Tag: box office

Rachel Zegler is Only Part of the Problem: The live action Snow White is a disaster on every level

As I said many times, Disney should have listened.  I wasn’t planning to discuss the new Snow White film, but there is just too much to discuss to ignore.  The Disney stock is never coming back, guys.  Bad decisions lead to failed companies, and Disney has made numerous poor decisions, which it can’t afford.  Sure, out of all the movies released last year, they were the only studio to get a few movies in the billion-dollar club.  But for them these days, as opposed to just a few years ago, their business approach was reckless, and they lost respect for their audience and instead put them in an abusive relationship.  And that is the only thing that can be determined about the horrible decision to cast Rachel Zegler into a live-action remake of the Disney classic, Snow White.  And it pains me to say all this, because I have liked Disney, as a company.  As a vacation destination.  I enjoyed Disney as a company and as a family.  I have wanted nothing more than to see Disney succeed, and my intentions in that direction can be traced back for decades. I have put it in writing.  However, as a large company and an easy target for left-wing politics, they have adopted an extreme political stance, becoming increasingly arrogant, and have inadvertently made people like Rachel Zegler possible.  Zegler is essentially the Alexandria Ocasio-Cortez of Hollywood actresses, and she has sunk herself with this one before the Snow White remake could even get out of the box with feminist diatribes and anti-Israel messaging in support of Palestinian terrorism.  She is one of the worst members of the radical left, and she didn’t do anything to keep it off people’s minds.  Instead, like an entitled brat, she thought for some reason that she could use her platform to advance her personal beliefs, which at her young age of 23 years old, nobody wants to hear.   What could she possibly know?

Disney spent well more than $300 million on a remake of Snow White that nobody wanted.  It’s a beloved classic that, if you were to remake it, audiences would likely want to see how a cartoon looks in live-action, rather than using live-action to reinterpret classic themes as modern social commentary.  And then to write a script and put it on the screen by committee, the way many studios do these days.  Someone should have pulled Disney aside as a company well before they cast Zegler in the film to play the pure, white Snow White.  There were numerous mistakes made well before the cameras started rolling.  However, Disney, like Zegler, started this process by targeting Rosanne Barr for her political beliefs, and most notably, the actress Gina Carano, who appeared in the Star Wars: The Mandalorian show.  Of course, Rachel Zegler thought she should discuss her radical left-wing politics while doing press for Snow White, as the company itself was promoting that kind of activism.  She’s just a dumb, inexperienced kid, copying the adults around her.  What did she know?  Or what could she be expected to know?  Disney attempted to part ways with Johnny Depp regarding the Pirates of the Caribbean movies, which was a terrible mistake.  Not that Johnny Depp is a good person.  He did call for the killing of President Trump by assassination.  But when it comes to the Hollywood community, most people can agree that he is the character people want to see in any Pirates of the Caribbean movie, and Disney tried to push him out because of the anti-white male stereotypes.  Now that they are in deep financial trouble, they are trying to repair that relationship.  But it’s too late.

The math is obvious: movies like Snow White need to be in the billion-dollar range for box office viability.  However, Snow White only grossed around $43 million in its opening weekend, projecting the film to be a massive loss.  But Rachel Zegler is only part of the problem.  She’s the face of it, and she opened her mouth way too much even a year before the film came out.  Disney re-shot the movie and attempted to address some seriously problematic plot points.  For lots of ridiculous reasons, Disney thinks it needs to reprogram what little girls want to see in a movie, anti-romance stories, and feminist power where the evil witches are made sympathetic, rather than hated.  And that is because these goofy feminists are now running these studios, and they bring their broken politics to these projects and hire a cast that represents their radicalism as if these career movies will hide what’s ruined inside them.  But that’s not what people want to see.  People go to the movies to see hope and a positive reflection of their concerns.  They want to leave a movie feeling good about things, not being lectured to about how they need to change their minds.  Little girls hope that someday they will have a prince who comes and sweeps them off their feet, and that they can produce a nice family and live happily ever after.  The original Snow White was all about love’s first kiss and defeating the evil queen.  Not coming to terms with evil which is ultimately where Disney has fallen short.

There are properties that Disney still owns that are generating a little money, such as the Marvel films, Star Wars, and Avatar, with a few projects on the horizon.  There will still be a few movies here and there that do somewhat well, relative to the rest of the Hollywood industry.  But that is only a shadow of its former self, and once that trust is broken with audiences, it will be lost forever.  There is no way to repair it now.  Disney has made itself an anti-Trump, anti-family entertainment company, and I can say that after just visiting there with my family recently.  I wanted to love the Disney experience.  I had just returned from a week-long trip to Japan and then spent a week with my whole family at Disney World, staying at the wonderful Fort Wilderness resort.  I wanted to like it.  But it was like being in love with a ghost.  The magic had gone from the park; it was obvious to me.  All my kids enjoyed themselves, but to be honest, their favorite part of the entire trip and all the fantastic things we did was the swimming pool at the resort.  I spent a small fortune to give my granddaughter a Disney princess experience, complete with a dress and opportunities at the famous castle, and she thoroughly enjoyed it.  She still talks about it all the time and I spent the money because I wanted her to have a taste of an elevated female experience, as a little girl, of what life might be for her, as opposed to the doubts that are so persistent in little girls worried that they might not be pretty enough, or smart enough to get what they want in life.  Disney’s answer to that is to attack the expectations so that nobody fails.  And that is not what people want, which is why the parks are not as full as they used to be, and why people have stopped seeing Disney movies, are canceling their Disney+ memberships, and are turning to other entertainment options.  Rachel Zegler is a creation of Disney, and their support of people like her is precisely why they are failing now.  And why their stock will never bounce back, which I hate to say.

Rich Hoffman

Click Here to Protect Yourself with Second Call Defense https://www.secondcalldefense.org/?affiliate=20707

The Anti-Woke Message of Deadpool: It’s all about regeneration and healing

I always have learned a lot from young people.  Yes, adults have lived long lives and have much to teach based on experience.  But kids are freshly created and don’t have assumptions yet baked into their thought process.  So I listened when one of my grandsons wanted to see the new Deadpool & Wolverine movie doing big business at the theater.  It’s one of the rare movies these days to hit over one billion dollars, so that’s a significant financial triumph that is at least good for theater owners.  I want theater owners to survive all this World Economic Forum wokeness, so I was interested in why so many people liked Deadpool.  I’m not a Deadpool fan. I don’t want to see Marvel characters cursing and talking about sex and drugs, and the Deadpool movies are R-rated experiences filled with a lot of bad stuff.  So, up to now, I have had zero interest in anything Deadpool.  However, my policy with my children and grandchildren is to take the edge away of any forbidden fruits in society with guidance.  So when he asked me to take him to the movie theater to see the movie, I didn’t hesitate.  We made it a somewhat family affair, with my daughters going along to watch the film with us and make any commentary about it that needed to be made from an adult leadership perspective.  All the world needs is another kid out there speaking in a trashy way with F-bombs and drug references.  And this was a Disney production now, so here was Disney, who used to get criticized for making too many G-rated movies, putting out an R-rated horror of sin and indulgence.  However, after watching the movie, I noticed much worth seeing, which became apparent quickly.  And I could understand why my grandson liked Deadpool so much.   I have always liked Wolverine from the X-Men, so I thought I could at least like that much of it.  But in the end, I liked Deadpool & Wolverine for many unexpected reasons.

So here’s the lowdown I have talked about extensively throughout the previous decade: Disney is dead.  They have mismanaged the company and are only surviving now because they are too big to fail.  But they have lost their core audience.  They enjoy decades of brand building, and roughly 50% of all adults are willing to go into serious debt to take their kids to Disney World for a vacation.  That trend will not pass to the next generation, so once these current kids grow up and become adults themselves, they will not follow that path.  I am happy I could take my kids, their kids, and their husbands to Disney World last year, which was extraordinarily expensive.  At least my family had a chance to see Disney before it declined into oblivion, and the Deadpool character is very much a cultural symbol of that. Part of what makes Deadpool movies so funny is that Disney is aware of its decline, and that’s part of the strange joke in the film.  Deadpool used to be a 20th Century Fox thing, but after Bob Iger, as the CEO, bought up that media property, they acquired several Marvel characters, such as Spiderman, the X men, and, of course, Deadpool, among other things.  But it was like bringing in Kamala Harris for president over Joe Biden for Disney.  It was a sugar high at best and only delayed the inevitable decline of a media company that had gone global woke and lost its domestic audience toward family value.  It’s hard to become a leader of the global citizen movement as an anti-family provocateur of sexual grooming of children and still be the bastion of family values that it’s known for.  That is why theme parks still get so much respect from parents who want to give their children a good life and think a vacation there will do the trick.  But it can’t; once you lose that reputation, it’s gone forever. 

Yet that is the theme of the new Deadpool & Wolverine movie.  Both characters are about regeneration; when wounded, they heal almost like reptiles.  So, the movie and the characters are more about second chances than anything else.  And in a social context, that is the same thing the nation and world are going through.  Most people can relate to Deadpool and all his mistakes because, at his heart, he is a person who wants to do good and be respected.  Ultimately, Deadpool wants to become a respected Avenger and to be one of the good guys, which I found surprising given the R-rated nature of the content.  However, the movie is very self-aware of its situation in society; it is essentially an anti-woke movie in the style of an old 80s film that checks all the boxes of the World Economic Forum investors who require excessive wokeness to be produced.  There are a lot of gay references in the film and discussions about drugs, but not in a way that promotes them as much as Deadpool has to overcome them to be who he wants to be.  But yet, the plot is filled with overt references, which, of course, the wokesters out there love.  I don’t support any of that, but as a running commentary on our current social status and the position of Disney as a media company that is undoubtedly headed on hard times ahead, it is an interesting observation of itself. 

The Marvel films had a plan that started with a series of movies in the last decade that were very traditional heroic enterprises.  I loved the Captain America movies, and the Civil War between Captain America and Iron Man, with all the tag-alongs, was terrific cinema.  But then we entered the overt woke era of the most recent movies, and there are a lot of horrible decisions made, starting with Captain Marvel and moving into The Eternals, which I thought was a horrendously lousy movie with overt gay characters in it that just made the whole thing no fun to watch.  Disney continues to make horrible decisions, such as what they are doing with their Land of the Villains announcement for Disney World, their closing of Tom Sawyer’s Island, which is my favorite part, and embracing villains in their family offerings because these days, so many people see themselves as Deadpool sees himself.  They can’t relate with the good guys anymore.  But at least with Deadpool, he wants to be a good guy, even though he’s been essentially a bad guy.  Marvel is trying to do as the characters in Deadpool & Wolverine: regenerate themselves and heal.  Their new Marvel movies are trying to get back to the basics.  As America tries to make itself Great Again as a country, media companies are also trying to do the same.  Everyone is looking in the mirror and asking if this is where we want to be.  That is what the new Deadpool movie is all about, asking those essential questions.  So it was pretty good.  Too late to save Disney.  But it’s a good thing to talk about as a patient lays dying on an operating table as a last thought and sentiment.  There is a humanity in Deadpool that people are clinging to, which surprised me.  And I certainly understand why young people would be attracted to that message.  They want to have hope that their future can be better than the past.  Because for them, they don’t have any memory of the good ol’ days.  Just the days of woke losers and political hacks who have ruined the world with bad decisions and tried to sell the mess as redemption.

Rich Hoffman

Click Here to Protect Yourself with Second Call Defense https://www.secondcalldefense.org/?affiliate=20707

The Hidden Benefit of ‘Godzilla Minus One’: Understanding Budgets and Costs Imposed by organized labor and anti-capitalist Activities

There is another essential attribute of the new Godzilla film, Godzilla Minus One, at the heart of the global populist movement that is important to talk about.  Probably the most important thing in the world that has lingered always in the background and is now apparent for all to see.  In talking about how good Godzilla Minus One is, the obvious question everyone has is how could Japan produce a movie like this when the same kind of blockbuster produced by Disney in America would cost 300 million dollars.  The average moviegoer could watch Godzilla Minus One, Indiana Jones, and the Dial of Destiny and think they are of the same quality in every category: acting, special effects, music, writing, scale of production, everything.  So how was Godzilla Minus One so profitable, whereas all the current Hollywood productions or movies anywhere in the world these days, especially where the financial influence of the World Economic Forum has its hands in the production, are not able to compete?  Well, this is something I have been talking about for many decades and I said this was going to happen to the film industry for many years.  Unionized labor has destroyed the financial models of movie production, shown dramatically when a foreign film like Godzilla Minus One is shown in a movie theater along with the latest blockbusters produced by Hollywood and other markets.  Because of many market conditions unique to recovery from COVID lockdowns, theater owners are desperate to show anything that the public might want to see.  Just two or three years ago, a movie like Godzilla Minus One would not have played in a movie theater in the United States.  People would never see it, but in today’s market, where Hollywood products can’t keep up with demand, a movie like Godzilla Minus One gets a chance to be seen, which has burst down the door to an issue that can only be revealed by direct competition.   

Much of the way we are told about success in the world has been shaped by labor unions attached to the film industry, the mainstream media, and government reporting.  The ultimate solution to broken budgets and general performance everywhere in the world, no matter the product, is to make labor unions illegal, especially in government work and situations that prevent a competitive environment.  America has gone through just this sort of thing when it comes to the car industry, or most sectors of manufacturing that can’t compete with cheap foreign labor.  Well, it is not that the labor is cheap in foreign markets, but instead that the communist labor unions, all of which were formed out of elements of Marxism, have driven up the cost of labor not just in the increases in headcount but in how much each one actually costs.  When the government reports the numbers, as they do in American and European markets, of course, they will give a spin that suits them, not necessarily one that is reflected in reality.  Then, when the trade journals are either in unions themselves or are very sympathetic, the coverage has been how much studios spend on movies to make, not on their quality.  This has certainly been the case with Disney where to satisfy their radical employee base, all connected to labor unions, the approach has been to just outrun the costs, which have crippled them in 2023.  When it costs 500 million dollars to get a blockbuster out the door and into a theater, disaster is not far behind.  For a lot of these Hollywood productions, a movie budget to satisfy all the labor demands that you see at the end credits of every motion picture, 200-300 million on actually making the movie, then another 200 million in marketing to feed the machine, a film has to make a billion dollars at the box office to get into a profit category, and that just isn’t realistic, as Disney has discovered in 2023. 

Then, to make matters worse, these Disney movies have been loaded with content people don’t want to see.  The filmmaking has been lazy, and the product is lackluster when it gets to the screen.  It shows when all the people making the movie are only in it to get paid.  A film like Godzilla Minus One was created by hungry filmmakers full of passion, evident in what ended up on the screen, shocking many people.  But this is the exact reason why government reforms never happen and why budgets get wrecked in all production environments where Marxist labor unions have driven up costs and taken away the ambition of good merit from the products they produce, such as in public education in America that has become useless to most people for all the same reasons.  The labor costs too much and doesn’t do enough of what it’s supposed to.  When labor unions take over the management of an endeavor, they determine the pay rate and how many people need to be involved in the process, which then blows up all the financial attributes.  In a situation like this, where a side-by-side comparison isn’t usually available, the problem becomes apparent in the movie industry.  But this same rot is in just about every endeavor that involves money and financing, even in American intelligence agencies.  I will have some serious horror stories to provide about the CDC and how President Reagan was thinking of cutting the entire department, giving rise to Dr. Fauci’s radicalism.  Most bad things happen when lazy people seek funding not based on performance but emotion, such as fear of a new virus that can be manufactured in a lab and released from Wuhan, China.  That’s a topic all its own. 

The trick in hiding all this from the public has been to control the narrative, and the labor unions have been attached to most of the reporting.  But in 2023, because the declining Hollywood product has most abused theater owners, they have had to turn to direct competition to survive, which has set up this obvious matchup.  The same occurred when the Japanese entered the car market, and the Big Three in America found they could not compete in cost and quality because unionized labor took away competitive factors that could keep the costs down for the consumer.  Most of the problems in the world, including the CRs that Speaker Johnson is trying to work through Congress to keep the government open, are due to the outrageous costs of supporting all those expensive government employees.  Even the funding of Ukraine, which has been a topic, is to spend billions of dollars to pay for the massive administrative state government there to support this globalist employment structure.  All of them are failing under their weight; what they do for the world isn’t worth the money it costs to keep them.  Populism is rising everywhere because people would rather see Godzilla Minus One than the latest holiday offering by Disney and the other major studios.  The labor unions seek to destroy competition to justify their outrageous costs and sluggish performance.  But because of their actions, they have forced competition to overtake them to satisfy the market demands of a hungry public that wants to see a good movie, buy a nice car, or have a government that works for them and doesn’t get in the way of what society needs.  I know we are in a time when union supporters are moving toward Trump, and Trump is pro-union, and it’s not as much of a political issue for Republicans as it has been or should be.  But when you want to know why things are so expensive, why so many useless people perform the work, and how they keep their jobs underperforming constantly, the source is the Marxist labor unions that have embedded themselves in the process.  Where they aren’t, the quality and profit improve dramatically.  And if we are ever going to drain the swamp, the government unions will have to be made illegal.  And any future budget controls taken out of their hands, from the local public school to the control of the FBI and CIA.  Organized labor has destroyed them all. 

Rich Hoffman

‘Indiana Jones and the Dial of Destiny’ is Fantastic: The way they used to make movies, family-friendly, happy endings, and a real love for the audiance

The really good news is that Indiana Jones and the Dial of Destiny is a wonderful movie. I have said it for years, and it’s certainly true here, one of the extraordinary measures of a society’s health is its box office because it tells the world what people are buying at the movie theater as an entertainment option. It accurately describes what kinds of things people really like in the world and provides a measure beyond political beliefs to the truth of public sentiment. It’s much more difficult to understand when you get into television ratings and streaming services. And I think what happened with Indiana Jones and the Dial of Destiny is something that we talked about last year with the release of Top Gun: Maverick, another movie that, like Indiana Jones, was delayed for many years in production before being released to the public. I’m sure that Steven Spielberg will deny it, along with the diversity crew at Disney, but clearly, what happened with Indiana Jones and the newly directed James Mangold Dial of Destiny is that they learned some important lessons with Top Gun, one of the first big hits coming out of Covid. And as a result, Indiana Jones and the Dial of Destiny is a fantastic film that seeks to be more like Raiders of the Lost Ark than the more slapstick Last Crusade. If you understand Indiana Jones like I do, and many people who have been with this character for over four decades now, and have watched all the television shows, read all the books, read the comics, played the video games, this Indiana Jones movie does a great job of showing a very complete character in a way that Hollywood has never had to deal with. And the movie pulls it off spectacularly and very respectfully. As only Harrison Ford could play, this is a very complex character, more so than most reviewers could wrap their minds around, and the result is something extraordinary with a very happy, family-friendly ending. I don’t think there was a single curse word in the entire film, and it didn’t have anything woke in it. It was an offering from Disney that was begging for forgiveness from the movie-going public.

What was clear to me was that this new director, James Mangold, loves Indiana Jones as many of us do, and he understands the character and his significance to actual history. I’ve also said many times that Indiana Jones has done more for science than almost any other resource in the history of the world. The publishing industry has really flourished because of Indiana Jones, not by direct correlation, but the hunger for the kind of content that is often discussed in Indiana Jones films and in Dial of Destiny; a lot is going on, things that work at many different levels that were built around a movie with a true love for the world of Indiana Jones and the way that fiction carries over into fact. I would go so far as to call Dial of Destiny as brilliant and ambitious while being very safe in the continuation of the character. As many have discussed, Indiana Jones is an old man in this movie. Harrison Ford is 80 years old, so we aren’t talking about a swashbuckling Errol Flynn type mixed with Humphrey Bogart as Raiders of the Lost Ark was often characterized back when it was first released. This is something unique and entirely of its own making that now has its own history that everything is measured from. And some of the real Indiana Jones types that are out there in the world doing great work, clearly inspired by these movies over the years, like Graham Hancock, the Joe Rogan Show, and even the religious writer Jonathan Cahn have shown that most of the thrill of Indiana Jones isn’t a youthful man fighting bad guys and escaping under speeding trucks. Over the years, the greatest thrills in Indiana Jones movies are more intellectual than physical, and that’s why Dial of Destiny works so well with an old Indiana Jones doing what only he could.

Instead, I would have Disney not made this Indiana Jones movie before I saw it. I raised my children on these movies; now, my grandchildren are tremendous fans. I enjoyed Kingdom of the Crystal Skull as an ambitious film that many didn’t like because it stepped out of the formula established in the first three films that were all released during Reagan-era politics in the 1980s. As much as people didn’t like the movie, and that Steven Spielberg didn’t seem to want to make it, there were a lot of positive things that came from that fourth film, such as the History Channel’s show Ancient Aliens, which culminated in the lives of great writers like Zecharia Sitchin and Erich von Daniken. These Indiana Jones movies open the broader market for these kinds of unique adventures into history, such as The Gold of the Gods so wonderfully portrays. Indiana Jones may have started as an adventurous playboy grave robber in Raiders of the Lost Ark. But he evolved quickly into the pent-up frustrations of George Lucas himself, a very smart person who wanted to live the lifetimes of dozens of the most brilliant people in all of human history, that over the years was attempted to flush out in all forms of media available to tell these stories. This movie, Dial of Destiny, does all that while still managing to keep Indiana Jones the person we have always known. He shoots guns in this movie, which I thought Disney would avoid altogether. There are fistfights that are not unbelievable for an 80-year-old man. And the development of Helena Shaw was respectful, fun, and dashing. I would easily see a movie that featured her as a main character. Played by Phoebe Waller-Bridge, she was a fun character, and I could see a sequel to Dial of Destiny where she is the feature, and Indiana Jones makes a guest appearance to help the movie along. This might be the last Indiana Jones movie, but I don’t think it will be the last Indiana Jones appearance by Harrison Ford, based on how this movie ended. 

It will be interesting to see how much business this movie does for Disney. Disney has severe brand damage now with their commitment to woke politics. But this movie is a clear peace offering to the ticket-buying public to help repair that brand. To invite people to come back to the theme parks. This is Bob Iger attempting to get Disney back in the public’s good graces. At least this film deserves to be in the billion-dollar club. But the Disney brand has made some people very, very angry. Yet this movie is as good as movies can be made and does not destroy a character the world has fallen in love with. And it leaves the door open to a happy ending for him, given that Indiana Jones is old. And that John Williams, who does a fantastic job with the musical score, as usual, is now in his 90s. This happy movie gives fans what they are looking for, and I couldn’t recommend it more. This is the kind of film that movie theaters were made for, that we used to get all the time in the 80s and 90s, but are now very rare. Indiana Jones and the Dial of Destiny is something special, and it was wonderful to see that movies like this can still be made. 

Rich Hoffman

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The Liberalism Behind ‘Avatar Way of Water’: It won’t turn out the way Disney hopes

Usually, the people reading the tea leaves on television and radio get it all wrong because the leaves they are reading aren’t the right ones. I would suggest a different approach: to read the leaves of media currents themselves and to study what the public likes and doesn’t like as a much more accurate measure. And to that effect, much of where the world is going by way of populism, corporate control, and the way many treacherous characters hide their acts of malice behind liberal causes are on a crash course with destiny and collapsed diabolical intent. With that in mind, I’m talking about the new Avatar film, Way of Water, as if the world is being steered back to nature, into some oriental wisdom from the ancient past to reveal to our modern selves how far we have fallen from the tree. Because the tea leaves that Jim Cameron, the director and writer of the film, and the parent company of the new Avatar films, Disney, are reading the tea leaves of a wilted plant from the past that has long died. The world is a much different place from when the first Avatar movie came out, which earned a record-breaking 2 billion dollars at the box office. I was doing some work with Hollywood then, specifically with RealD 3D, so I knew what many producers and distributers wanted to do with 3D to convince movie goers to put their butts in seats instead of staying home watching movies on their magnificent home theater systems. And the first Avatar movie benefited from a good story, a great filmmaker, and outstanding cutting-edge 3D technology. But people at that time were comfortable with their lives; they trusted that America would always be there and that government wasn’t nearly as corrupt as we know it to be now. And the World Economic Forum was something that nobody knew much of anything about. People lived their lives and were open to strange ideas about environmentalism because there was room in a comfortable life to accept such ideas, so long as they could go home in their gas-powered car and had a full bank account. Church on Sunday put their minds to ease about what would happen tomorrow. 

It will be interesting to watch how audiences accept this new Avatar movie, released over a decade after the first. Disney hopes it will make a lot of money like the first, but I think it will be far short of the original. As will the subsequent films that are already planned will be. People will go see the movie for the same reason they are waiting in line for more than two hours to ride the magnificent ride at Disney World’s Animal Kingdom because they want to step out of their lives and into a unique experience. The Avatar ride at Animal Kingdom in Florida is one of the most outstanding technical achievements I have ever seen for human imagination. The whole Avatar land there is a monument to what the human imagination can produce, and I think it’s great. But, the cat is out of the bag now on Disney and Jim Cameron, who are both much more liberal than they used to be, and the country of America isn’t that liberal. The Desecrators of Davos “back to nature” message is not the priority for the people living in the world. With an overt message of environmentalism versus technical achievement, humans tend to cheer on the products of their minds, not the pagan superstitions of the past, which is the true intent of liberalism and its desire to reset the Vico Cycle into anarchy and back to a theocracy where nature is worshipped as the modern Earth Goddess. The first Avatar walked a very fine line between overt lectures about the terrors of corporate greed and the majesty of nature’s wisdom. And that redeeming message is the heart of the Desecrators of Davos plan to unite all the corporations of the world behind their pagan religions and to drag everyone in the world who uses those products with them to the Liberal World Order priorities for existence. 

It’s not that the new Avatar film The Way of Water will be boring. I’m sure that after ten years of making the movie, Jim Cameron has done some great things in film. But the message itself, this Dances with Wolves in space concept of rejecting technology for the idea that we are all cells within the body of something greater than ourselves, is a political message that people don’t want to hear. It’s been crammed down their throats for a long time now. Since the first Avatar movie in 2009, we’ve been through the Obama presidency and all the terrible things that happened as a result. That led people to vote for Trump in 2016. And when the great America that came from the Trump administration was taken from people in 2020, the Desecrators of Davos through their election tampering, especially with Facebook, they gave us Joe Biden, an embarrassment who has declared war on fossil fuels and represents the forces which essentially want to create Pandora, the land from the Avatar films, here on earth and as a political platform. Through public relations trickery, they can attempt to show that elections are close in America, just as in other places worldwide, such as Brazil. But in reality, people do not vote against their best interests, and this evidence shows in other aspects of our culture the kind of things people choose to be entertained by.

And that’s ultimately the problem with the new Avatar films; they are essentially the Biden political platform, the new religion of the globalists around the world of earth worship, presented as entertainment behind top-level special effects and all the magic a movie theater experience can provide. There are movies scheduled all the way through Avatar 5 that I think are getting way out over their skis. If they were just entertainment, people might enjoy them. But if you have read Klaus Schwab’s books from the World Economic Forum, you would see that Avatar and Disney’s production of them is essentially the world they want to get to hear on earth; it’s a political platform and their goals for the transformation of the world. They want us all to strip down naked, make love to our animal powers, get right with nature, and bend to its will, like the characters in Avatar do. And because of that, I think people will reject the films aside from their initial spectacle and the lack of anything else to see at a movie theater. I predict that all the hard work that Jim Cameron has put into these films will ultimately be lost on a public that is sick of the politics of liberalism being pushed into their lives from every direction, especially in their entertainment. And the results will be embarrassing for Disney and Cameron in the end. It is one thing to visit the Avatar World at Animal Kingdom and to marvel at the technical achievements that essentially attempt to make a primitive life great again in the minds of the Desecrators of Davos. But when you get tired of it, you can go back to your nice hotel, get a nice meal, sit by a very modern pool, and enjoy the world of technology and business with all the audacity that American capitalism can provide. But the point of the Avatar films, and the liberalism behind them, is to get rid of that comfort and to return mankind to a primitive state, so there is nowhere else to go. And people don’t like that message at all, and it will show in the box office results and, ultimately, Disney’s stock.   

Rich Hoffman

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