After ‘Snow White,’ a Chance to Replace Hollywoke – The American Spectator | USA News and PoliticsThe American Spectator

Everything you need to know about the current state of American culture can be learned in this weekend’s movie box-office report. Disney’s feminist live-action Snow White remake plunged a catastrophic 66 percent in its second round to an abysmal $14 million. In two weeks, the $250-million-plus production (add at least $200 million more for advertising and marketing) has grossed a laughable — except to Disney executives — $67 million.

Which film topped Snow White as the number one movie in America? The Jason Statham action vehicle A Working Man earned over $15 million on a budget of $40 million. And just below Snow White, with $11.5 million, came in The Chosen: Last Supper, actually just the first two episodes of season five of the popular TV series about Jesus’s time on Earth. Which many people chose to preview on the big screen ahead of Easter.

The contrast couldn’t be more dramatic. Sandwiched between Disney’s deromanticized woke mutation of the classic feature film that built the company were a “toxic” white male butt kicker movie; cowritten by Rambo himself, Sylvester Stallone; and a devout tale of the Christ. Getting financially humiliated by both pictures might serve as a business lesson for the crashing Mouse House — if it didn’t loathe the rival audiences. Disney will make Snow White 2: Snow White Rides Again before anything remotely masculine or Christian.

The latest Snow White scandal in a long line of them dating back to preproduction shows how the corporation has learned nothing from the debacle. Last week, Jonah Platt, the son of Snow White producer Marc Platt, ripped the title starlet Rachel Zegler for her obnoxious lib brat statements about the picture and politics, including screeds against Trump voters and Israel (“Free Palestine!”). That her costar Gal (Wonder Woman) Gadot is an Israeli Defense Force veteran didn’t bother or stop Zegler. And Platt was more offended by her poor salesmanship than her ideology.

In a since deleted Instagram post, Platt railed, “Yeah, my dad, the producer of [an] enormous piece of Disney IP with hundreds of millions of dollars on the line, had to leave his family to fly across the country to reprimand his 20-year-old employee for dragging her personal politics into the middle of promoting the movie for which she signed a multi-million dollar contract to get paid and do publicity for.”

Yet however imbecilic Zegler may be about geopolitics, she was unfortunately right about the picture. And the reason it bombed. It was all she promised it would be in her smug obnoxious interviews — a girlboss version of the beloved fairy tale that eschewed the romantic and male heroic elements girls have loved for three centuries.

This mandated eliminating the cherished sweet love ballad from the original, Someday My Prince Will Come, and replacing it with the putrid Waiting on a Wish. If you think the generic title is bad, check out the Feminist Pre-K-level lyrics:

 Little girl at a lonely well/With the same little tale to tell
Feeling trapped by the walls that hold her/Feeling stuck in the story they’ve told her
Another day where she fades away/Never daring to disobey
So she’s dreaming all alone/Sharing secrets with the stone …
Waiting on a wish/Holding out for somebody
Hoping somehow, someway/I’ll become my father’s daughter.
I close my eyes and see/The girl I’m meant to be
Is she a part of me I’ve yet to find …

New Snow White is trapped by the walls of the Patriarchy and stuck in the story they’ve told her about being a good little princess and seeking the right mate. And she’ll become her late father’s daughter not by continuing his royal line but fighting manlike in a revolution. Obviously, the words make no sense and will inspire no one. Because they weren’t written for little girls but for bitter progressive moms and the sad single manhaters of Hollywoke.

If they had the talent, they would have fashioned an original story about girls becoming the Amazon warrioresses they’re “meant to be” — or Jedi Knights or Double-O spies or Mad Maxines. But they don’t. They can only corrupt great IPs created by men — the better to bash them with, dearie.  And box-office disaster is a small price to pay in advancing the Message. Until the money runs out. As it’s now doing.

Earlier this month, Disney laid off some 200 employees at ABC News. And that was before the abysmal box-office figures for Snow White. Studio layoffs are now certain to follow.

The people who elected Trump have spoken (Sorry, Rachel) politically and commercially. They want entertainment based on real values, like tough guys saving damsels in distress and Christ dying for our sins. But though Hollywood Leftists will self-destruct rather than present them, so unfortunately will the Right, from timidity.

For more than a decade, great traditionalist writers have appealed to conservative fat cats to invest in the culture. Not just for ideological supremacy but for profit. Hollywood is leaving a lot of free money on the table, misled by Disney. And there are plenty more male heroes like Chuck Dixon’s Levon Cade in A Working Man waiting to be tapped — Klavan’s Cameron Winter, Michael Walsh’s Devlin, and my own Mark Slade. Our train has left the station, while Hollywoke’s goes off the rails.

READ MORE from Lou Aguilar:

The War on White Male Fiction Writers

The Man from Planet X to the Rescue