficked. How can this happen? Movies, TV romanticize sex trafficking – and get it wrong Movies and TV shows tend to present two extremes for sex trafficking: an unsuspecting (usually white) woman kidnapped by a violent trafficker and rescued by Liam Neeson, or a romanticized, glamourous depiction of a (usually white) woman's life in the commercial sex trade that in many cases would also meet the legal definition for sex trafficking. Both narratives create an unrealistic expectation of what trafficking 'should' look like. When victims don't see their own experiences reflected in these narratives, it becomes more difficult to reach out for support. Opinion: 'Sound of Freedom' misleads audiences about the horrible reality of human trafficking These portrayals flatten the complex realities of trafficking victims into the helpless damsel or the empowered seductress. In doing so, they erase the experience of millions of victims, especially women of color, who don't fit neatly into these buckets. The sensationalizing of trafficking in media through high-drama abduction scenarios also distracts from the slow-burn exploitation. It often looks like economic coercion, emotional manipulation or grooming. It happens in broad daylight, in cities like ours, with men in power preying on women's vulnerabilities. When inaccurate media representations become our cultural standard for human trafficking, real victims will continue to go unseen and even blamed for their own exploitation. With Black and Latina women making up 88% of trafficking survivors at Restore, it's increasingly important we bring their stories to life in more accurate and nuanced ways. Opinion: A sex trafficking survivor nearly died trying to get out. Here's what she wants others to know. Traffickers exploit disconnect between real life and pop culture 'I've worked with victims that initially didn't understand they were being trafficked – they just thought this is what they had to do in order to hustle and get ahead,' said Lenore Schaffer, Restore's chief program officer. 'Victims will sometimes have an entire lifetime of being conditioned to normalize the objectification of their bodies. Traffickers know how to capitalize on this.' Opinion: Sean 'Diddy' Combs goes by many names. After Cassie video, add 'abuser' to the list. Decades of pop culture have blurred the line between empowerment and exploitation. Three 6 Mafia's 'It's Hard Out Here for a Pimp' won an Oscar for their lyrical portrayal of pimping as a gritty but noble hustle instead of a system of exploitation. 'The Salty Pimp' continues to be one of Big Gay Ice Cream Shop's top selling flavors, despite backlash for a name that shrugs at the reality of sexual exploitation. This casual normalization helps traffickers remain invisible and victims unaware of their exploitation. When pimps are turned into popular Halloween costumes, their real-life violence is often misunderstood. The disconnect between lived experience and public narrative is one traffickers exploit – and it keeps survivors from identifying what's happening to them. 'A survivor I worked with once stayed with her trafficker for years because he introduced her to industry contacts and presented her with lavish gifts. Even though she recognized this was sexual exploitation, in her eyes, it wasn't trafficking because she felt it was a mutually beneficial relationship,' said Schaffer. As the public watches the Combs case unfold, it's crucial we resist the urge to fit victims into familiar molds. This moment marks an opportunity for reflection on how our collective culture, media and language can downplay violence against women. Let's ensure the real experiences of trafficking survivors, especially women of color, are not erased in favor of spectacle. Beck Sullivan, a licensed clinical social worker, is the CEO of Restore NYC, where she has led nationally recognized programs that earned the 2024 Presidential Award for Extraordinary Efforts to Combat Trafficking in Persons. She has more than 16 years of experience in the anti-trafficking field, including prior roles at the Bilateral Safety Corridor Coalition and as cofounder of the Valley Against Sex Trafficking (VAST).
Yahoo
11-05-2025
- Entertainment
- Yahoo
Cannes: Aaron Eckhart to Star in Angel Studios' ‘The Old Man in the Dunes' (Exclusive)
Aaron Eckhart has signed on to star in The Old Man in the Dunes, an 'inspirational thriller' from Angel Studios, the faith-based distributor behind Sound of Freedom and The King of Kings. The feature, based on an award-winning short, traces the story of an enigmatic old man living in the dunes who is unjustly accused of killing a local. His only hope is a steadfast public defender determined to unearth the truth. According to a summary of the plot, the story 'delves deep into the human soul, underscoring the consequences of concealing the truth and the redemption that can be found in repentance.' More from The Hollywood Reporter The Most Influential Women in International Film Tom Francis Is Ready to Flex His Muscles for Hollywood Daisy-May Hudson Debut 'Lollipop' Follows a Young Mother's Journey Post-Prison (Exclusive Trailer) Christian Guiton wrote The Old Man in the Dunes and will direct the film as his feature debut. Noli Molla and Mark Holder are producing for Wonder Street, alongside Jacques Abrahamian. The film is set to begin shooting in the third quarter of this year for a planned 2026 release. 'The Old Man in the Dunes has been part of my family's story for nearly a century, and it's a dream come true to finally bring it to life,' said Guiton in a statement. 'With Aaron Eckhart leading the cast, a raw and emotional approach to the storytelling, and the incredible support of Angel, we're excited to create something both gritty and hopeful. I'm beyond grateful for the team that's making this dream a reality.' Angel Studios will bow the film stateside. Pia Patatian's Cloud9 Studios are handling international sales and will be pitching the project to buyers at the Cannes film market next week. Cloud9′ Cannes slate also includes Barry Levinson's thriller Assassination starring Jessica Chastain, Brendan Fraser, Al Pacino, and Bryan Cranston, which will begin shooting this summer, and the romantic comedy Under the Stars starring Toni Collette and Andy Garcia. Wonder Street is currently in production on the Mark Wahlberg film By Any Means, and in pre-production on Naomi Watts' The Housewife. Angel Studios is riding high on the success of The King of Kings, an animated feature from South Korean company Mofac Animation about the life of Jesus Christ, with a voice cast that includes Oscar Isaac, Ben Kingsley, Mark Hamill, and Forest Whitaker, and which has grossed close to $60 million at the domestic box office to date. Angel's breakout film was Alejandro Monteverde's The Sound of Freedom, which earned more than $184 million domestically and over $250 million worldwide but became associated in the public discussion with the QAnon conspiracy movement. Eckhart is represented by CAA and Hirsch Wallerstein Hayum Matlof and Fishman. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Axios
24-04-2025
- Entertainment
- Axios
What's next for faith-based studio Wonder Project
Kelly Merryman Hoogstraten, the Austin-based CEO of Wonder Project, is on a mission to create television and movies for a global faith-based audience. Driving the news: Wonder Project premiered its debut series "House of David" on Prime Video on Feb. 27. The series tells the ascent of the biblical figure David, who becomes king of Israel. "House of David" garnered 22 million viewers in its first 17 days, according to Wonder Project, and Prime Video has renewed the show for a second season. The final episode was released April 3. We chatted with Merryman Hoogstraten about "House of David" and what's next for Wonder Project. This interview has been lightly edited and condensed for clarity. What's been the most surprising reaction so far to the premiere of "House of David?" "This story touches everybody in some way. ... There's something that I love, that my husband loves. I have younger kids, but a lot of my friends that have older kids say, 'I just sat down and had a conversation with my son or my daughter about fear being the thief, and I wouldn't have expected to have that conversation.' There's something very special about opening up conversations." This is Wonder Project's first release. Why was "House of David" the right story to lead with? " Our founder, Jon Erwin, has wanted to tell this story. He and his father went to Jerusalem when he was 16 years old, and he felt a connection to David's story at that moment, and has always wanted to tell a story, and started writing versions of this story 10 or 15 years ago." Do you think there's been a shift in how audiences are consuming faith-based content? "I think one of the things that's happened over the course of the last few years is that there have been a number of films and TV series that have come out, whether that's ' The Chosen ' or ' Jesus Revolution ' or ' Sound of Freedom,' that gave you a sense that this is a broad story that lots of people are interested in." What's next for Wonder Project? More faith-oriented content? "Our mission is to tell courageous stories that restore faith and things worth believing. I love this idea of restoring faith, and that can be in God, but it can also be in country and in family and entrepreneurs and coaches and teachers. We produced a film last year that will be theatrically released by Amazon in Q4 this year called ' Sarah's Oil,' and it's a wonderful story about one of the first Black female millionaires — and she happens to be an 11-year-old girl. ... We also are working alongside Sony TriStar on a film with Nate Bargatze. Amazon greenlit a second series called ' It's Not Like That.'" What role does Austin play in the Wonder Project's production and growth? "I like to say that much of the faith audience lives in the heartland, and we really believe in the heartland values. I think Texas is a great place to be immersed in that.
The Guardian
18-04-2025
- Politics
- The Guardian
What can the global left learn from Mexico – where far-right politics hasn't taken off?
If you were to summarise the 2024 election year, you might say: grim for incumbents, good for the far right. Yet Mexico bucked both trends. Its governing party, Morena, not only retained the presidency but – along with its partners in the Sigamos Haciendo Historia coalition – gained a two-thirds supermajority in the chamber of deputies, the lower house, while the far right failed to even run a candidate. That a self-described leftwing party could have such success by fixing on Mexico's chasmic inequality has drawn attention from hopeful progressives worldwide. But Morena's programme has some not-so-progressive elements too. It is not necessarily one others could – or would want to – copy in its entirety. Morena first notched a historic result in 2018, when Andrés Manuel López Obrador, an old face of the left who ran for president twice before founding the party, won a record 55% of the vote during the general elections. Mexico's constitution limits presidents to a single term. But this time, Claudia Sheinbaum, a close ally of López Obrador's, won 60% of the vote. Her victory was reminiscent of the heyday of Latin America's 'pink tide', when leftist leaders like Hugo Chávez and Evo Morales were reelected for a second term with more votes than their initial victories. Meanwhile, the far right didn't even get on the ballot. Eduardo Verástegui, an actor turned activist who produced Sound of Freedom, the surprise box office hit about a US federal agent busting a child-trafficking ring in Colombia, sought to bring Trumpian politics to Mexico but failed to collect the signatures required to run as an independent. Rather than developing a Mexican brand of far-right politics, Verástegui tried to transplant a distinctly American flavour that was heavy with God, guns and individualism. It didn't take root. Morena's success in building a leftwing movement stemmed from the party's focus on socioeconomic justice. López Obrador developed a simple and powerful populist narrative, arguing that the country had been captured by corrupt elites, including the old political parties and their national and transnational business partners. This resonates for people in Mexico, a palpably unequal country in which roughly 27% of income accrues to the richest 1%. López Obrador promised to change that. His charisma and his long track record in Mexico made him a convincing vehicle for the message, which he hammered home in trips to every corner of the country and daily press conferences known as the mañaneras. In these, he touted his government's achievements and lambasted its critics, shaping the media agenda. Morena's message was amplified through state and social media, creating a kind of personality cult around López Obrador. And he delivered. López Obrador's government doubled the minimum wage in real terms, while expanding social programmes and cash transfers for pensioners and the young, among others. It clamped down on the practice of outsourcing workers to avoid paying benefits and legislated that union contracts be put to democratic votes. And it focused infrastructure projects on the historically marginalised south, building trains and a new oil refinery. From 2018 to 2022, the percentage of the population living in poverty fell from roughly 42% to 36%. By putting inequality at the centre of his discourse, López Obrador created a committed base of supporters who were willing to overlook the shortcomings of his government. Although he came to power promising to improve corruption, insecurity and impunity, he achieved none of these things. His government had its own corruption scandals, and Mexico's homicide rate remained high, with about 30,000 murders a year. In some ways, the situation worsened: extortion is now rampant. Despite this, large parts of the population felt increasingly confident in democracy. By 2023, 61% of Mexicans said they had faith in their national government, compared with 29% when he took office. But progressives elsewhere shouldn't be too sanguine about the prospect of copying Morena's model. While doing all the above, López Obrador also made expedient moves to the right. He cut deals with big business and swerved on tax reform. He kept fiscal austerity, meaning boosted social spending was funded with cuts elsewhere. He cracked down on US-bound migrants for political capital in Washington, and he refused to take a position on gay marriage or abortion, presumably to avoid limiting Morena's appeal. And he embraced Mexico's military, a popular but opaque institution with a record of human rights abuses, relying on them to deliver his programme. And although López Obrador set up several commissions to investigate historical abuses by the army, he later abandoned them. Criticisms came from across the political spectrum, but López Obrador brushed them off – and often insinuated they came from actors in hock to the corrupt elites of his narrative. By the end of his government, he had lost support from some feminists, environmentalists and victims of violence, to name a few. Yet his base continued to grow. He left power with approval ratings of about 70%. Once it became clear that Morena was on the up, politicians of all stripes, including some dubious characters, sought to join. Morena welcomed them, diluting principle with pragmatism. This shortcut to electoral success came at the cost of internal tensions. Still, Morena maintains a membership and grassroots activity that no other party can match. It has 2.3 million registered members, and wants to make that 10 million. Sheinbaum has commanded the party's activists to get out to every part of the country. (It is an article of faith in the party that López Obrador's success was born of visiting each of Mexico's nearly 2,500 municipalities.) All of this no doubt helps ground Morena in local realities – in contrast to the fledgling far right. The party's connection to local contexts limits how much progressives outside Mexico can draw from Morena's example. Mexico is marked by its colonial history, and was under one-party rule for most of the 20th century before it transitioned to democracy in the 1990s. Today, organised crime exerts immense influence through violence and corruption, while Mexico's economic dependence on the US is extreme. This sharp sense of injustice is a mobilising political sentiment. It would be tempting to frame Mexico's political landscape as a story about the left successfully resisting the right. But progressives elsewhere must ask themselves how much they would want to draw from Morena. The focus on socioeconomic justice, the narrative control and the party organisation were tied up with some uglier aspects of populism, and an expedient adoption of rightwing positions. It's hard to say whether the latter were necessary for Morena's electoral success. But there is dissent on the Mexican left, where some, having weighed the results against their values, are no longer on board with the party. Thomas Graham is a freelance journalist based in Mexico City
