Hollywood's Liberal Film Flops Point to Battle at Heart of Industry
The recent war of words between George Clooney and hedge fund kingpin Daniel Loeb was quite significant. What appears to just be
another investor tired of Hollywood political flops, in reality, is a
public face on a very private fight. One raging within Hollywood itself.
The future of Hollywood political preach fests is dire, here are the main reasons why:
1. The Avengers (May 2012)
Hollywood releasing left wing films is nothing new, the fight over them
took on another level with the release of this superhero feature. The
reason being as follows: to justify the making of big budget
liberal box office flops like Green Zone, or even the more recent White
House Down, the progressives in Hollywood sought to make a new argument.
That argument was: “Well, the budgets on other films is too high
anyway. The major box office records won’t be ever broken. The state of
Hollywood’s future has to be the political films we want to make. We’ll
just do them cheaper. Trust us. We can.”
Much like a campaign
trail promise, this went out the window with The Avengers opening. Not only
did it shatter box office records (the most impressive being the
biggest film opening of all time), it did so by a wide margin. The film
also featured a character talking openly about God (Captain America),
and featured a budget well over $200 million to produce. According to the
progressives in Hollywood trying to shape the industry’s future, this
never should have happened.
There’s even a dig at Democrats late in the
film. After saving New York City, various news feeds are shown
showcasing people’s opinions on the Avengers. One, if you look closely,
is a Democratic politician from New York who angrily yells that the
Avengers “should have to pay for all damage” caused by the film’s alien
invasion. But this was nothing compared to future progressive troubles.
2. The Astounding Christmas Frame of 2012
one really hurt progressives. Films over the Christmas frame last year (films that
open around Christmas and onward) was long circled on many box office
analyst charts. The reason being the significant change in direction the
industry was trying. The return of the much beloved conservative opus
Lord Of The Rings emerged in the form of The Hobbit: An Unexpected
Journey. There was also Les Miserables’, a film musical marketed directly to church audiences. Also included was Quentin Tarantino’s
western Django Unchained. To top if off was Zero Dark Thirty, a film
who’s target audience was the current American conservative base. All
were seen as “old fashioned” and “too much a representation of a dying
age in Hollywood,” by many in the Hollywood left.
To counter, progressives
had Matt Damon’s Promised Land (an anti-fracking movie) and others. The
result was not only did Hobbit, Les Miserables’, Django, and Zero Dark
Thirty open to successful box office. They continued to make a lot of
money in the long run. In fact, these films performed so well on the
margins (all easily breaking the $95-300 million domestic mark), it
shocked the majority of Hollywood talent that such “staying power” was even possible at the multiplex during the Christmas frame
(usually only the lucrative Summer frame could see as many films with
such strong box office results). The films did so well, they actually dominated all films released the next month entirely.
On the other side of the coin,
Promised Land flopped. No other progressive film even made a
dent on the box office stage.
Before they were done, Hobbit broke
the elusive billion dollar mark worldwide, Les Miserables’, Django
Unchained, and Zero Dark Thirty all grabbed Best Picture nominations.
Which brings us to our last point.
3. Zero Dark Thirty’s Oscar Campaign
was bound to happen. After suffering massive embarrassment over the
vastly successful (and very anti-progressive) Christmas frame.
Progressives took out their frustration on Zero Dark Thirty’s Oscar
The claim was Zero Dark Thirty’s controversy was over the“enhanced interrogation efforts” in the film which many liberal
organizations viewed as “torture.” For many this was true. But don’t be
fooled, this was mainly a fight over the direction of the Hollywood film
industry. Many in Hollywood grew frustrated they were losing the reigns
to the Zero and Hobbits of the world, and they lashed out accordingly.
result, sadly, was Zero Dark Thirty (though critically acclaimed and
voted high by audiences) never stood a chance to win Best Picture at the
very politicized Academy Awards. But the greater victory was easily won
on Hollywood’s future.
Which brings us to George Clooney and
Daniel’s Loeb’s public feud. What’s it over? What else, frustration over
box office flops loaded with liberal talking points (in this case,
Elysium and White House Down). Coincidence it falls in with previous
frustrations expressed on progressive films this past year? Nope. Just a
more public face on the very private fight.
A box office fight, right now, Hollywood progressives know they’re losing.
Sensei White Lotus