Wednesday, February 14, 2024

WOKE FASCISM EATS HOLLYWEIRD ALIVE LIKE IT ATE THE DEMOCRAT PARTY!

  ISN'T AMERICA GETTING SICK OF HOLLYWEIRD????

I never thought I’d see

There are days when I wake up in an America I hardly recognize. Some of that is my age, but much of it is astonishment. A part of me is thankful that my grandparents are not alive to witness what we all are. They would not have tolerated what we now take for granted.

I never thought I’d see….

  • America in another Cold War with Russia.
  • Cities ignore the law under the label of "Sanctuary Cities," then complain when illegal immigrants are sent there.
  • Government officials conspiring with Big Tech to censor millions of Americans online.
  • The Federal government human trafficking over a million illegal and undocumented people a year.
  • A President who took deliberate actions to make the southern border weaker.
  • Congress and the media labeling a protest as an “insurrection” while calling actual riots, “peaceful protests.”
  • The American people turning a blind eye to a President who clearly is suffering from dementia and pretending that everything is all right.
  • The intentional weaponization of the Federal Government against a vast swath of the American people.
  • The Chairman of the Joint Chiefs stating that he would inform China if we opted to take military action against them.
  • Our public schools being turned into indoctrination centers by one political party.
  • Being told there are more than two sexes and that we had to agree to that or be ostracized.
  • Extremists threatening the lives of Supreme Court justices.
  • The FBI actively creating and taking part in crimes in order to make arrests.
  • Schools arguing to make offensive material available to minors in their libraries.
  • The government and a single political party attempt to take out an opposition candidate by charging him with trumped up crimes and civil action.
  • The Labor Department fudging the numbers about unemployment claims and jobs on a monthly basis, only to quietly fix them later.
  • Parents wanting to ensure their children’s education being targeted as, “domestic terrorists.”
  • Men competing as women in sports as something that is acceptable.
  • Governments trying to ban gas stoves, regulate air conditioners, and ban wood-fired ovens.
  • Students taking out loans then demanding that they not have to pay the money back.
  • Our military spending hours not training for war, but training on diversity and rooting out extremists.
  • Mobs robbing stores because they know they won’t be arrested; and stores having to lock up items they sell out of fear of being robbed.
  • Disney turning its back on family-centric content in favor of material that offends its largest customer base.
  • Where one party can question election results with no ramifications, but anyone else is labeled a conspiracy theorist.
  • Government officials picking and choosing what laws they will follow and which ones they will ignore.
  • Americans still afraid of a virus four years after its outbreak.
  • The President of the U.S. making citizens choose between being forced to take a shot of vaccine or losing their careers.
  • Our government monitoring words used in the banking system to spy on us.
  • An unarmed protester shot in the Capitol and the officer involved is promoted rather than brought to trial.
  • The President declaring that the Constitution is fluid and subject to political interpretation.
  • The ships of the U.S. Navy rusting.
  • Chinese spy balloons flying across the U.S. and the government trying to hide that from us.
  • Cocaine discovered in the White House and no one is charged.
  • The President of the United States clearly having sold his position to profit his son and other members of the family.
  • People getting worthless college degrees and blaming everyone else that they can’t find a job.
  • Illegal immigrants being treated better than veterans.
  • A government official in charge of nuclear material being arrested for stealing luggage and women’s dresses.
  • Terrorists attack a staunch ally and members of Congress openly side with the terrorists.
  • The most patriotic leader in the country coming from South Africa… Elon Musk.
  • The Department of Justice state that the President willfully took and distributed classified material but won’t be charged because he is elderly and has poor memory.

If this is Build Back Better I’d like a refund and a recount.

Blaine Pardoe is a New York Times Bestselling and award-winning author cancelled by one of his publishers in 2022. He is a regular contributor to a number of conservative sites. His conservative political thriller series, Blue Dawn, includes A Most Uncivil WarConfederacy of Fear, and No Greater Tyranny. This series tells the story of the violent overthrow of the government by radical progressives. He also authors the bestselling military science fiction series, Land&Sea.


Report: Disney Outsourcing Some Animation to Canada amid Drastic Cost Cutting

Iwájú
Walt Disney Company

In a blow to its reputation as an animation powerhouse, the Walt Disney Company is reportedly outsourcing some of its animation to Canada amid drastic budget cuts and layoffs as the once-formidable studio attempts to reverse its financial decline.

Disney Animation Studios is farming out animation work on Iwájú, a six-part series that debuts on Disney+ on February 28, according to a report from The Hollywood Reporter. The project reportedly marks the first time in its storied 100-year history that Disney Animation has outsourced to an independent studio rather than performing the work in-house.

The Canadian firm Cinesite is working on Iwájú at its Montreal offices.

Disney Animation is behind the movies Frozen, Zootopia, Big Hero SixMoana, Strange World and last year’s Wish. The studio, which is separate from the Disney-owned Pixar, also produces animated series for the Disney+ streaming service, including Baymax.

Since its founding by Walt and Roy O. Disney in 1923, Disney Animation has prided itself as Hollywood’s premiere animation studio, pioneering the genre with such notable characters as Steamboat Willie, Snow White, Dumbo, and Bambi.

The studio was also behind four of Disney’s most treasured animated movies — The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King.

But the past couple of years have been tough for Disney Animation. Strange World was a major box office flop, and Wish also tanked with audiences.

Last year, Disney CEO Bob Iger enacted 7,000 layoffs worldwide as the company faced dire financial prospects. He also slashed spending by $7.5 billion, with another $2 billion in cuts in the works.

Follow David Ng on Twitter @HeyItsDavidNg. Have a tip? Contact me at dng@breitbart.com



Hollywood’s finances are collapsing, and it brought this on itself

According to The Hollywood Reporter, Hollywood is experiencing a disastrous winter. People aren’t going to the movies, opting instead to stay home. Obviously, part of the issue is streaming, which has upended the old business model. However, one cannot ignore the fact that today’s movies are awful, whether because they’re mechanical, recycled garbage, or because they’re preachy, painfully woke garbage. Watching a couple of movies from 51 and 50 years ago, respectively, will help you appreciate just how bad most modern movies really are.

Here’s the news from The Hollywood Reporter:              

Domestic box office revenue year-to-date of $581.2 million is running 43 percent behind the average haul during the same time period in 2016-19, when movie ticket sales clocked in as high as $1.08 billion, according to data provided by Comscore for Jan. 1-Feb. 4.

Of that, January clocked in at $513.6 million, compared to $599 million in 2023 (a breakout hit last year was M3GAN, with more than $83 million in ticket sales domestically, while Avatar: The Way of Water contributed more than $210 million). Outside of the COVID-era years, $513.6 million is the lowest showing for January in more than 25 years.

These are not happy figures for Tinsel Town.

As noted, one of the obvious problems is competition from people’s own homes. They’ve already prepaid for Max (the old HBO), Paramount, Disney+, or any other streaming service to which they subscribe. Those are sunk costs, so staying home and watching movies on TV is much better than to shlep out to the theater. Add in the fact that two tickets are the same price as a one-month streaming subscription and that you don’t have to pay the babysitter, and going to the movies seems like an almost foolish thing to do.

Image made the Hollywood sign by Thomas Wolfwww.foto-tw.de (CC BY-SA 3.0) and an arrow by freepik.  

And yet I went to the movies just two weeks ago because there’s a movie playing that I knew would be better on the big screen: Godzilla Minus One. This Japanese production, which cost only $10-15 million to make, has already raked in almost $110 million. That’s because it’s an absolute gem of a movie. Instead of focusing on ever wilder and more clinical special effects, this monster movie has actual character development. It’s no wonder that both critics and viewers on Rotten Tomatoes have given it a 98% rating. It’s the kind of movie that deserves to be seen in a big way and, obviously, people will pay for the pleasure.

The same was true a few years ago for Tom Cruise’s Top Gun: Maverick, which garnered a 96% Rotten Tomatoes rating from critics and a 99% rating from viewers. The movie had a huge budget compared to Godzilla Minus One ($170-177 million versus $10-15 million) but brought in almost $1.5 billion dollars!

What ties these two movies together is that their plots aren’t shoddy. The writers didn’t just dig into the recycling bin. Instead, they came up with fresh ideas, which the directors then presented in fresh, fun ways. And importantly, neither movie had a goal other than pure entertainment. They weren’t trying to shame or indoctrinate the audience. They weren’t posturing as important, “high brow” fare. Instead, they were clever, fun, and visually exciting films that benefitted from everything a movie theater can offer.

That’s really rare nowadays. The DC, Star Wars, and Marvel universes, like some giant fungi, have taken over Hollywood and sucked the life out of it. Big-budget movies have interchangeable actors, interchangeable plots, loud noises, and way too many computer-generated special effects. They are what artificial intelligence would do if artificial intelligence were making “blockbusters” (and that’s assuming, of course, that AI isn’t already doing the job). And the less said about the woke movies (whether comedies, dramas, or children’s fare), the better.

Hollywood was always about making money, but it once understood that it made money by offering a quality product that truly entertained people. I was reminded of that last night because The Sting is playing on TCM. It is a wonderful movie: the plot is remarkably clever, the actors are confident and without modern anguish, and the production values are just lovely.

Marvin Hamlisch’s score makes the movie, too. Nowadays, soundtracks are just mash-ups of pop songs, rap, screeching ballads, and really loud orchestral noises to bolster computer-generated action. Hamlisch, however, took Scott Joplin’s lovely (and, by then, forgotten) ragtime melodies and orchestrated them in unforgettable ways that tenderly or humorously support every scene.

The Sting entertains.

And then there’s Blazing Saddles, which celebrated its 50th Anniversary on February 7. That movie, more than any other artsy, intellectual, “meaningful” film, shattered the stupidity of racial prejudice. Mel Brooks had no fear about mocking everything, so there were no sacred cows. Within that context, he could freely ridicule the patently wrong idea that a person’s skin color is a value by which he or she should be judged.

The left, unsurprisingly, wishes Blazing Saddles would go away.

Incidentally, there will never be a “transgender” Blazing Saddles. Good comedy works because it exposes the truth behind our myths and prejudices. It’s what’s left once the sacred cows have been exposed as mere plastic idols.

Because “transgenderism” is itself a very fake cow (or bull), anyone who believes in it cannot mock it. That’s why, if you want to see a funny movie poking holes through that risible belief system, you need to check out The Daily Wire’s Lady Ballers. It’s not as good as Blazing Saddles (it’s a little too earnest), but for a first effort from a studio that’s ramping up, it’s pretty damn good.


New York’s $700 Million Annual Giveaway to Hollywood Is a Flop, Says State Report

SATURDAY NIGHT LIVE -- "Claire Foy" Episode 1753 -- Pictured: (l-r) Ben Stiller
Will Heath/NBC/NBCU Photobank

New York taxpayers are getting the shaft yet again — this time in the form of the state’s annual $700 million giveaway to Hollywood in the form of tax incentives for TV and movie shoots.

A new report commissioned by the state found that the program is turning out to be a major flop. For every dollar the state gave in Hollywood tax breaks from 2018 through 2022, the program generated a paltry 15 cents in direct tax revenue.

Even when accounting for indirect and induced jobs — such as local vendors and suppliers who benefit from Hollywood productions — the return only rises to 31 cents on the dollar.

Gothamist was the first to discover the report, which the state posted without fanfare in late January.

The state’s report also found that most of the TV and movie productions taking advantage of the taxpayer-funded giveaway would have chosen New York even without the incentives.

Among the beneficiaries of  New York taxpayer largesse is NBC’s Saturday Night Live, which has always broadcast from New York.

The report was commissioned by New York’s Department of Taxation and Finance, and was authored by the consulting firm PFM Group.

Gov. Kathy Hochul (D) and other Democrat state lawmakers have vigorously championed the Hollywood incentives, even increasing the amount by $280 million annually last year.

While they are intended to create jobs and juice local economies, state tax incentives for Hollywood productions are facing broadening skepticism about their efficacy.

One USC study found that despite nearly $10 billion in spending since 2002, the incentives have  had “no statistically significant effects” on employment.

Democrats have tended to be in favor of Hollywood incentives, while Republicans see them as a waste of taxpayer money.

In addition to New York, states that offer significant tax breaks to Hollywood include Georgia, California, New Jersey, Massachusetts, Louisiana, and New Mexico.

Follow David Ng on Twitter @HeyItsDavidNg. Have a tip? Contact me at dng@breitbart.com

Movie Review: ‘Madame Web’ Hits a New Low for Superhero Debacles

Sony Pictures
Sony Pictures

LOS ANGELES, Feb. 13 (UPI) — Madame Web, in theaters Wednesday, is bad in ways even debacles like Catwoman and Batman & Robin never broached.

Those movies had laughably misguided explorations of cat and bat powers, but Madame Web struggles to even explain its premise.

In 2003, Cassandra Webb (Dakota Johnson) is an EMT who avoids connecting with patients or her partner, Ben (Adam Scott). But, after a near-death experience, Cassie begins to see glimpses of the future.

Her nemesis, Ezekiel Sims (Tahar Rahim), can see the future, namely the three women who kill him. Their paths cross when Cassie rescues Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced) and Mattie Franklin (Celeste O’Connor) before Sims gets to them.

Seeing the future is a perfectly fine superpower, but movies have had a lot more fun with this concept. Nicolas Cage played a psychic who could see two minutes ahead in Next, but the ultimate are the Final Destination films.

For Cassie, psychic visions are merely a plot device. The viewer witnesses violence as Cassie sees it, then she’s able to act differently and escape danger.

But Madame Web loses its way long before Cassie ever gets her powers. The exposition establishing the film’s mythology and connections to Spider-Man play like temporary dialogue in a first draft that never got revised.

The film begins showing Cassie’s mother, Constance (Kerry Bishé), exploring the Peruvian Amazon in 1973 while pregnant. Sims was her assistant, who betrayed her and managed to get some spider powers he uses for evil, but the Peruvian spiders saved Constance’s baby.

Comic books, and comic book movies, forgive a lot of farfetched technobabble, such as the radioactive spider that originally gave Peter Parker his powers. The joy of movies like Sam Raimi’s Spider-Man films, Iron Man or Captain America is how they explain themselves with sincerity.

From the moment Sims asks Constance about the spiders she’s looking for, it does not sound like a conversation any human beings would have, let alone two partners. They’re literally telling the audience the information required for the story, but grudgingly so.

Even as the supervillain, Sims speaks in awkward declarations that wouldn’t even fit in a comic book dialogue bubble. Sims says of his nightly vision, “It’s not a dream. I’m going to be murdered someday.”

Someone who’s been living with that nightly prophecy could probably think of a more organic way to break the news. Later he says, “Every day that goes by, my appointment with death gets closer.”

Maybe if Sims stopped cackling so hard, the superheroes in his vision wouldn’t have a reason to kill him. Sims also keeps repeating his vague backstory, that he came from nothing, but it’s not important enough to specify any of the details.

Sims’ personal hacker, Amaria (Zosia Mamet), hacks into the National Security Agency and marvels at their surveillance, for the first time in 2003. Rather than a commentary on the surveillance state that evolved, it feels like a TikToker just summarized a Wikipedia entry.

To show how driven Constance is, she says her kicking baby is trying to keep her from working but she won’t be deterred. This is not only a terrible line, but a trick so the movie can reveal Constance’s true motivations later in the film.

Cassie tries to be funny about not understanding what is going on, from her own powers to Sims’ or the three girls’ connection to him. It’s hard to find her amusing when she’s right, to the point that Constance’s 30-year-old notes have to blatantly explain the plot to Cassie.

The premise of a loner discovering she actually does like a chosen family is a sound staple of narrative fiction. However, Cassie only befriends the three girls because of the plot, not any connection they make.

Cassie wants to keep Sims from killing them, and she teaches them CPR, but they never get to know each other. Each of the three girls has a different scenario that separated them from their parents, but they recite those stories as more exposition, not an emotional need.

Nor is there much spectacle for all the setup. There is minimal spider-walking, primarily by Sims.

The action is mainly Cassie and the three girls on the run from Sims, but a mediocre version of a chase movie. As an ambulance driver, Cassie has some useful vehicular moves, but they’re barely fast and hardly furious.

It takes the entire movie to reveal what Cassie’s real superpower is, besides her visions. Imagine if Superman didn’t fly until the last scene, or if Spider-Man didn’t sling a web until the end.

Discovering one’s powers is often the best part of any superhero movie. They still have to get there by the midway point.

Madame Web feels desperate to connect with Spider-Man. Two characters from Spider-Man’s backstory are in the film, and even more are referenced.

On the positive side, Madame Web features more location work than standing in front of screens. They filmed in New York, some action scenes in Boston, additional shooting in Los Angeles and Mexico, which must have doubled for Peru.

Unfortunately, Madame Web doesn’t stage any interesting scenes in front of those locations.

At least Catwoman and Batman & Robin believed in what they were doing. They were wrong, but Madame Web just feels like a cynical copy of the bare minimum to qualify as a comic book movie.

Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.

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