You have to hand it to the progressive left. Instead of making a film that doesn’t pander to all of this gender equality nonsense so prevalent today, it was easier for the writer and producer Elizabeth Banks to say,
“Look, people have to buy tickets to this movie, too. This movie has to make money. If this movie doesn’t make money it reinforces a stereotype in Hollywood that men don’t go see women do action movies.”
OK so it must be the audience’s fault it has flopped. More specifically, just blame men. After all Banks said,
“One of the statements this movie makes is that you should probably believe women.”
Perhaps the whole point of film making is ensuring the content fits the tastes dictated by the market, not the other way around. Yet the social justice warriors just don’t get it and blame the consumer when things don’t succeed.
Yet what is the obsession inside Hollywood to possess such a lack of creativity as to merely make a remake by substituting men for women or vice versa? Ghostbusters flopped in its feminist remake. So did Oceans 8. Now Charlie’s Angels remake.
Michael McCaffery wrote,
“the social justice geniuses in Hollywood decided this year it would be a good idea to remake two movies that no one wanted remade, Mel Gibson’s What Women Want (2000) and Steve Martin and Michael Caine’s Dirty Rotten Scoundrels (1998), except this time with female leads. To the shock of no one with half a brain in their head, What Men Want with Taraji P. Henson, and The Hustle, with Rebel Wilson And Ann Hathaway, resoundingly flopped.
This year’s Book Smart, directed by Olivia Wilde, was little more than a rehash of the 2007 Jonah Hill and Micheal Cera smash-hit Superbad. Replacing Hill and Cera with two teenage girls as the protagonists in the formulaic film did not inspire audiences, as indicated by the film’s anemic domestic box office of $22 million.
Original movies with feminist themes fared no better than their re-engineered woke cinematic sisters. Late Night, a feminist comedy/drama starring Emma Thompson and Mindy Kaling, made a paltry $15 million domestically, while the painfully politically correct Charlize Theron vehicle, Long Shot, raked in a flaccid $30 million.
As evidenced by these failures, audiences of both sexes are obviously turned off by Hollywood’s ham-handed attempts at woke preaching and social justice pandering. The movie-going public is keenly aware that these woke films are not about entertainment or even artistic expressions, but rather virtue signaling and posing within the Hollywood bubble.”
Does Hollywood ever reflect on why viewership of the Oscars is down 40% over the last 5 years? It isn’t because they can stream it. It is because it has become nothing but a woke-fest where the world’s biggest hypocrites spew rubbish on climate change, Trump and #metoo while wearing dresses which have three pieces of fabric the size of postage stamps held together by dental floss.
Audiences aren’t stupid and when spoken down to avoid these causes like the plague.