TIME TO BATGIRL THIS WRECK: John Nolte: Disney’s Woke Snow White Trailer Nears 1.4 Million Downvotes.

Gee, for some reason a Snow White remake that wants to gaslight us into believing Rachel “The Unibrow” Zegler is more attractive than Gal Gadot is finding itself downvoted by more than ten-to-one.

The Disney Grooming Syndicate’s live-action remake of Snow White is scheduled to dead-cat-bounce into theaters this March. The teaser trailer for this much-delayed boondoggle has now been viewed 11 million times. Still, only 100,000 have upvoted it, while 1.4 million — million — have downvoted it.

Gotta keep pumping that quantity of downvotes up. Those are rookie numbers in this racket, to paraphrase Matthew McConaughey in The Wolf on Wall Street:

Nolte adds:

We’ve already gone over all the dumb and smug things Snow White star Rachel Zegler has said to undermine her own $350 million movie. No need to do that again. Still, Zegler and the movie have another problem: Rachel Zegler is neither likable nor appealing.  She has a smug face when Snow White should be the picture of innocence, someone we root for, worry over and care about. Zegler is so busy girlbossing, there’s nothing vulnerable about her, and it’s Snow White’s vulnerability that should pull us into the story and gives it its stakes.

And since it was seven years ago yesterday when Disney released Star Wars: The Last Jedi, here’s a look back at one of their earlier efforts at shoehorning maximum woke into a genre: The Last Jedi: A Masterpiece of Esoteric Art.

Detractors of The Last Jedi reproach him with having “killed Star Wars“. But a thoughtful analysis such as we have undertaken makes it plain that if he did, it was quite deliberately. The main target of Johnson’s demolitions is J.J. Abrams’s vision for Star Wars. All of the plot threads introduced in The Force Awakens are ruthlessly torn apart: Snoke is dead, Rey’s mysterious parents are useless, Finn reverts to impotent cowardice, and the Resistance itself is utterly destroyed. Even Leia’s coma can be seen as a rebuke of her implicit inaction while the First Order was establishing itself in the interbellum decades. What remains in the aftermath of The Last Jedi is so shattered as to positively require that future installments cannot merely repeat what has come before.

In ye olden days, a director handed a sequel, such as Irvin Kershner being tasked by George Lucas to direct The Empire Strikes Back, Nicholas Meyer by Paramount to make Star Trek II: The Wrath of Kahn, or even the myriad of James Bond directors in the pre-Daniel Craig days, went out of their way to understand what made the original great and preserve that essence, while stamping their own unique talent on the new film at hand. But Disney’s creatives invariably seem absolutely determined to destroy the legacy of whatever product they’ve been given tens of millions to create, whether it was George Lucas’ or even J.J. Abrams’ vision of Star Wars, or Walt Disney’s beloved original Snow White of 1937.

As Ed Morrissey wrote last month after Zegler first muttered “May Trump supporters and Trump voters and Trump himself never know peace,” and then issued a Disney-ordered walkback, “I doubt this apology will do much to ameliorate it, which raises the question of whether Disney will release Snow White at all. The added costs of distribution and marketing will make this a $500M release, with almost no hope of recouping much. Is it better to Batgirl it and get the insurance payout?”