Americans went to the movies this weekend, and did so in droves, which proves once again just how ideologically dishonest, brain-dead, and professionally compromised the entertainment media are.
“Mostly everything is up… with the overall domestic box office ‘coming in at around $146 million,’” reports the far-left Deadline. “Not only is that the best result for the final weekend of April since the end of COVID, but it’s also the fourth best overall after Avengers weekends 2019 ($402M) and 2018 ($313.9M) and 2011, when Universal’s Fast Five drove the Friday-Sunday period to $158M.”
So, in the history of movies, we just had the fourth greatest box office haul ever for the final weekend of April.
I’m confused.
How is such a thing possible?
I only ask this because the entertainment media assured and reassured me that moviegoing was dead and that COVID and the rise of streaming had killed it. Even more fascinating is what the entertainment media refuses to blame the current box office drought on, which is 1) the polluting of most every movie with obnoxious, left-wing politics, 2) homosexuality everywhere, and 3) the diminished quality of movies.
You see, according to the palace guards in the entertainment media, the death of moviegoing could not be caused by any of those three things because to in any way admit it might be one of those three things would mean admitting 1) Americans reject your heavy-handed, left-wing political lectures, 2) Americans don’t want to be exposed to alternative sexual lifestyles, and 3) the awesome studios that purchase our advertising and give us access and scoops suck at their jobs.
And yet, here we sit with the fourth-greatest final weekend of April in history. If streaming and COVID are killing moviegoing, this weekend should not have been possible. If streaming and COVID are killing the box office, nothing should be able to lift the box office, right?
Let’s take a look at the titles that delivered this weekend’s shocker…
In its second weekend, director Ryan Coogler’s magnificent Sinners is a legitimate phenomenon, a total original that probably broke a record or two with only a six percent drop in attendance compared to its opening weekend. In just ten days, the vampire epic has grossed $123 million thanks to blazing word-of-mouth, which is well-deserved.
Revenge of the Sith is 20 years old and grossed $25.2 million over the weekend.
The Accountant 2 grossed $24.4 million.
A Minecraft Movie earned another $22.7 million in weekend four for a total domestic haul of $380 million.
If COVID and streaming are what’s killing movie theaters, how does our corrupt entertainment media explain this?
They can’t explain it because to do so would kill the political lies they’ve manufactured to protect their ideology and their sugar-daddy studios.
So, I’ll explain it…
The public finds these movies greatly appealing because 1) they are not woke, 2) there’s no off-putting sexuality, and 3) they’re pretty good movies.
Anyone accusing Sinners of being “woke” because it addresses the Democrat Party’s racism in the Jim Crow South has way too broad a definition for “woke.” If movies about racism are woke, is Mississippi Burning woke? The Color Purple, Glory, In the Heat of the Night, A Raisin in the Sun, The Defiant Ones? Let’s not be dumb about this. It’s not the theme that defines woke, it is how that theme is presented. Sinners never breaks the storytelling spell with a virtue signal or smug lecture. Thanks to Democrats, racism was a fact of life in the Old South and that’s how Sinners presents it. If anything, I found Sinners’ themes against collectivism downright Trumpian. The movie is even sexy.
To those of you claiming I’m arguing against the idea that Sinners is a woke movie because I don’t want to admit a woke movie could be a hit… Then explain why I’ve always admitted Barbie was a woke hit.
Anyway…
How eager are Normal People to go to the movies…?
This eager…
A 20-year-old Revenge of the Sith, which anyone can watch at home with the press of a button, just cleared $25 million. Can you blame Star Wars fans for wanting to recapture the experience of watching a non-woke Star Wars movie in a theater? I’ll bet you that at least 90 percent of those who paid to see Revenge of the Sith this weekend have a copy of this same movie at home. That is how much people miss going to the movies.
The Accountant 2, a sequel to a nine-year-old movie that was only a modest hit, cleaned up because it promised a good, old-fashioned time at the movies—and it delivered.
Speaking of delivering, unlike Snow Woke, Minecraft is obviously giving parents and kids what they want, which is a good time free of toxic identity politics, gay shit, and smug lectures.
Make movies people actually want to see, and people will come out to see them. Duh.
The box office has already survived two world wars, 9/11, pandemics, a Depression, TV, and cable TV… How? By giving the people what they want and what they want is to feel something at the movies. It might be suspense, or a crush on a beautiful movie star, or a touch of eroticism. It might be a burst of excitement and escapism, or a sense of adventure and wonderment, or the joy of being safely terrified… Moviegoers want their souls enriched, they want to escape real life. What they don’t want is to be insulted, condescended to, stuck with smug stars, or bludgeoned with sexuality they find off-putting.
Yes, once again, the box office has proven that everything the “experts” are telling you about the death of the box office is a big, fat, shameless lie.
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