For those wondering how the box office could get any worse than September, which was the worst September in 25 years, I have an answer for you: how about the first weekend of October?
The woketards at TheWrap assured us Bros, an R-rated, homosexual romantic comedy released in 3,350 theaters, would — and I quote — “Kick Off Box Office Revival.”
Why would anyone think that?
I’ll confess I didn’t expect Bros to die-die-die with a, lol, $4.8 million opening, but…
How bubbled do you have to be to predict a gay movie filled with gay sex and gay talking points disguised as dialogue would succeed at the box office?
The American people have no problem with gay-themed comedies. Twenty-seven years ago, The Birdcage (1996) was a huge hit that drew $124 million domestic. In today’s dollars, that’s almost a quarter of a billion — with “B” — dollars domestic.
Can you imagine any comedy making $250 million domestic these days? Comedies suck today.
So why did the public flock to The Birdcage and avoid Bros like the plague?
Gene Hackman and Dianne Wiest in a scene from the film The Birdcage, 1996. (Photo by United Artists/Getty Images)
Because The Birdcage offered actual stars — Robin Williams, Gene Hackman, Nathan Lane, Hank Azaria, and Dianne Wiest … It didn’t offer gay sex, which makes 98 percent of the public uncomfortable. (Raise your hand if you go to the movies to feel uncomfortable!) … And it wasn’t marketed as a comedy-slash-lecture, which Bros was.
Gay sex makes heterosexuals uncomfortable. And that’s not bigotry. In the immortal words of Lady Gaga, we were born this way.
As I have said over and over, Hollywood should make movies for everyone, and that includes homosexuals. But it is pure madness to position a gay romantic comedy loaded with gay sex (including a foursome) like you would something starring Sandra Bullock and Hugh Grant.
In other news…
Woke continues to die everywhere else…
In its second week, Olivia Wilde’s feminist lecture against the patriarchy, Don’t Worry Darling, dove a humiliating 62 percent. After two weekends, it sits at $33 million and will be lucky to end its run at $50 million.
In its third weekend, The Woman King earned just $6.2 million for a total of $46 million. It will be lucky to end its run at $75 million.
Topping the box office is the horror offering Smile at $19 million.
So how bad are things this weekend? This bad:
Industry estimates are at $61.3M for all titles, which is 3% behind last weekend’s $62.9M total, and 35% off from the same weekend in 2019 pre-pandemic, which was $94.5M — and that was considered low at the time (and now looks extravagantly rich). The No. 1 pic three years was the DreamWorks Animation title Abominable which debuted to $20.6M. [emphasis added]
Oh, and 19 weeks into its release, the non-woke Top Gun: Maverick is still in the top ten with a $1.16 million weekend, which brings its domestic total to $713 million. This is more than a month after it hit home video.
Top Gun: Maverick has topped Titanic’s total haul, including all three of its re-releases. (Scott Garfield/Paramount Pictures)
Here’s the thing…
Top Gun: Maverick proves beyond any doubt that Americans are desperate to return to the movie theater. We love the movies. If you dazzle and move and entertain us, if you cast a spell that takes us away for a couple of hours, we will arrive in droves. That’s all we ask. That’s all we want. But these smug, bigoted, self-righteous, woke idiots in Hollywood prefer to lecture and insult us, and now they’re paying a price anyone who lives in the real world could have told them was coming.
Follow John Nolte on Twitter @NolteNC. Follow his Facebook Page here.