Now that we have a precise dollar-for-dollar comparison, it is clear how despised fascist woketardery in Hollywood is among Americans.
Minions: The Rise of Gru, the fifth installment in the Despicable Me series and a prequel, is projected to make $109.5 million over the course of three days.
Lightyear, a prequel and the fifth installment in the Toy Story series, has only made $106.7 million worldwide in three weeks.
Therefore, Minions will have made more money in three days than Lightyear did in three weeks.
What distinguishes the two, then?
The production of Minions, which will be quite successful, cost $85 million. Lightyear cost $200 million, but it will lose money.
Furthermore, I contend that the Toy Story film series has historically been more recognizable, adored, and regarded as superior to the Despicable Me film series. There is little doubt that the Toy Story series has generated more revenue than Despicable Me (at least up to this point). Both films are wildly popular, but Toy Story was, and I emphasize was, cherished by the public as being unique.
But the true distinction is something we all understand.
Lightyear is a woketard film, the most recent example of Disney’s groomers’ gay indoctrination, and it features a same-sex kiss that, in addition to making 90% of people uncomfortable, also introduces young children to adult sexuality before they are old enough to consider such matters.
According to the reviewers, Minions is movie enjoyable 87 minutes of uncomplicated escapism, frivolity, and silly gags.
Why do we watch movies, especially kid-friendly ones?
Do we go through the discomfort of destroying our children’s innocence before they are ready?
Or do we go for a few hours of magic and escape from the discussions, demands, strains, and arguments of real life?
Top Gun: Maverick, a vehemently anti-woke film, has been in theatres for six weeks, is currently ranked second nationwide, and is on track to earn $600 million US. In addition, it’s a great movie that honors manliness, getting the job done, the value of dads, loyalty to duty, and living a life devoted to something greater than oneself.
Another unwoke hit is Elvis. I have watched it, but I haven’t reviewed it, and I’m not shocked by its popularity. While the film is far from flawless, it goes above and beyond to defend Elvis from unfair criticism by highlighting the truth of his relationship with black artists and his love and respect for black music.
This is done in place of shaming the white, southern Elvis Presley for stealing black people’s music. However, the film also makes sure that those black artists get the recognition they merit while accomplishing this.
The film’s director, Baz Luhrmann, also emphasizes how Elvis, in his own unique way, was an outsider in the South as a very poor youngster who experienced his own form of bigotry and rejection. I anticipated the opposite strategy—sort of an apology. But because Luhrmann was honest, the respect this generated allowed me to love the film despite its imperfections.
Hello, Hollywood We will arrive if you construct it. If you lecture, humiliate, virtue signal, preen, and groom our children, we won’t.
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