Surprising that didn’t continue pumping money into it
Surprising that didn’t continue pumping money into it
In the past 10 years Disney has generated a magnificent reputation for failure. Consider for a moment the overwhelming catalog of marketable properties the company has purchased through its acquisition of companies like 20th Century Fox and Lucasfilm - The possibilities for profits are endless. Star Wars itself was long considered to be a bulletproof brand, a beloved franchise that had hundreds of millions (perhaps billions) of fans attached to it due to sheer nostalgia alone.
It would take a screw-up of epic proportions to take a loss on Star Wars. Or, maybe a deliberate agenda to deconstruct and destroy the very foundations of the story that made it so popular in the first place.
The Acolyte, directed by Harvey Weinstein's former assistant Leslye Headland and produced by Steven Spielberg's former assistant Kathleen Kennedy, is the pinnacle of this agenda. Kathleen Kennedy's notorious 'Story Group' set out to fundamentally change Star Wars from the very beginning with the increasing injection of third-wave feminism, woke ideology and ultimately sexual fetishism.
They first tested the waters through a bizarre series of young adult novels called 'The High Republic', which ended up on clearance shelves within a year. The Acolyte was an attempt to double down on the High Republic in television/streaming format. The goal? To turn a story about the basic roots of love, friendship, responsibility and good and evil into a degenerate tale of moral relativism and identity politics. Headland was given a $180 million budget and an incredible amount of creative control by Lucasfilm.
In the Acolyte, the Jedi are the bad guys (and they are all murdered in the end), the Sith are portrayed as relatable and justified, lesbian space witches reproduce through immaculate conception and high concept adventure takes a back seat to talking, talking, talking. The original audience for Star Wars has always been predominantly male. The new audience was intended to not just be female, but feminist females. It was a recipe for financial disaster. . .
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>In the past 10 years Disney has generated a magnificent reputation for failure. Consider for a moment the overwhelming catalog of marketable properties the company has purchased through its acquisition of companies like 20th Century Fox and Lucasfilm - The possibilities for profits are endless. Star Wars itself was long considered to be a bulletproof brand, a beloved franchise that had hundreds of millions (perhaps billions) of fans attached to it due to sheer nostalgia alone.
>It would take a screw-up of epic proportions to take a loss on Star Wars. Or, maybe a deliberate agenda to deconstruct and destroy the very foundations of the story that made it so popular in the first place.
>The Acolyte, directed by Harvey Weinstein's former assistant Leslye Headland and produced by Steven Spielberg's former assistant Kathleen Kennedy, is the pinnacle of this agenda. Kathleen Kennedy's notorious 'Story Group' set out to fundamentally change Star Wars from the very beginning with the increasing injection of third-wave feminism, woke ideology and ultimately sexual fetishism.
>They first tested the waters through a bizarre series of young adult novels called 'The High Republic', which ended up on clearance shelves within a year. The Acolyte was an attempt to double down on the High Republic in television/streaming format. The goal? To turn a story about the basic roots of love, friendship, responsibility and good and evil into a degenerate tale of moral relativism and identity politics. Headland was given a $180 million budget and an incredible amount of creative control by Lucasfilm.
>In the Acolyte, the Jedi are the bad guys (and they are all murdered in the end), the Sith are portrayed as relatable and justified, lesbian space witches reproduce through immaculate conception and high concept adventure takes a back seat to talking, talking, talking. The original audience for Star Wars has always been predominantly male. The new audience was intended to not just be female, but feminist females. It was a recipe for financial disaster.
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