With a domestic take nearing $300 million after only ten days in release, Top Gun: Maverick continues to prove the obvious: moviegoers of all ages will show up in droves if you entertain and inspire us.
Per the far-left Deadline:
Moviegoers aren’t losing that loving feeling for Top Gun: Maverick this weekend as the movie is destined to become Tom Cruise’s top-grossing movie ever at the domestic box office with $273.6M. The 3x Oscar nominee’s previous high earning title was Steven Spielberg’s 2005 sci-fi title War of the Worlds at $234M.
Top Gun 2 is expected to beat War of the Worlds on Saturday; the Joseph Kosinski-directed sequel eyeing a second Friday of $20M, -61% against last Friday (+ previews) on its way to a 3-day of $68M, -46%. Some rival studios see it much higher, but again, it’s still early.
A second-weekend hold of just -46 percent [UPDATE: -32 percent] is extraordinary. Most blockbusters dip 60 percent or better. In other words, Top Gun: Maverick has real legs and is almost certainly benefitting from repeat business.
Leftists are already mad that a non-woke movie that doesn’t violate human nature with woke lectures, woke perversion, woke revisionism, and woke emasculation, is not only breaking records but being embraced by wingnuts like me.
Here’s a sneer from Vanity Fair:
Aside from the Defense Department propaganda inherent to most of Hollywood’s military-themed creations, the film is not overtly political in a way that is recognizable to Americans who have grown accustomed to Air Force flyovers at the Super Bowl and World Series. In many regards, Top Gun: Maverick feels like a product of the ’80s—a decade that saw the U.S. invading countries like Grenada and Panama while also in the throes of the Cold War with Russia. And like the original 1986 movie, it is an exhilarating, beautifully produced military recruitment ad that favors neither Republican nor Democratic sensibilities. It manages to portray a conflict over nuclear weapons as downright fun.
[…]
Despite acknowledging that he had not seen the film, Breitbart columnist John Nolte preemptively lauded Top Gun: Maverick as a “masculine, pro-American, stridently non-woke blockbuster,” adding, “Rather than apologize for being an ’80s ‘relic,’ it embraced what everyone loved in 1986 and still loves today.” While citing a number of Hollywood’s “woke flops,” Nolte wrote that Top Gun: Maverick avoided that fate by “respect[ing] human nature” and eschewing progressive commentary. “It didn’t do what James Bond did—turn itself into a mewling little pajama boy gerbil of a movie,” he added. “It didn’t do what Star Wars did and pervert a romantic adventure series into a shrill Womyn’s Studies lecture.”
Damn, did I really write all that? Pretty snappy.
Watch below:
Salon is in their favorite position, beside themselves… “No, ‘Top Gun’ isn’t an anti-woke success story, but rather a tribute to aging Tom Cruise and balls,” reads the defensive headline. And yet “balls” is exactly what’s missing in the growing mountain of woke flops, no?
You know, “balls” as in masculinity instead of creepy men in high heels.
You know, “balls” as in confidence and bravery, as opposed to an iconic hero rewritten by woketards into an aging loser shamed into action by a charisma-free woman with the body of a 12-year-old boy?
You know, “balls,” as in a story about competence and duty, instead of smug lectures that break the storytelling spell?
The Guardian is seething with its own defensive headline: “No, Top Gun: Maverick’s success isn’t down to being pro-America and anti-woke.”
The subheadline is even more glorious:
Rightwing pundits have tried to claim the sequel’s box office success as their success but there are enough examples to show that this isn’t the case
Yeah, you lost me in that middle part…
And then the article proves its own headline a lie…
It is indeed true that Top Gun: Maverick does not go out of its way to celebrate inclusion and diversity in the sometimes-cloying, corporate way most closely associated with various Disney properties.
Bingo! We don’t go to the movies to celebrate inclusion and diversity because inclusion and diversity are fucking stupid. We’re Americans. We don’t dwell on our differences, especially differences as shallow as skin color. Instead, we come together as one to get the job done.
Themes drive good movies. “Inclusion” and “diversity” are not themes. Instead, they’re buzzwords spouted by smug, over-educated, shallow bullies whose self-esteem is based on everything but character and integrity.
The Guardian also lets this one loose…
In other words, Top Gun 2 is studiously “apolitical[.]”
Thank YOU!
Exactly!
Golf clap.
Here’s what none of these embittered leftists can point to… A woke movie that overperformed at the box office.
Top Gun 2 is waaaayyy overperforming.
But meanwhile…
- Woke West Side Story: Flop
- Woke Eternals: Flop
- Woke In the Heights: Flop
- Woke Wonder Woman1984: Flop
- Woke Charlie’s Angels: Flop
- Woke Men In Black International: Flop
- Woke Birds of Prey: Flop
- Woke Ghostbusters 3: Flop
- Woke The 355: Flop.
- Woke Terminator Dark Fate: Flop
- Woke Oscars: flop
- Woke Netflix: Stock tanking
- Woke Groomers at Disney: Stock tanking
- Woke Star Wars: Doornail dead as a film franchise.
How many franchises, including Star Wars — woke has been so rejected it killed freakin’ Star Wars! — have to commit Woke Suicide before these morons smell the coffee?
But, as we all know, they smell the coffee just fine.
It’s admitting to what the coffee smells like that they don’t have the moral courage to admit.
God bless the free market.
Follow John Nolte on Twitter @NolteNC. Follow his Facebook Page here.
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