Ben Shapiro is building a comeback machine for canceled stars

Conservatives have long pitched their project as a return to normalcy, a way to set right a world that’s gone off its axis. In theory, it’s an understandable goal. Who doesn’t react to getting older and more removed from the engine of culture with an initial feeling that the next generation is doing it wrong? 

In practice, the right’s message is more of a respectable veil covering the fact that they want the power to beat up on minorities and buy anything they want. But there’s one arena where the right might actually be bringing back an honest-to-goodness return to tradition: the multiplex.

The lines between television and the movies used to be rather rigid. There were movie stars and there were television actors, and rarely did the twain meet. Actors without matinee idol looks or sufficient draw could make a living as character actors. Faded stars could scrape out a second act in B-movies and lesser studio offerings without losing the prestige of the silver screen. Television actors traded that type of cachet for steady work and wider audiences. A movie star appearing on television was a sign of terminal decline.

The rise of prestige television and streaming shook up the established hierarchy. If television could hit something approaching the same cinematic highs and emotional depths as a Hollywood movie, even if rarely, then the stigma of going episodic couldn’t last. The prestige TV gold rush inspired plenty of marquee stars to jump ship, taking roles from deep-pocketed streamers for niche audiences. (Somebody must be watching Reese Witherspoon and Billy Crudup on Apple TV’s “The Morning Show,” but I can’t say I’ve ever seen them.) The old order and the connotations of each medium had gone post-modern and topsy-turvy. 

Enter Ben Shapiro.

The Daily Wire co-founder and conservative political commentator has made several attempts to break into Hollywood. Over the years, he has repeatedly alluded to a script he wrote as a young man at the behest of the late ABC executive Leonard Goldberg, while his dramedy about a conservative student at Harvard never got off the ground. But that hasn’t deterred Shapiro. He’s used his political commentary outlet as a springboard to produce a series of execrable comedies and thrillers, from 2023’s irredeemable and laughless “Lady Ballers,” which centers on a group of former high school basketball players reuniting to compete in women’s basketball by posing as transgender women, to the semi-competent and bloody hatefest “Run Hide Fight: Infidels.” 

Shapiro’s films haven’t made much of a dent in Hollywood, let alone the wider culture. But that is likely to change with The Daily Wire’s upcoming film “Confession.”

Written by Shapiro, “Confession” follows an academic in Moscow under the rule of Joseph Stalin. He’s brought in for questioning after allegedly conspiring with a dissident priest, only to find that his interrogator is a former student. In less ideological hands, the film could be an interesting examination of loyalty and state overreach. Coming from the man who accused Baron Harkonnen, the villain in the “Dune” science-fiction franchise, of being a communist, we aren’t holding our breath. 

Still, the announcement of “Confession” made a splash, less for its logline than its topline. The cast is chock full of former Oscar nominees and one-time A-listers. The participation of James Franco, Rob Lowe, Brad Dourif and Emile Hirsch make this the most star-studded production Shapiro has ever produced. Beyond the musty Cold War paranoia and production design straight out of the “Command & Conquer: Red Alert” video game, the film is small-c conservative in its appeal to a bygone tradition: giving disgraced actors a mid-budget springboard from which to launch their career revivals. 

Franco was once a megawatt star, but his career faltered shortly after several women accused him of sexual misconduct in 2018. In the late aughts, with a Screen Actors Guild-nominated turn in “Into the Wild,” Hirsch was positioned to be the next big thing. But the belly flop of “Speed Racer” and a 2015 assault of a female Paramount Pictures executive at the Sundance Film Festival put his career on ice. Lowe’s scandal-plagued days are long behind him, but he’d settled into a career as a reliable network television star. Most recently, the star of “The West Wing” has been a mainstay on Fox’s campy disaster series “9-1-1.” “Confession” sees him trying out long atrophied dramatic acting muscles, taking a tentative step into Hollywood. Dourif has never generated any significant controversies to our knowledge, but his appearance is notable because it contradicts his 2024 retirement announcement. 

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Taken with the blink-and-you’ll-miss-it starring turn from Jonathan Majors in “Infidels,” The Daily Wire’s gambit becomes clear. In reaching out to disgraced or out-of-fashion actors, the company is getting notable names for their bargain-basement productions. The actors, in turn, can add a few performances for their sizzle reels that post-date whatever controversy pushed them out of the limelight. 

It’s not a bad deal for either party. From the actors’ perspective, they’re just following the B-list trails blazed by actors like John Travolta and Nicolas Cage, stars who spent decades cranking out direct-to-video duds while seeking the right role to catapult them back into notoriety. What’s new is the ideological bent of a studio like Shapiro’s. Typically, appearing in outwardly conservative fare was the mark of an inwardly conservative star. Think Kirk Cameron’s Christian schlock or Kevin Sorbo’s post-Hercules output. When a name like Jim Caviezel shows up in QAnon-adjacent thrillers, it’s a bit of a “fork found in kitchen” situation.

Shapiro’s comeback machine is something slightly different. Given what we’ve seen from the films he has worked on in the past, the machine is likely to be clunky — but that won’t matter to either party if it works. 

Conservatives’ belief that “cancel culture” has gone too far, that men chastised for behaving badly are really victims of a radical mob run amok, allows them to take on names that are not welcome in Hollywood. If the ploy works, it’s proof that they were right all along — that cooler heads prevailed and the initial controversy was an overreaction. 

With the Daily Wire’s film arm, Shapiro is bringing back the B-list for a cancel culture age, offering dimmed stars the chance to bide their time until the unistudio of Paramount/Warner Bros. comes calling.