The summer box office take has dipped dramatically, and some are blaming the reduction in ticket sales on leftist Hollywood’s new obsession with ‘woke’ content and themes.
The “haul was 21% lower than the summer season in 2019, the last year untainted by the coronavirus pandemic and 19% lower than the average summer gross between 2005 and 2019,” The Wall Street Journal reported. “It was the lowest haul since 2001, when summer movies earned $3.34 billion at domestic theaters. The summer season typically accounts for about 40% of annual box office receipts, Comscore says.
“The reason, Comscore said, is there simply weren’t enough movies. The film industry is still suffering from a hangover caused by the pandemic, which delayed hundreds of productions and forced distributors to reshuffle their release schedules, say movie studios, theater owners and analysts. Studios only gave wide release—defined by Comscore as those that show on at least 2,000 screens—to 22 movies this summer, compared with 42 in the summer of 2019,” the paper added.
But is that true? Not according to Breitbart News’ John Nolte:
There was no shortage of theatrical releases this summer.
According to Box Office Mojo, nearly 80 movies were released in June alone.
What is this lack of product you speak of?
Between Memorial Day and Labor Day, hundreds of movies were released theatrically.
Oh, but those movies don’t count because they weren’t released on 2,000+ screens.
“So it’s not that movies aren’t getting made. The problem is that hundreds of movies are getting made … and are being released theatrically … but those movies are movies … nobody wants to see,” he continued. “Why are hundreds of movies being made that … nobody wants to see? Why not make movies people want to see?”
He speculated that if 10 percent of the hundreds of films made that few people wanted to go see were turning into movies that attracted interest — and audiences — then the film industry likely would have experienced a record-breaking summer in terms of revenue and profits. But instead, “Hollywood appears to love…more than anything else” making films that don’t attract audiences, Nolte continued.
He went on to analyze movies that did open to wide releases:
The non-woke Spider-Man: No Way Home and the non-woke Top Gun: Maverick prove that the coronavirus no longer stops people, even older people, from going to the movies. All on their own, those two titles raked in more than $1.5 billion — with a “b,” baby — domestic.
So now that we can no longer blame da’ virus for Hollywood’s serial failure and can no longer blame a lack of product let’s look at what was released on over 2,000 screens and talk about what went wrong.
Meanwhile, Nolte pointed out that the latest “Toy Story” franchise “Lightyear” bombed, bringing in only around $100 million when previous movies in the franchise would gross north of $400 million. The difference: ‘Lightyear’ producers and Disney put a lesbian kiss scene back in the $250 million film, Nolte noted.
“Thor: Love and Thunder” also “underperformed,” Nolte wrote, adding “Maybe don’t emasculate one of your most beloved masculine heroes and interrupt the big love scene everyone’s waiting for with two people talking about their gay sex lives.”
Nolte pointed to another disaster:
Fantastic Beasts: The Secret of Dumbledore was a five-alarm box office catastrophe with just $95 million. But that’s what you get when you open a movie with homosexuality aimed at kids. And in this case, what you probably got was a franchise killer. What was supposed to be a five-chapter franchise will probably become a trilogy (no one likes).
He went on to say that the upcoming gay comedy “Bros” may do well because it’s R-rated and aimed at a particular audience. It is not a movie aimed at “mainstreaming of this stuff, shoving it down our throats when it makes us uncomfortable and is totally inappropriate for kids, that’s what’s obscene.”
Lessons for Hollywood, Nolte writes:
1) Instead of making movies no one wants to see, make movies people want to see; 2) Stop with the spell-killing, insulting woketardery that leaves a bad taste in everyone’s mouth and kills the one thing that makes a blockbuster a blockbuster: repeat business.
Maybe more Top Guns and fewer Lightyears?
Granted, I’m no mogul, but that strikes me as a pretty solid plan.