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Americans are being fed a steady diet of self-righteous messaging from Hollywood while the country’s appetite for woke sermonizing dries up and people stay home. Box office revenues were down across 2024 and production slowed, a quiet signal that the industry’s business model is in trouble after years of pampering ideology over storytelling. The collapse is not a fluke — it’s the predictable consequence of studios abandoning entertainment for lectures.
Look at the corpse of the superhero machine and you see the pattern: franchises that once delivered fun and spectacle now read like corporate op-eds and critics and audiences have punished them. 2024 was widely sketched as one of the worst years for comic-book movies in living memory, with middling to terrible critical reception across most major releases. When studios treat audiences like subjects to be instructed instead of customers to be delighted, attendance collapses.
That collapse didn’t happen in a vacuum — it followed a year of strikes, chaos in studio leadership, and a culture that rewarded groupthink over competence. Industry veterans admit there’s a leadership vacuum and a fear-driven decision-making culture that prioritizes safe messaging and PR over risk-taking and quality. The result is fewer bold stories, fewer hits, and a healthier marketplace of ideas being replaced by corporate sermons.
Even mid-tier studios that once specialized in delivering solid entertainments are bleeding; some are recording their worst years at the box office as audiences vote with their wallets. Lionsgate and others have struggled to find an identity beyond chasing trends and appeasing internal diversity mandates while neglecting the basics of plot, character, and fun. The commercial reality is brutal: when you spend hundreds of millions pushing a political brand rather than a movie, shareholders and moviegoers notice.
Meanwhile, conservative creators and independent outfits are quietly filling the demand for straightforward, unapologetic entertainment that respects its audience. Films produced outside the oligopoly, including projects from conservative media companies, have proven that there is a market for movies that refuse to weaponize culture for ideology and instead aim to entertain and provoke real discussion. That experiment has already paid off in ticket sales and engagement, proving the market never really wanted the sermonizing.
Hardworking Americans shouldn’t be guilt-tripped into financing studios that despise their values. If you want a return to moviegoing you have to stop subsidizing the message machines and start voting with your dollars for creators who make art, not agendas. Support theaters and filmmakers who put craftsmanship and fun back at the center, and use streaming subscriptions to reward content that respects your time and values.
This moment is a reckoning, not the end of cinema. Hollywood can be saved by admitting failure, hiring leadership that believes in entertainment, and letting filmmakers tell stories that unite families and communities rather than divide them. Until that happens, the sensible, patriotic choice is clear: refuse the preachy product, back creators who love the country, and reclaim the silver screen for the American people.
