The fake entertainment media is already trying to blame Wonder Woman 1984’s crash and burn at the international box office on the pandemic. Don’t you believe it.
What we have here is nothing more or less than yet another Woketard franchise going down in flames. Number seven by my count.
Wonder Woman 1984, the sequel to the 2017 blockbuster debuted on 30,000 screens in 32 international markets and went down like the Hindenburg with only a $38.5 million debut.
That is not the fault of the pandemic. That is just a plain ‘ol box office catastrophe that comes from audience indifference.
For context, during this same pandemic, Christopher Nolan’s Tenet debuted to $83 million overseas back in August. Fifty-three million came from 41 territories, which did not include China. The following week, Tenet debuted in China and grossed nearly $30 million.
In just its China debut, during the same pandemic, Tenet nearly beat Wonder Woman 1984’s total international debut, and Wonder Woman 1984’s total international debut included China.
By the end of its international run, and again, during this same pandemic, Tenet grossed a whopping $305 million overseas.
It’s looking like Wonder Woman 1984 will be lucky to crack half that.
If you’re looking for more apples-to-apples comparisons, Wonder Woman 1984 debuted to just $19 million in China this weekend. In 2017, the original Wonder Woman opened to almost twice that and China’s box office is pretty close to back to normal. For example, The Rescue, a China-produced film, also debuted this weekend and humiliated Wonder Woman 1984 with $36.3 million opening.
Wonder Woman 1984 is shaping up to be a full-blown catastrophe that has nothing to do with the virus and everything to do with audience indifference.
And now that we have used math and facts to prove that, the question becomes why?
Why is Wonder Woman 1984 a humiliating flop? After all, the original Wonder Woman was a huge hit that grossed $413 million domestic and another $409 million overseas. So what happened to all the goodwill?
Well, I think two things…
The first is that the original Wonder Woman just isn’t a very good movie. Like a lot of big hits, once the rollercoaster ride of all the CGI wears off, you see the movie for what it really is, and Wonder Woman is a heaping-helping of nothing special.
I just watched it again a few days ago and while I wasn’t a big fan to begin with, it was an even worse experience the second time. A real waste of time. You take Gal Gadot out of Wonder Woman and replace her with one of Hollywood’s generic starlets, and Wonder Woman’s got nothing. Gadot is a one-in-a-million find who holds that terrible movie up all on her own, and after first blush, it just isn’t enough.
So there’s that, the slow-draining of goodwill toward the quality of the original, and then you have the Woke factor, which is pure box office poison.
Hollywood’s Woketards have already killed six film franchises: Birds of Prey, Charlie’s Angels, Ghostbusters, Terminator, Men in Black, and Star Wars.
Star Wars might have money but nowhere near what was expected, and the backlash was so fierce a whole bunch of planned Star Wars movies were canceled, as was the plan to release two or three titles a year.
Nevertheless, for whatever lunatic reason, director Patty Jenkins decided to make Wonder Woman 1984 woke with a Donald Trump stand-in for her villain.
Who the fuck wants to see that? Trump supporters don’t want to see that, and there are right around 75 million of us. And those Trump-haters, who aren’t already sick of the guy, get their Trump-bashing fill 24/7, 365 days a week on TV, in the news, Late Night — it’s everywhere!
Oh, and guess who’s directing the next Star Wars movie?
Wonder Woman 1984 opens domestically on Christmas Day in what remaining theaters the left-wing, anti-science lunatics haven’t locked down. It also debuts as a loss leader on HBO Max.