Will Hollywood ever learn? Bowling for woke is bowling for broke, but that hasn’t stopped them from aggressively pushing radical social Marxism in entertainment for the last half-a- decade.
The latest super-hero movie to come out, “Spider-Man: No Way Home” was a massive box office success that raked in $253 million during its opening weekend, the first film since the pandemic to clear the $100 million mark.
Other films, such as Spielberg’s massively marketed “West Side Story” flopped upon arrival, with critics blaming the Omicron COVID-19 surge for the lack of success, but “No Way Home” tells a different story.
Fans and critics alike praise the latest installation in the Spider-Man franchise, with the Observer labeling the film “An overflowing, funnel-web cornucopia of treats for Spider-fans.”
The major consensus is that the film was created with fans in mind, and avoided the propaganda that Disney has been pushing in the recent past. The reason for this is that Sony is still the owner of the film rights and maintains creative control even though they fall under Disney’s ever-growing umbrella.
John Nolte of Breitbart wrote the following about the film’s success: “Newsflash: If you make a decent movie that seeks to entertain and move — instead of lecture and shame — we will show up.”
Nolte has it right, when movies stick to the storytelling they’re supposed to, and don’t soil themselves with preachy leftist politics, they do enormously well. Hero movies have been extremely popular lately, but even “Black Widow” tanked in the box office due to its overtly feminist themes which completely overshadowed the central narrative.
Moviegoers are accustomed to getting the entertainment industry’s point of view that’s been a staple of Hollywood for decades, but now things have gone too far, where the central thrust of a movie is a political message aimed at ‘enlightening’ the masses rather than telling a good story.
“Spider-Man: No Way Home” currently rates 94% fresh on Rotten Tomatoes and has an even more impressive 99% fan score.
Author: Maria Hill
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