GEORGE MF WASHINGTON: Making Movies in a Low Trust Environment. “Washington” compares and contrasts 1993’s top movies with today’s choices being proffered by DEI-infected Hollywood and compares the results to a once dominant sports team now constantly having losing seasons. “Don’t we become hyper-critical of even the smallest mistakes, mistakes of the kind we might forgive a competent team that is otherwise playing well? Worse, don’t we sometimes start to expect that our team will lose even before a single minute of game time has been played?”
And that is exactly what has happened to Hollywood over the last 20 years. The studios have performed the task of entertaining us so poorly, so regularly, that audiences feel burned. They no longer trust that the movies they pay to see will be any good, and they have begun to give up… even in the case of big blockbuster titles based on popular franchises, characters or IP of the kind audiences would have flocked to see in the 80’s and 90’s when Hollywood was releasing movies in a high trust environment.
We can debate what has changed. Some think it’s the high cost of movie tickets and popcorn combined with the inconvenience of theater-going when compared to streaming from the couch. And I know many in my right-leaning audience will blame Progressive politics, the powerful urge of Hollywood stars and directors to lecture us as if we are bad people to be taught a lesson rather than friends who deserve to be entertained… what the Critical Drinker calls “The Message.” And while that has clearly been a part of the problem, Hollywood’s woes are about much more than just politics.
The problem is that Hollywood has forgotten what movies are supposed to be about. The industry which once released “Mrs. Doubtfire”, “Schindler’s List” and “The Pelican Brief” in the same month has forgotten that movies must first entertain. They have forgotten that audiences want to see all kinds of movies, not just movies about Superheroes. They have forgotten that movies shouldn’t look like a corporate product created in a lab for the sole purpose of raising the stock price of the studio’s corporate parent. And perhaps most importantly, they have forgotten that movies need not focus obsessively on the goal of bending the arc of history towards justice… and certainly not at the expense of telling a great story.
The Critical Drinker and his cadre recently looked back on the tenth anniversary of The Force Awakens, the first Star Wars movie made under the Disney brand name. In his blockbuster “Lost Generation” article, Jacob Savage wrote, “In retrospect, 2014 was the hinge, the year DEI became institutionalized across American life.” Not coincidentally, The Force Awakens was released the following year.
In contrast to George Lucas’ constant writing and rewriting of his Star Wars concepts in the mid-1970s, as the Drinker et al note, the lack of worldbuilding by Disney as they were setting up shop on a new run of Star Wars movies was shocking. Apparently Kathleen Kennedy believed that printing up loads of “The Force is Female” t-shirts would suffice instead.
To borrow from what I wrote last week, Hollywood’s decline, a decade of DEI-driven slop coupled with the shocking murder of Rob Reiner, is a textbook example of Hemingway’s description for how one goes bankrupt: Gradually, then suddenly.
Speaking of which, one way or another, Warner Brothers being on the chopping block could likely accelerate the end of the moviegoing experience as well: Larry Ellison guarantees $40.4 billion in Paramount’s hostile bid for Warner Bros. Discovery.