The deal is done. Netflix will purchase Warner Bros. Discovery for $82 billion. Yet another corporate monopoly drives a nail through Hollywood’s coffin. It was bad enough when Disney bought Fox, Star Wars, and Marvel. Now, Netflix will be among the most powerful corporate monopolies, replacing what Hollywood used to be.
America gave up on Hollywood because Hollywood gave up on America. The result is empty movie theaters all over the country—one bomb after another.
Of course, Warner Bros. knew. You’d have to be an idiot not to know. Does anyone think Netflix is sweating the online memes accusing it of being too woke? No, they aren’t. They are making too much money to care.
With streaming, there is no free market pressure, no quality control. You don’t have to motivate people to leave their homes. You don’t need big stars to drive box office, and best of all, you can ignore the silent majority that has tuned you out long ago. Hate the trans agenda being shoved down everyone’s throat? Too bad. Your boycotts are a drop in the bucket at Netflix.
It’s the perfect solution to Hollywood’s problem. They can have everything they want — a virtue signaling paradise — and never have to worry about big budgets or low box office ever again.
That’s the easy way out. The truth is harder to swallow. They destroyed themselves. They wrecked their brand and alienated their audience.
Hollywood built a ship of failure when it split into two divergent paths around 2003, after the Harry Potter and Lord of the Rings franchises brought in ungodly profits not just here but around the world. The branding was the key, the IPs. For years, they dominated the global box office and brought people to movie theaters across the country.
Meanwhile, in the other Hollywood, in the “prestige” niche lane where the Oscars live, things began to get smaller, more isolated, more aligned with politics, especially under Barack Obama. His win influenced almost everything, as he loves to put out his top-ten lists every year and even has a deal with Netflix.
These two Hollywoods existed side by side like the First Class section of the airplane vs. Coach, where they “let them eat Marvel.” You can see the rise and fall in one image, from Box Office Mojo:
This year might mean that, for the first time since 2020, China will dominate the Worldwide box office rather than Hollywood, unless Jim Cameron can bring Avatar: Fire and Ash over the 2 billion mark.
In 2019, Hollywood put out over 900 movies. Last year, just 624, and many of them bombed. So what happened? 2020 happened. The one-two punch of COVID and the Great Awokening brought Hollywood to its knees.
The Oscar race this year is loaded with unwatchable movies that swirl around things almost no one outside the bubble of Hollywood cares about, identity mainly. Mothers’ caterwauling their oppression, like Die, My Love, If I had Legs I’d Kick You, and even One Battle After Another feature women who seem to hate their children.
The people who run Hollywood are still mostly rich white men, but they must always genuflect, with women or people of color as shields to protect them from accusations of sexism or racism by the mob online. The rise of female directors who get these jobs for no other reason except that they’re female has transformed a once-great industry into a DEI film school.
Every couple is interracial. Every movie must have significant actors of color. The GLAAD lobby demands representation everywhere. Why would anyone want to pay money to have them shove their ideology down our throats?
Success doesn’t even matter to them. That they project “goodness” is all they care about now, their status inside utopia.
The End
As I drive across this country, I sometimes see a multiplex in a mall. It looks as deserted to me as the old drive-ins once did, and I can’t help but think this really is the end for movie theaters. They’ll go the way of the record store, limited to enthusiasts in the big cities. Everyone else will numbly scroll through Netflix for whatever they can find, but it will never have the same cultural impact as a great movie when we’re all under one roof, sharing a story.
It’s yet more separation, more isolation, more internet, more social media, less of what we all need as a society.
“The Future is Coming, and You Aren’t In It”
After COVID ended for rational Americans, we all wondered whether people would return to the movies. The paranoid mask-wearing Liberals did not. Even Peggy Noonan noticed.
In 2022, a miracle arrived in the form of Tom Cruise starring in Top Gun: Maverick.
It made so much money that it wiped clean the argument that Hollywood was over and movie theaters were dying. Although it was nominated for Best Picture, it lost to the woke screed, Everything Everywhere All At Once. That was a sign that Hollywood was not ready for the iceberg right ahead.
The following year showed promise, with “Barbenheimer,” “Oppenheimer,” and “Barbie” becoming cultural sensations on TikTok. The Oscars did the right thing and gave their awards to Oppenheimer. Though things seem to be moving in the right direction, it’s too little, too late. Audiences don’t trust Hollywood anymore, and I can’t blame them.
Of all the Warner Bros. movies that were successful this year, the Oscar will likely go to the anti-ICE, pro-ANTIFA, anti-Trump rallying cry, One Battle After Another. No film in recent memory has better captured the singular worldview of the progressive Left.
As Curtis Yarvin wrote for The Spectator:
Fundamentally, One Battle is a religious film. It is entirely set in the fantasy landscape of the great American religion, progressivism, the 20th-century evolution of our ancient Puritan tradition. If you are a true believer, imagine watching Battlefield Earth without being a Scientologist. For non-progressives, One Battle may be necessary viewing. It displays the interior landscape of the narcissistic narrative of our world’s dominant cult of power. We seldom get to strap a GoPro to the inside of a lib’s forehead.
And he continues:
So this film is out there – recruiting damaged people by presenting them as romantic heroes in a propaganda fantasy. Few will kill. But many will clap. When bad movies succeed, as One Battle will, they diagnose something bad in the audiences they entertain. Corrupt art is the pathognomonic mark of a corrupt society. Shitty people will watch this shitty film, and love it. Shitty journalists have already given it a standing ovation – the politics makes them hard, like Lockjaw. This evil is at the very heart of our culture.
As Leonard Cohen noted: “I have seen the future, brother. It is murder.” Murder is as old as Cain. The anonymous internet is young. Nobody asked for the combination. But they’ll get it.
So, of course, the critics have gone nuts for it. It IS religious for them. It’s already won many awards and is on track to win Best Picture. Trust me, Hollywood has no desire to save itself.
One Battle After Another cost upwards of $140 million and only made $70 million in the US, with the bulk of its profits made overseas on Leonardo DiCaprio’s name, which is why it’s assumed he demanded his usual fee of $20 million. Old Hollywood understood that you don’t reward failure with film awards. New Hollywood cares less about the money and more about the message.
The public used to matter because the box office did. No wonder WB is selling out after watching one bomb after another this past year. Why wait for bankruptcy? Why not cash out now on a high note?
This is the kind of thing Hollywood pumps out now:
And therein lies the problem. They forgot it wasn’t about them. They believed their own publicity. They fell in love with their own image, like Narcissus. They began to believe they were important.
We loved movies and celebrities for what they gave us, not for who they are. We don’t care. We don’t need them to fix us. Or teach us. Or lecture us. Or scold us. We just need them to entertain us.
Well, now the billionaires have arrived to prove to them how little they matter when it comes to the bottom line. And if you think that’s bad, wait until the AI tsunami wipes out half the industry.
The audience was always their best hope for survival. As long as we showed up, Hollywood and its stars had power. Now that audiences have vanished, well, the ship is made of iron, and it will sink.
Who knows, maybe Congress or Trump can stop the merger. That still won’t fix the fundamental problem of what Hollywood has become and why the public turned away.
On the upside, the giant hole Hollywood leaves behind, like the asteroid that killed the dinosaurs, might open up movie theaters to a new breed of filmmaker. Maybe they can make movies Hollywood or Netflix never would - trashy comedies, cheap horror, romantic comedies, Dirty Harry movies. Who knows, maybe we can Make Hollywood Great Again. What better way to rebuild a counterculture?
Altamont, Illinois, 8:42AM.
