Young Washington, a film depicting the early life of George Washington, has surpassed Supergirl at the box office despite being produced on a fraction of the budget.
The contrast between the two productions is stark. Supergirl reportedly cost around $170m to produce, while Young Washington was made for approximately $20m. Yet the smaller historical drama managed to outperform the much larger superhero blockbuster. While one film relied on a well-established comic book franchise and massive studio backing, the other focused on America's first president and appealed to an audience that has often felt overlooked by mainstream entertainment.
The film was developed and produced by Angel Studios, an independent American film studio and distribution company that has quietly established itself as one of the most successful alternative forces in modern filmmaking. Although still relatively unknown outside religious and conservative circles, Angel Studios has steadily built a loyal audience by producing films and television series that reflect Christian values, traditional morality and historical subjects.
Its greatest success remains The Chosen, the globally popular television series portraying the life of Jesus Christ, which demonstrated that faith-based productions could compete with mainstream entertainment both artistically and commercially in a way not seen since Mel Gibson’s The Passion of the Christ more than 20 years earlier. Although there have been other commercially successful Christian films, such as the God’s Not Dead series, these have often been criticized for their poor production quality and crude messaging.
Catering Successfully to a Neglected Audience
One of Angel Studios’ greatest achievements has been recognizing a market that many larger studios have largely ignored. Hollywood has increasingly embraced stories centered on progressive social themes and liberal cultural values. While these productions undoubtedly have their audience, many viewers, particularly Christians, conservatives and families seeking more traditional storytelling, have struggled to find films that reflect their own beliefs and values.
Angel Studios does not just produce explicitly religious content. Instead, it has identified a wider audience interested in stories of faith, history, family, courage and moral conviction. In doing so, it has built trust with viewers who felt increasingly disconnected from the direction of mainstream cinema.
Interestingly, this audience extends beyond conservative Christians alone. Many politically moderate and even liberal viewers appreciate films that avoid overt political messaging and instead focus on compelling narratives and universal human experiences. Parents looking for suitable entertainment for their children have also welcomed productions that place greater emphasis on character and hope rather than cynicism and political ideology.
The studio’s success continued with David in 2025, an animated biblical feature. The film grossed approximately $85m worldwide, and its opening weekend was the highest-grossing of any religious animated film in history, surpassing DreamWorks’ The Prince of Egypt, long regarded as the benchmark for biblical animation. This achievement further demonstrated that audiences were willing to support well-made films rooted in religious themes when they were executed with artistic care rather than treated as niche productions.
A Challenge for Conservative Artists
For decades, conservative artists have often faced a dilemma. Even when there was an audience interested in their work, wider commercial success proved elusive. This was often dismissed as irrelevant on the grounds that art should exist for its own sake rather than be judged by ticket sales or financial returns.
There is truth in that sentiment. Great works of art have often outlived the commercial successes of their own time. Yet cinema is unlike painting or poetry. Films require enormous financial investment. Writers, actors, technicians, visual effects artists, editors, musicians and countless others all contribute to productions that may cost tens or even hundreds of millions of dollars. Without commercial viability, studios simply cannot continue making films on a regular basis.
Oscar Wilde famously wrote that “Life imitates art far more than art imitates Life”. Although the statement was deliberately provocative, it contains an important insight. Stories shape our understanding of history, morality, identity and aspiration. Films introduce audiences to heroes and villains, establish cultural myths and influence how societies perceive themselves. Art is not merely entertainment; it is one of the most powerful vehicles through which values are transmitted across generations. Therefore, to influence the wider culture, conservative and religious films need repeated commercial success that can sustain future productions.
Go Woke, Go Broke?
It would be a mistake to conclude that the slogan “go woke, go broke” is universally true, no matter how much conservatives want to believe this. Many films and television series that embrace progressive values have enjoyed enormous commercial success. Netflix’s Bridgerton became a global phenomenon despite its diverse casting and modern sensibilities, while Disney’s Frozen remains one of the most successful animated films ever made. Audiences are perfectly willing to embrace stories with contemporary social themes when they are supported by strong writing, memorable music scores and compelling characters.
Where studios have often encountered problems is when audiences perceive that ideology has taken precedence over the story itself. Disney's live-action remakes of The Little Mermaid and Snow White became lightning rods for controversy, not simply because of debates over representation, but because many viewers felt the films strayed too far from the spirit of the originals.
In the case of Snow White, lead actress Rachel Zegler's public criticism of the 1937 classic, including remarks dismissing elements that generations of audiences had loved, alienated many potential viewers before the film was even released. Combined with broader concerns about the remake itself, this contributed to disappointing box office results and demonstrated that audiences are often protective of beloved cultural classics.
The lesson is not that conservative films now automatically succeed or that progressive films inevitably fail. Rather, audiences respond to authenticity, respect for the source material and, above all, good storytelling. Whether a film reflects traditional values or progressive ones, viewers are remarkably adept at recognizing when they are being told a compelling story and when they feel they are being lectured.
Young Washington appears to have succeeded not just because it appeals to an underserved conservative market, but because it offered audiences a well-crafted historical drama that filled a gap many larger studios had overlooked.
