Tag: Hollywood

More Movie Talk

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So, I had some fun re-imagining “THEM!” as a 2026 sci-fi reboot.  Alright what’s next?  Well, John Carpenter beat me to the punch with “The Thing.”  That was a reboot that in many people’s minds outdid the original (“The Thing from Another World”).  But a whole bunch of classic sci-fi movies have already been redone (The Day the Earth Stood Still, Invasion of the Body Snatchers, Invaders from Mars, War of the Worlds).  So maybe we don’t need another reboot.

As I said in my discussion of Weir’s “Project Hail Mary,” what we really need are new movies.  Sure, they’re mostly just variations on the million science fiction stories that are already written but even small differences can freshen up old ideas.  Instead of any more trash from the Star Wars industry why not give us some pulp?  Burroughs or Doc Smith or Howard.  Those stories were made to be put on the big screen (or the smaller one in my living room).  And I read where they’re working on bringing back Schwarzenegger as an older Conan.  That would be perfect.  A beat-up old Arnold playing a beat-up old Conan with the right writer and the right director could be the perfect swan song for him and a wonderful treat for us if they abandon all the woke crap and let Conan be the barbarian he’s meant to be.

And if we digress into fantasy, I wish they’d try again to make a movie or a series out of the Dresden Files.  Jim Butcher’s series of books are some of the most entertaining and filmable stories in urban fantasy.  Of course, I wish they’d start by doing justice to Larry Correia’s Monster Hunter series first.  With the combination of interesting characters, vivid monsters and high caliber weaponry they would make a very exciting series of movies.  But I suppose instead we’ll get more nonsense like “The Rings of Power.”

But of course, what’s really needed by both the larger movie audience and the film-makers’ bottom line is a cable series based on Jake Barter’s “The Sniper.”  The combination of economically but vividly drawn characters and remarkable plotting make this story the most cinematically perfect vehicle for a studio to reap the harvest of multi-billion-dollar profits.  Joseph Boghadair is an iconic figure and the many fascinating sub-plots and characters will spawn a whole series of sequels and spin-offs that will explore the multi-faceted world that the author is creating.  New technologies and industries are waiting for Paul Connors’ empire to recover from the ravages of war and reap the benefits of the new political situation that Bogey’s “war” has created.  And the political changes that will sweep across North America will change life on the whole planet as better ways for humans to cooperate and socialize and organize themselves politically emerge.

I am toying with the idea of including some short stories in this “world” I’ve built and putting those out next as a short-term addition to the saga.  That will allow me to push off in several directions at once before I commit to any one story for the next novel.  Well, that’s enough for now.

Project Hail Mary Box Office Update: $616,588,738

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Well, it’s official, Project Hail Mary is a moneymaker for Amazon.  The info says it cost $200 million to produce.  Even if they spent another $100 million to advertise (which they wouldn’t have to because, of course, they’re Amazon!) that still puts them in the black.  And this is all in advance of what they’ll make streaming the movie on their own platform after the end of the theatrical run.

Box Office Data

Well, well, well.  So people will go to the movies if you give them something that isn’t woke slop.  If you give them entertaining story telling they’ll pay you money to watch it.  Shocking.  Wake up Disney.  Amazon is eating your lunch, you fools.

Coming to a Theater Near You

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I was watching a movie from the 1980s (Moonstruck) with Camera Girl tonight.  I’ve been busy with book marketing for the last month and it’s been a grind.  So, I sat down after dinner and we just enjoyed the show.  It’s a ridiculous romantic comedy with Cher and Nicholas Cage as the couple and a veteran cast of character actors with New York City as the backdrop.  It’s an absurd movie but it’s genuinely funny and it means no harm.

And I found myself enjoying the movie immensely.  Afterwards I tried to figure out why.  First off it was about 1980s America; a place where normal life proceeded and people were generally happy.  And secondly, the movie was well made.  It wasn’t deathless prose.  It wasn’t profound.  It was silly.  But it was good-hearted and the script, the acting and the production were professional and enjoyable to watch.

But why should that be such a big deal?  And then it hit me.  Nothing that has come out of Hollywood in the last five or ten years has been any good.  Everything is poorly made and poorly written and poorly acted.  Nothing makes you laugh or cry or even think.  It’s all dreck.  And that’s crazy!

And it occurred to me that this won’t go on forever.  Someone is going to step forward and make something good.  And I think what they’ll do is break the rules.

Someone is going to refuse to only hire DEI writers and DEI actors and DEI directors and instead they’ll hire the old white guys who used to make stuff in Hollywood and used to make us laugh and cry and think.  It’s a cinch those guys haven’t all died in the last ten years and I’m sure they could use the work.  I’m sure they haven’t forgotten how to ply their trades.  All it will take is someone with enough money to put together a production crew (outside of Los Angeles) and has the nerve to make a movie about the America we used to make movies about.  And it doesn’t have to be a period piece about the 1950s when everyone was white.  There can even be some immigrants in the cast.  After all the problem isn’t having non-white people in a movie.  It’s about the writer and director hating white men so hard that they have to make believe they don’t exist.

It’s a funny thing.  The eastern and southern European immigrants who came to this country at the beginning of the twentieth century didn’t look like the English and northern European people who were already established here and from whom the movie characters were selected.  Blond haired, blue-eyed stars weren’t them.  But they could be stand-ins for the dreams that those immigrants had about being prosperous and happy in their adopted country.  They had enough imagination to realize that the American dream was transferrable to people who chased the American dream.  Work hard, follow the rules and dream big.  It was aspirational to watch Jimmy Stewart or John Wayne as a cowboy saving the day and winning the girl.  Hating on Anglo-Americans made no sense.

Well, that’s what needs to happen again.  Aspirational movies with Americans acting like Americans and not apologizing for being smart and successful is what we should be seeing on the screen.  And there shouldn’t be any DEI box checkers making sure there are the correct number of interracial couples or black lesbian brain surgeons in the story line.  Of course, 2026 is the year that Christopher Nolan is casting a black woman as Helen of Troy in his Odyssey.  Well at least it wasn’t a trans-woman.  But I guess I’ll have to wait a little longer.  I can wait because I know it’s coming to a theater near me soon.

It Might be Good Enough

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I was watching a video on YouTube that discussed the cratering of movie attendance after 2020 and how even after COVID was no longer a thing, how movie attendance has never recovered to pre-2020 numbers.  But the truth is that even before COVID the movies were steadily losing ground since around the year 2000.  So really COVID just hastened a trend that was already under way.

Well, that clarifies things somewhat but I think there are things to consider about this whole trend.  It’s not just a situation where a change in technology is disrupting an old business model.  Without a doubt that is happening.  But there is another phenomenon at work simultaneously.  And that factor is ideology.  For at least the last ten years there has been a concerted effort on the part of the movie making industry to restrict films to what they consider “acceptable” themes and characters.

And I think the drop in ticket sales reflects this change.  A solid thirty five percent of the country consists of people who aren’t motivated to see these types of movies, at all.  And this accounts for the drop in attendance and box office.

I guess the question that must be answered is, can the industry survive without this segment of the population?  The jury is still out but I think the answer is no.  Theaters have already become a low margin industry and without the enthusiastic patronage of key demographics financial viability won’t exist for much longer.  Then, what are the possibilities going forward?

One possibility is for some newer players in the movie making industry to modernize their operations to lower costs to the point where profits can be made with niche projects that can depend on a reliable demographic to support them.  This could work for the superhero films if the movies cater to the expectations of boys and young men to be entertained with an adventure story that appeals to their instincts.  By the same token a film that caters to the expectations of an LGBTQ audience or a young female audience or a baby boomer audience could also make money if its budget doesn’t swamp out its box office.  And so that could be the future.

I guess it’s possible that Hollywood could become so frightened by what has happened to their profits that they decide to do an about face and start making the kind of movies they made twenty years ago; ones that appealed to the bulk of Americans without trying to divide them by race and sex.  But somehow, I seriously doubt they’d succeed.  I don’t think they still have the wherewithal to recognize what goes into a movie like that.  Even if they tried to recreate that kind of movie making their instincts would betray them and the same woke tropes and characters would appear.  So the first scenario with new players seems more likely.

But I do not think any of this will happen quickly.  The entertainment industry is currently in turmoil.  Video games are currently the most popular form of entertainment for the younger generation.  Super hero movies in the last two or three years have bombed at the box office pretty consistently.  It will be a little while before the new money from Silicon Valley has had a chance to completely usurp the crown from the old Hollywood studios.  It’s definitely already happening but it’s not there yet.  When it does, I think we will start to see some very interesting changes.  It will never look like what we had.  Because we are not what we used to be.  But if it provides products for all of the larger audience types it might be good enough for my movie viewing pleasure.

Guest Contributor – Tregonsee – 24AUG2025 – Hollywood

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Sadly it seems that Mr. Whedon wants to get a little more, shall we say physical, with the talent if the Rumors out of the Buffy Series are true. This has always been an issue in Hollywood, sometimes they chase the ingenues and sometimes they chase the beefcake.
That aside what Whedon did is loved the material. He loved Captain America, he loved the Avengers and he wouldn’t change the material (more than a smidge or two). This strategy doesn’t always work. Brad Bird Loved/Loves the Barsoom mythos (and clearly knew it well based on how he plotted it). He gave Dejah Thoris more of a part (and far more of a costume) than in the original books, but he didn’t eviscerate/geld John Carter as a hero to do it. Here the issue was the Disney Princess based marketers couldn’t bring themselves to market A Princess of Mars . They couldn’t even bring themselves to call it John Carter of Mars they had no clue how to sell it and so its existence and nature was known only to the more rabid part of the Barsoom fans (e.g. myself). I took my wife and daughters (college/high school age for the girls) and they loved it. They wondered why the heck there was practically no one in the giant IMAX theater on a Saturday PM showing.

Loving the material is a start but is NOT enough. Peter Jackson LOVED Lord of the Rings but was constrained to make 3 movies (albeit nearly 9 hrs in standard form). He loved the Hobbit too but was given FAR to free a rein. In the interests of adding female characters and filling out 3 long films, he padded the heck out of The Hobbit and made a sloppy mess. George Lucas made the original 3 Star Wars films and loved his material and did fairly well until the damnable Ewoks. This is likely because he had his wife (later divorced) riding herd on him as editor. When he made the Prequel Trilogy no one could tell him no and loved himself a little TOO much and he made crap. Many years later Disney said “Hold my beer” and made the sequel trilogy that makes the prequels look like Casablanca or Citizen Kane.

So it looks like the recipe is get a director and/or screen writer that loves the material. Then make sure there is a check to their choices so they don’t go straight up fan boi/fan grrl.

And for heavens sake Disney, please try something NEW. There’s like 20+ marvel movies/tv shows, at least 11 Star wars movies plus hours of TV, Princess movies by the dozens and 4 Toy Stories with a 5th on the way. Try something new and exotic (for you) it can’t hurt more than the last dozen or so flops. And for the love of all that is Holy Send Kathleen Kennedy on an all expense paid 1 year trip to an isolated portion of Borneo with no phone or internet connections. And let Star Wars lie fallow for a couple years that horse (or wookie) is well and truly dead.

 

Long, Long Ago in a Studio Far, Far Away

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As the tent-pole summer movies of July fade into August obscurity and dinosaurs, Superman and lesser Marvel superheroes get rated and dissected by the movie critics I think it has been established beyond a shadow of a doubt that the failure of Hollywood to replicate the billion-dollar paydays from earlier versions of Star Wars and the Avengers franchises can now be definitively explained.  They forgot that a superhero movie (or even just a plain hero movie) requires a hero.  And the requirements of a hero (whether in book or on a screen) include that we like the hero.

And that seems to be where Hollywood has gone off the rails.  They’ve managed to make a bunch of movies where the heroes are unlikeable.  For the most part these unlikeable heroes have tended to be of the type currently known as the “girl-boss.”  The prime example of this category is Rey, played by Daisy Ridley in the Star Wars movies.  The type includes the following traits:

  • Although small and thin she is completely capable of defeating men many times her size.
  • She hectors male characters about their obvious shortcomings compared to her.
  • Completely humorless.
  • Has no flaws.
  • Has no setbacks.

Now, this sort of character fits perfectly into the social messaging of all modern Hollywood films.  It allows older franchises with male protagonists to be replaced with the girl-boss.  Examples include Rey in Star Wars replacing Luke Skywalker, Helena Shaw replacing Indiana Jones and Captain Marvel basically replacing all the Avengers.

The problem with these replacements is that the producers think that just saying that their new characters are just as good as the originals (if not better) is enough.  For some reason they didn’t think it would be necessary to hire good writers and directors to make the movies exciting and entertaining.  But as it turns out they are extremely important if you don’t want your movies to be unwatchable crap.  And that is the thing that all these movies share.  They’re awful.  And unfortunately for Disney they’ve been making these “better” movies and television series in the Star Wars and Marvel series for about ten years and they’ve completely dissipated the enthusiasm and good will of their legacy audiences that paid billions of dollars to see the older movies that actually were well written, exciting and entertaining.

Over the last six months it has finally dawned on Disney (and the other studios) that they’ve killed the goose that lays the golden eggs.  They’ve alienated about 70% of their audience and destroyed a machine that printed cash.  From what I’ve read, the most recent Marvel movie “Fantastic Four” went to lengths to not go down the girl-boss lane and even had a decent script that could be enjoyed as an adventure movie.  The problem is that most of their old audience didn’t bother to give it a try and so the movie while not a complete bomb is struggling to become profitable.

Regardless of whether “Fantastic Four” makes money I think we may be at a turning point in the fantasy-adventure genre.  It has finally dawned on the studios that social messaging for the woke agenda is box office poison that has a tiny audience.  As the recent purchase of Paramount by Skydance Media demonstrates, entertainment that doesn’t make money ends up on the auction block and then the chopping block where the unentertaining and unprofitable components get sliced off and thrown in the garbage.  And similar things are happening all over the media and entertainment world.  CNN, MSNBC and CBS are all finding out that woke ideology doesn’t equal profitability and if they can’t adapt to a world that isn’t amused by it, they’ll be out of work.  I guess I’m an eternal optimist but maybe, just maybe, in a year or two decent fantasy adventure may be produced in Hollywood again.  At least it could happen!

She-Hulk X

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I was watching the 1930s King Kong movie yesterday and thought, “That was a damn good idea for a motion picture.”  It had a love story, a damsel in distress, prehistoric monsters, an ocean voyage to a tropical island, a battle scene involving the latest weapons technology of the time, a strange culture, a scantily clad pretty woman and the capitol city of the world as a backdrop.  It was a fantastic story and considering the special effects technology of the time it must have been a truly exciting movie to watch.

Now I compare this to what passes for adventure movies today and what have we got?  Most of what is out there are superhero movies.  One or more characters dressed up in spandex running or flying around battling each other to cause or prevent mayhem to the human population around them.  And after two hours of this, usually nothing much has happened.  Some space jewel or other has been found or lost and some bad guys have been captured or chased off.  But to all intents and purposes nothing substantive has been achieved or lost.  For the most part no one even dies.  It seems rather pointless.

I think something has been lost from the art of storytelling.  Now this isn’t completely the case.  There are still movies with a beginning, middle and end.  I guess a decent example would be Christopher Nolan’s Dark Knight trilogy.  Batman Begins, The Dark Knight and The Dark Knight Rises; beginning, middle and end.  We see why Bruce Wayne became Batman.  We see him defeat his greatest adversary and we see him walk away when he can do no more.  It’s not Shakespeare but it is decent story-telling and effective spectacle.

Now compare this to the Marvel “Avengers” series.  There have been dozens of these movies if you count all of the sequels, spin-offs and television productions.  Each “hero” has a sequence of movies and then there are the ensemble films and basically nothing meaningful happens.  And now they’ve gotten to the point where they want to swap out the older white male heroes with black and female successor heroes.  The most laughable one I’d say is “She-Hulk: Attorney at Law.”  I have to assume that if she loses a case she hulks out and rampages through the court building until her client can escape the pulverized masonry.  Basically, these people have no conception of story-telling and are just building boring envelopes that they can fill with CGI effects.

Even something as absurd as the John Wick movies is better than this.  At least it started with an original movie that had a character and a plot.  Granted the character is a cartoon and the plot is as simple minded as any imaginable but there is an arc to the story and things definitely happen; mostly flying bullets and dead Russian mobsters but within the confines of the story it keeps your interest mostly.  Now it is almost unbelievable that they’ve been able to turn this into a series.  The body count in the first movie was in the high two figures.  In the second movie, which was the last one I watched, the action was so frenetic I couldn’t even tell how many people he killed.  The automatic weapons fire was almost continuous for ten minutes at a time.  I don’t even know how we’re supposed to believe that the guns don’t start to melt from the heat.  But even this absurdity is preferable to the boring Marvel movies.

I understand that Hollywood is solely driven by return on investment and pumping out sequels to existing intellectual property like the comic book characters is one of the only allowed pathways to getting a film made.  The exception is someone like Christopher Nolan whose reputation for success will allow him to make a movie like Oppenheimer.  But you can count those trusted movie-makers on the fingers of one hand.  And they’re getting old.  What happens when they’re gone?  She-Hulk II or III or X?

Bad News – Good News

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So last night was the 97th Oscars.  Now, of course, I didn’t watch them.  I’m too old to waste several hours of my life watching boring awards show drivel about movies that no one in his right mind would actually watch and that’s even if seeing them was free of charge (which they are not).  I didn’t watch them but earlier I did hear about some of the best picture contenders.  One of them was the impossibly bad and unthinkably stupid “Emilia Pérez” which I mocked mercilessly in a post based on the movie trailer.  Another leading contender “The Brutalist” was a 3.5-hour epic about an immigrant architect from 1930s Hungary which includes the male protagonist being raped by his boss.  And a case could be made that wasn’t the worst part of the movie.  Matt Walsh reviewed it here so I was spared the horror of even watching the trailer.  And I hear the best picture winner was a movie called “Anora” which was about a sex worker that apparently contained a good 45 minutes of something resembling pornography.  Wow.

And so there we are for Hollywood 2025.  The best of the best are movies that no one would go to see and if anything actually entertaining somehow sneaks in then it will be panned by the critics and consigned to anonymity.  So that’s the way things have been run for the last fifteen years or so.  At this point even the wildly popular fantasy and superhero movies have been forced to conform to racial and gender social justice casting and plot requirements so that all the fun and excitement have been sucked out of them.  So, mission accomplished, Hollywood has murdered itself as an entertainment industry.  Requiescat in pacem.

Alright, let me try for the good news a bit.  Generation Z doesn’t go to the movies.  They play video games; they watch movies based on the video games they like.  And these movies about video games are written by “influencers” that play the same video games and have literally millions of young people following them on-line.  In other words, Netflix or some other media company will provide resources to an influencer to make a movie based on the fact that a guaranteed audience in the millions already exists for this product.

As an example, there is a guy on-line who reviews movies.  He calls himself “The Critical Drinker.”  He has 2.24 million subscribers and who knows how many casual watchers for his review videos.  He is also an author of suspense and espionage novels.  And because of his following (which is not particularly large as influencers go) he recently had a short movie made from one of his stories.  Now I’ve only watched ten minutes or so of this video but looking at the production quality, it’s equal to any of the series of this sort that gets made by Amazon or Netflix or the other studios that are taking away business from the old guard companies in Hollywood.  And recently I listened to a podcast where one of my favorite unwoke (meaning normal and entertaining) urban fantasy novelists Larry Correia was talking about these very things with The Critical Drinker.  And putting two and two together I’m guessing that people on my side of the political divide are thinking it might finally be possible to get movies made without the gatekeepers poisoning them or just plain stopping them as they’ve always done up till now.

Now, I’m not a Pollyanna.  A lot of the stuff that the kids watch is pretty goofy stuff.  The storytelling isn’t Dostoevsky.  In fact, it isn’t even Mickey Spillane.  But that’s alright.  You have to start somewhere.  The main thing is a pipeline has to be established where an audience and a creative type can trade money for entertainment without the woke gatekeepers controlling everything.  And that’s what I think is already beginning to happen.  Sure, it’ll start at the level of video game fan fiction.  But that’s no different from the pulp novels and the early movies like Buck Rogers and Flash Gordon.  From such humble beginnings can come much better work.

Now, will I live to see anything worthwhile come of this?  Stay tuned and I’ll let you know.

Gene Hackman – A Film Career Retrospective

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I guess everyone has heard that Gene Hackman and his wife were found dead in their home under what the police are calling “suspicious” circumstances.  The 95-year-old retired actor and his 66-year-old wife were found in different parts of the house deceased and in reportedly advanced decomposition.  The news sources hint it may have been a multiple suicide or some other unfortunate situation.  Well, we’ll probably get the gruesome and sad details soon enough.

I guess I wish I had written a post on Hackman’s career under happier circumstances.  But better late than never.  I had a chance to review his career over at IMDB and made a list of the movies that I had seen and either liked or at least considered good.

1969 Marooned
1971 The French Connection
1974 The Conversation
1974 Young Frankenstein
1978 Superman
1886 Hoosiers
1992 Unforgiven
1994 Wyatt Earp
1995 Get Shorty
1998 Enemy of the State
2001 The Royal Tenenbaums

 

It’s a surprisingly broad cross-section of genres.  He was equally skilled as a comic actor, an action/adventure star and even a few dramatic roles.  What I would say about his talent as an actor was that he would use his considerable acting abilities to take whatever part he was given, no matter how threadbare and make it memorable.  You could see this in Young Frankenstein and Get Shorty where he’s playing minor parts and yet he owns the movie while he’s on the screen.

My favorite of his films was “The French Connection.”  I was a freshman in high school and my homeroom picked the movie as our class trip.  We went into Manhattan and saw it on a big screen on Broadway and riding there on the subway it was surreal just how close to reality the scenes on the subway resembled reality.  Graffiti and drunks passed out on the trains were the perfect intro for the movie.  And Hackman was the perfect Popeye Doyle.  Brutalizing his drug suspects, antagonizing his chain of command and chasing a runaway subway train in a muscle car down the wrong side of the street under the 86th St elevated subway line through my old neighborhood in Brooklyn.  It didn’t get better than that.  I used to walk past the housing project where Popeye supposedly lived.  If he had, he would’ve been the only white man living there at the time.  It was a very tough place.

I enjoyed Hackman’s Lex Luthor in the first Superman movie.  It might have been the only discernible acting talent in the series but he managed to make it fun.  He was good in Unforgiven.  He was pretty over the top in the techno-thriller Enemy of the State alongside Will Smith but he gave it his all.  I’ve been told by film aficionados that “The Royal Tenenbaums” is a very good movie.  Well, I saw it but didn’t really “get it.”  But I’m unsophisticated.  That was the last movie I saw with Hackman.

Based on his versatility and skill I would say Hackman is one of the best acting talents I ever watched.  Maybe Brando or Pacino played more dramatic parts.  Robin Williams was a funnier clown.  Maybe Schwarzenegger and Bruce Willis blew up more stuff than Popeye Doyle.  But on balance Gene Hackman was the consummate professional.  He made the character real and he always stole the show for me.

Well done, Mr. Hackman.

No Brainer

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Do you know what movie is the front-runner for Best Picture and Best Actress Oscar Awards?  It’s a musical called Emilia Pérez.  It’s the story of a Mexican cartel kingpin named Manitas Del Monte who decides to undergo a sex change operation and become a woman named (you guessed it) Emilia Pérez.  And as you might imagine problems crop up.  He wants to keep tabs on his wife and children (who think he is dead).  And when his wife resumes an affair with one of his henchmen well, that’s going to be a problem.  Eventually everyone ends up dead, so it’s kind of a cautionary tale about sex changes I guess.  But it’s a musical so I’m sure it’s a lot of fun.

Now of course the best bit is the “actress” playing Emilia Pérez is, of course a man who has had his manly bits hacked off and now wears a dress and wig.  So, this is the year when a man will win the Best Actress Award.

Another milestone!

I guess you’re asking yourself where is he going with this?  What is there to say?

It’s a fair question.  After all this is just the logical conclusion to the progression in Hollywood for the last twenty years or so.  The proportion of movies that are strictly message movies and lack any entertainment value has been increasing steadily for two decades to the point where whole years can pass without anything appearing in theaters that general audiences can enjoy.  Of late even the superhero and Star Wars movies have been saturated with gender and racial equity messaging to such a point that these once bullet-proof box-office money makers have been crashing and burning.  Disney has had a string of flops that instead of making billions as they used to aren’t even breaking even.

Well, I think with Emilia Pérez we’ve reached the edge of the cliff.  If Hollywood gives the Best Picture and Best Actress awards to Emilia Pérez they will have passed into self-parody and forfeited any hope of recovery.  I have seen outtakes from this film.  There is a whole song devoted to vaginoplasty.  This is not the work of sane people.  This makes “Springtime for Hitler,” the farcical play within a play from Mel Brooks’ “The Producers,” look like Shakespeare.

From what I’ve heard, Mexico is up in arms.  Apparently, the honor of the narco-trafficantes has been besmirched by the premise of the movie.  I’m amazed that the producers don’t fear that they may end up as heads in a duffel bag somewhere in a cartel stronghold in Mexico.  And personally, I don’t see how we could blame them for taking offense.  After all it’s kind of like misgendering in a way.  And we all know how bad that is.

But seriously, if there is still any doubt that conservatives could easily make excellent money by opening up a half-decent movie studio and provide the public with even mediocre entertainment, this is the proof.  The idiots in Hollywood have lost their damn minds and nobody wants to watch what they are producing and awarding.

Right now, a studio using ten-year-old CGI technology and century old plots could be picking up most of the billions that Marvel and Lucas Films are leaving on the table by being woke.  Something like Dune or any space opera from the 1940s would sell tickets all day long just by providing teenagers with a hero saves the princess plot.  After all that’s what Star Wars was based on and they printed money for forty years until they screwed it up with the woke crap they had to inject into it.

Let me recommend that you not go to see Emilia Pérez.  In fact, let me recommend that you not watch this year’s Oscars (not that you would).  But who I am really talking to is Elon Musk and other deep pockets guys who have the wherewithal to take advantage of others’ mistakes.  Hire a few of the better movie screenwriters and tell them to write a Star Wars rip-off.  Except make it for normal people.  Then film it and make a billion dollars.  No brainer.