“I’m very, very nervous for the future,” one top studio executive told the far-left Hollywood Reporter.
Okay, then, maybe make better movies, replied America.
“As the summer season wraps on Sept. 1, Hollywood is facing the worst-case scenario: May to Labor Day ticket sales in North America barely matched the $3.67 billion collected in 2024, even if the deficit was only $7 million,” reports THR. “All had assumed this year’s summer lineup would have the strength to equal or surpass the $4.09 billion grossed in summer 2023,” the report adds.
This summer’s box office has left “studio execs and exhibitors in a state of shock as they wrestle with how to operate in a new world order where moviegoing might never return to pre-COVID levels.”
One top studio executive said, “There are all these studios and companies making movies. I don’t think there is enough of an audience for them.”
“I don’t think the studio system will fill the gap that started from the pandemic,” said one CEO. “It’s not as mass a market anymore. It’s about an even smaller group of people going to the movies more often. So there’s a lot more streaming and watching at home.”
Yes, Virginia, they are still BLAMING COVID!
Other studio execs disagree. Instead, “they think the solution is more product delivered to their big screens.”
Only one summer movie passed the billion-dollar mark globally: Disney’s live-action remake of Lilo & Stitch. Other titles considered sure-fire hits — Mission: Impossible — The Final Reckoning, Superman, Thunderbolts, and Fantastic Four — all underperformed. The sycophants are aggressively trying to spin Superman into a hit, but $607 million global is nothing more than… fine.
The few bright spots are: Jurassic World: Rebirth ($874 million global); F1: The Movie ($607 million); Final Destination: Bloodlines ($287 million); and Weapons ($211 million and counting).
If COVID is still the problem, and the problem is not bad movies, sexless and obnoxious girlbosses, pedantic scripts that tell us what to think, gay stuff, and the deconstruction of our masculine heroes, why did Lilo & Stitch make over a billion dollars? Why did Jurassic World: Rebirth and Minecraft make nearly a billion dollars?
Why did 62-year-old Brad Pitt just deliver the biggest global hit of his career?
Why in the world did 50-year-old Jaws outperform two brand-spanking-new studio movies?
The problem is not COVID. The problem is not streaming or video games. Obviously, OBVIOUSLY, people still want to enjoy the theater experience. The problem IS that the studios are not delivering movies that appeal to us, that feel new, that gets us buzzing. Sex appeal would be a good place to start. Guys really do like to look at sexy women as they watch men go on adventures.
Simple solution: make movies for Normal People instead of theater kids, groomers, exhibitionists, and purple-haired harridans who buy boxed wine at Costco.
COVID is not the virus killing movies. The killer virus is woke.
John Nolte’s first and last novel, Borrowed Time, is winning five-star raves from everyday readers. You can read an excerpt here and an in-depth review here. Also available in hardcover and on Kindle and Audiobook.
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