Another woke movie crashes and burns. Will Hollywood ever learn, or have they just lost interest in making profitable films? From Tyler Durden at zerohedge.com:
A decade in the movies is a lifetime in terms of popular culture. Back in 2015 the future of American film and television still seemed bright with a host of box office winners every year making billions of dollars per production. However, something sinister was bubbling under the surface in Hollywood.
Maybe it was two terms of Barack Obama and far-left politics that spurred the change, maybe it was a confluence of random coincidences, maybe it was the threat of a possible Donald Trump presidency or maybe the social engineers simply decided it was time, but from 2015 to 2016 everything changed in Tinsel Town. The entertainment industry has always been overly progressive in nature (not to mention perpetually degenerate), but this new wave of “woke” collectivism was something entirely different.
Someone turned the propaganda dial up to eleven. Since then media companies have been on a relentless campaign of DEI (Diversity, Equity and Inclusion). Their goal? To saturate every corner of pop culture with feminism, critical race theory and LGBT indoctrination to the point that it’s impossible to walk into a movie theater or turn on the TV without being psychologically molested (a problem Hollywood is famous for).
The agenda went even further that that, though. The industry not only set out to make every single project woke, they also tried to go back in time and retroactively erase characters they don’t like anymore – Specifically, straight white male heroes.
A Fundamental Transformation and I remember Public Enemy with their Burn Hollywood Burn tune.
Mob rule is effective as R Lee doing Sarge Hafner would say from the heads on stakes scene in The Siege of Firebase Gloria.
I can count the amount of good movies from the last ten years on one hand and have fingers left.
Even the good one have some holes in the plot.
There was no need to go Beyond Thunderdome and that one is highly underrated due to the lack of car chase scenes.
I love the scene where the youth catch Max in a snare and he makes the Tarot card sign of the Fool!
First saw Mad Max II as a lil’ shaver, one of the first movies watched alone along with EFNY, and it was a turning point.
Mel gets a forever pass for that badassery.
Breaking from Mighty Joe Young:
Turning Point (Thief Version)