ANDREW KLAVAN:  Why Detroit Bombed:

People don’t want to spend their summer entertainment hours watching folks get tortured and killed by psycho racist cops.

I’m not sure there’s any more to the film’s failure than that. But if the left had wanted to destroy this movie’s commercial chances, if they had plotted and planned to strip it of legitimacy and appeal, they could not have done anymore than they have.

Read the whole thing.

Personally, I blame intersectionality. No – really. You can get whiplash spotting the dueling headlines over the past couple of weeks that (A) a white woman shouldn’t have directed a film about a significant moment in black American history and that (B) there should be a quota system in Hollywood to require more female directors. (As someone tweeted in response, “Everyone knows the best art is created with quotas.”)

When all entertainment is reduced to being “problematic” to this or that leftwing grievance group, no wonder the industry can’t do much beyond, as Glenn recently wrote, “Comic book movies, redos, and redos of comic book movies. A vast wasteland.” Dunkirk is the exception that proves the rule, but its director is a superstar thanks to his comic book movies and the rest of his past oeuvre. With the exception of Zero Dark Thirty (which didn’t top the magic 100 million dollar mark in its US gross), Kathryn Bigelow’s movies have never come close to Christopher Nolan’s box office.

All of which is why, as Kurt Schlichter writes, “Politically Correct Hollywood Is Doomed.” In no small part because once again, the SJW crowd is devouring their own.