Nolte: Bloomberg Has Good News About Hollywood — ‘The Business Is Broken’

“The business is broken,” far-left Bloomberg accurately reports of Hollywood. Of course, Bloomberg isn’t interested in reporting one of the primary reasons the industry is in trouble. I’ll get to that. But in the meantime, Bloomberg does get enough stuff right to enjoy that part of it…

“Cable TV is shedding viewers by the millions and advertising sales by the billions,” reports Bloomberg. “The movie business still hasn’t recovered from the pandemic. And streaming, supposedly the answer to all of it, is still losing gobs of money.”

And then we learn that there will be fewer jobs for people who hate us: “Even though unions secured huge victories, writers and actors have returned to an industry that should have far fewer jobs.”

Allow me to address that not “recovered from the pandemic” BS. The pandemic has nothing to do with the current collapse of the movie business. This collapse is a direct result of a movie industry producing crap that no one outside of Oberlin’s Lesbian Society of Bitter Feminists wants to see. Good heavens, Top Gun: Maverick was a massive box office hit at the tail-end of the pandemic. If the pandemic has something to do with the box office collapse, explain Spider-Man: No Way Home, Oppenheimer, The Sound of Freedom, Barbie, Guardians of the Galaxy Vol. 3, John Wick 4, and the Super Mario Bros. Movie.

You can’t, liars.

The desire necessary to turn a movie into a billion-dollar worldwide hit still resides in the hearts of moviegoers. But when Hollywood emasculates Indiana Jones, engages in pandering stunt casting to check off a DEI box, lectures, scolds, and removes human sexuality except for off-putting gay sex, we’re gonna stay home and watch Road House (1989) again.

Bloomberg doesn’t have the moral courage to say that. The saying would cost it access and advertising; the saying would be admitting something the left can never bring itself to admit: when given a choice, normal people want nothing to do with your fascist, anti-science, and anti-human nature ideas.

Now to the streaming end:

In recent years media companies have competed to empty their pockets. Peacock spent $500 million on The Office, and HBO Max paid $425 million for Friends and $500 million-plus for South Park—all reruns. To catch up to Netflix, every media company committed billions of dollars to new shows. All told, the number of scripted TV shows released in the US peaked at 599 in 2022, double the number in 2012. Those days are over. Disney is going to cut its costs by $2 billion this year. Paramount and Warner Bros. Discovery are in retrenchment mode, too. Even Netflix, which inflated the great streaming bubble, hasn’t boosted its content budget in two years. Industry experts predict the total number of scripted TV shows this year will fall to 400.

What’s more, the most-watched television show of 2023 was Suits, which was canceled all the way back in 2019.

What does that tell you? It tells me people crave the normality entertainment offered before this insane Harvey Weinstein/George Floyd/Donald Trump/DEI McCarthyism settled on the land.

Bloomberg predicts “streaming services will increasingly resemble broadcast TV from 50 years ago” and will steer “away from high-risk, high-reward originals to proven comfort programming: prequels, sequels, and reboots of everything from Bridgerton and Wednesday to The X-Files.”

But again, no one wants to admit why.

The “why” is no mystery. To make a profit from a streaming service, free people have to find what you offer appealing enough to pay for it. But what are these streaming services delivering? Well, of the 599 new shows produced in 2022, it’s a pretty safe bet 589 of them were off-putting crap filled with gay sex, partisan politics, lousy special effects, and characters no one can identify with. Who can identify with a man in a dress, or a purple-haired, pierced harridan we’re told is superior because she’s gay, or all the oh-so-perfect male and female Mary Sues overflowing with virtue and all the “correct” beliefs? Who wants to watch a TV (or movie) where all the joy of being on the jury is destroyed when we’re told how to judge characters and situations?

Normal people have been almost entirely eradicated from entertainment. Tony Soprano, Walter White, Jimmy McNulty, Don Draper — that entire Golden Age was golden because we were presented with endlessly complicated normal people who made a lot of bad choices, and then it was left up to us to judge, to decide.

Finally, Bloomberg misleads about the potential collapse of 2024’s box office…

“Last year’s strikes delayed 2024’s biggest releases—Disney’s Snow White and a new Captain America movie, along with Paramount’s next Mission: Impossible.”

No, no, no…

I don’t know about Mission: Impossible, but I do know the Disney Grooming Syndicate was forced to push Snow White to 2025 due to the woketardery of its hideous star and the studio’s stupid creative choices. Captain America: Brave New World was delayed by Disney due to terrible test screenings. It’s just a fact that Disney has collapsed creatively due to this hysterical social panic that demands everything be sexless and political.

Sight unseen, I can tell you what Captain America: Brave New World’s biggest problem is… As much as I like Anthony Mackie, he is not a leading man. He’s a superb actor and an appealing and likable screen presence, but you don’t turn the Lethal Weapon franchise over to Joe Pesci. If I’m proven wrong, I will happily say so. I’m rooting for Mackie.

It’s not strikes or pandemics that broke the business of Hollywood; it’s only one thing: obnoxious, left-wing politics. Hollywood sucks. Hollywood hates us, and now we’re hating them back.

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