Hollywood films suffered the worst year of ticket sales in more than two decades in 2017, and studios are struggling to conceptualize new methods to bring audiences back to the theatres. What could be responsible for this decline in theater attendance? Could it be the transformation of Hollywood films into Cultural Marxist propaganda? The skyrocketing ticket and concession prices? The convenience of watching Netflix from the comfort of your couch? The possibility that Hollywood is cranking out unwatchable garbage? If you talk to nearly any studio executive, the answer is a unanimous “No.” You’re just a goddamned homophobic, sexist bigot. The problem is you: racist, non-movie watching alt-right douchebags. It’s your fault. Hollywood is just trying to show you how much you totally fail at being human.
At some point in mid-2016, studio bosses had a brilliant epiphany: They would no longer waste money on good stories, great casts, and strong production values. Instead, they’d just bully the audience into seeing their productions, by insulting, belittling, and branding them with potentially life-destroying, highly-stigmatized labels if they refused (see: racist, misogynist, homophobe, etc) to comply. The first test case for this new marketing strategy was the 2016 remake of the horror/comedy classic, Ghostbusters.
After the trailer resulted in an extremely negative backlash from fans, the studio, the cast, and the director chose to blame misogynistic basement dwelling trolls instead of entertaining (even for a moment) the possibility that they had made a mistake. During the lead-up to the film’s release, everyone involved with Ghostbusters doubled down on the rhetoric, and openly mocked the audience that they desperately needed to ensure the production’s success during their press tour:
This is the equivalent of saying, “Hire me, you cunt,” during a job interview. Needless to say, the remake of Ghostbusters was an epic bomb at the box office. Did this massive failure coerce Hollywood executives into rethinking their new marketing strategy? Of course not. They merely tripled down, added more propaganda to their films, and chose an even bigger franchise to ruin.
The SJW feminist-indoctrination vehicle, Star Wars: The Last Jedi, made almost $750 million less than The Force Awakens. It bombed in China, and was pulled from theaters entirely after two weeks. New Star Wars toys are sitting on store shelves, collecting dust. However, if you talk to J.J. Abrams, the possibility that Episode VIII was a terrible movie never even enters into the equation. The real reason that Star Wars grossly underperformed is because men feel “threatened by women.” Does this mean that China is complicit in a vast alt-right misogynistic conspiracy against Kathleen Kennedy? Are young boys refusing to buy Star Wars toys because of a deeply ingrained hatred of women? According to Abrams, all of the evidence points to, “Yes.”
This insane new strategy for marketing pop culture even managed to cross over into television during the hype-phase of Star Trek: Discovery, when it wasn’t even necessary. Star Trek has celebrated diversity since the original series aired, and the fans love it. Yet, somehow, the series’ creators blasted fans for “racism” while promoting the show. Criticizing fans for being against diversity on a show that is universally beloved by fans because of diversity is, in the words of Mr. Spock, “highly illogical.” At some point, it becomes painfully obvious that Hollywood believes that manufacturing outrage will both generate interest and serve as a shield against legitimate criticism.
The most recent instance of using outrage to sell a film is Disney’s marketing campaign for The Black Panther, and this time they pulled out all the stops, skipped Ludicrous Speed and warped directly to Plaid. The politicization of The Black Panther reached a whole new level of ridiculous. Audiences demanded that the film receive no less than a perfect score on Rotten Tomatoes to prove that they weren’t horrible racists, and pitched a collective shit-fit when The Black Panther was given one negative review. Currently, the movie has a 97% Fresh Rating which puts the comic book film on the same tier as The Godfather and Lawrence Of Arabia. Social Justice Warriors started doing backflips, in a lame attempt to out-virtue signal each other, with some of them even refusing to buy tickets on opening weekend for fear of “sucking Black joy out of the theatre” with their white presence. The propaganda hype campaign was so fierce that it actually threatened The Black Panther’s opening weekend gross.
The truly unfortunate aspect of this style of marketing, in the cases of both Star Trek Discovery and The Black Panther, is the fact that both of these shows were strong enough to stand upon their own merits, and berating their potential audiences only served to diminish their successes, instead of helping them. The general public is sick of being lectured by Hollywood. These are the same people who continue to give child rapist Roman Polanski standing ovations at awards shows, and they are the same people who looked the other way while Harvey Weinstein was raping his way through hordes of Hollywood starlets.
In truth, there are more racists and misogynists in Hollywood power roles per capita than anywhere else in the world — so maybe they should start pointing the finger at themselves, instead of their customers. Good stories will always find an audience, and no amount of marketing dollars can coerce a savvy audience into liking garbage. If Hollywood wants their products to break box office records, they should probably start making good products again instead of attacking the people who spend money to keep them in business.