The only place in America where you pay money for a lecture is on college campuses. Young adults are forced to sit in a room with teachers who attempt to mold their minds and send them out into the real world with a new progressive mindset. While this is an effective strategy for undergraduate students, the same cannot be said for moviegoers. The last thing normal people want to do with their free time is to sit down for 135 minutes and pay money for a lecture. This is a lesson that Hollywood is learning the hard way.
It was not that long ago when the likes of Brie Larson and Cate Blanchett, criticized men for critiquing films that were “not made for them”. Now the same feminist think tanks are complaining that men are not financially supporting films that they are not allowed to critique. According to capitalism, if you don’t provide a product that customers want, they won’t buy it. This does not sit well with the academics within the film industry who are discovering is that this rule applies to the movies with a feminist message.
When the 2019 remake of Little Women (The seventh incarnation of the film) failed to match the box office of Avengers: Endgame, media outlets The New York Times and The Washington Post wasted no time pointing fingers at moviegoers, especially men. Washington Post columnist Monica Hesse explains the reason men needed to see Little Women in theaters is that they need to learn to be better men. She explains:
Men need to be reassured, again and again, that there are all kinds of ways to be a man, and one kind involves watching Amy and Jo tearfully make up after Amy nearly drowns in the ice skating pond.
Open yourself to the idea that messages of devotion, kindness and caring are not the purview of women alone. See “Little Women.” Expand society’s narrow ideas about what constitutes a fulfilling emotional experience for men, one ticket at a time.
Hesse shares the progressive think tank view of cinema, that films are opportunities to teach their audiences rather than entertain them. Sophia Takal, director of the feminist remake of Black Christmas, shared this ideology when she decided to change her own movie to a PG-13 rating. A rating that would allow more young girls would go to theaters and be “indoctrinated by the genre”. Her message was not absorbed, as the film made only 10 million in the United States to mostly negative reviews.
In the current age of #MeToo (which was caused by Hollywood in the first place), writers and producers are treating their films like campus lectures in hopes that they can change society. When audiences reject Hollywood’s TED talk, they are met with finger-pointing by an industry claiming that they are at-best afraid of movies with strong women or at-worst too bigoted to support it. Instead of changing the world, they are making sure that audiences go out of their way to avoid their future work. Instead of embracing the idea that the customer is always right, Hollywood and their buddies in journalism embrace the idea that if the customer doesn’t support them, then it is the customer that must change.
This is why the media continue to blame Star Wars fans for the failures of the Disney owned franchise. Because Hillary Clinton won the popular vote in 2016, Progressives believe that the majority of people agree with their worldview. The echo chamber of Hollywood and the news media do not understand the common man. They don’t understand that movies are a luxury, not a basic need. Echo chambers don’t understand that moviegoers do not want to pay their hard-earned money to see films from condescending Hollywood elites who are just going to attack them for not watching them in the first place.
With the early stages of 2020 in motion, there are a number of films coming out this year that Hollywood and the media will have a mission to protect. These films will include Black Widow, Wonder Woman 1984, and The new feminist Bond film. If those films along with others don’t match the box office expectations of the studios, you can assure yourself that articles pointing the fingers at the paying customers will not be far behind. But if you want these films to make money and not lose money, the solution is simple. Give audiences want they want and don’t tell them what they need.
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