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)

While 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

This 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

It 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 road.

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.

The 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


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