Nobody Should Care About China’s Box Office: Reaching a market of over a billion people can’t justify surrendering to communism

What I have always loved about Star Wars, aside from the obvious creativity that it takes to make the movies, is that they are in and of themselves positive stories that don’t get hung up on negativity. Yet the theme of our day is negativity, because if people are in a state of discontent they may be open to the offerings of some political class. It was probably always this way to some extent, but its really bad now, where negativity is insisted upon by certain sectors of the world, as a culture. Yet, its not always easy to see, but when something like a new Star Wars film comes out, the pop culture reaction to it is an obvious measure that we can all see and touch. And it was never clearer as to what the intentions for our society is than in reporting on the new Star Wars film, which was probably the most positive film I’ve seen by anybody in a long time, and one that certainly stands for goodness. Clearly the intent of the characters in the movie were to make clear choices about good and bad behavior. So of course the focus on the reviews was that this latest movie, The Rise of Skywalker is that it is the most poorly reviewed film since The Phantom Menace, and that it has bombed in China at that box office, see the Variety article below:

https://variety.com/2019/film/news/star-wars-the-rise-of-skywalker-flops-debut-china-1203449672/’

This is why I write so much about Star Wars, the movies are very positive and defined about what good and evil should be—as any kid’s fairy tale would. That makes them as a work of art a wonderful measure about social values and the motivations of our cultural forces. Further, I would offer that communism has been the functioning plan for many years, especially those college trained as all media people are to some extent, certainly in the case of writers of these types of articles like Patrick Frater a defense of China and its communism is baked into their view of the world, and by attacking films that are distinctly American points of view, China continues on with the mission they’ve had all along and is constantly assisted by universities and their products to advocate for and against certain types of cultures. The effort becomes grossly obvious when entertainment trades make it so obvious such as trying to slam a movie as successful as The Rise of Skywalker which made over $177 million domestically over its opening weekend and will continue to do well at the box office over the long Christmas week. Especially when the news around the world that in just a few days it made $376 million globally. That is hardly anything to sneeze at, or to ignore, culturally.

The problem is one that I have pointed out often, especially coming out of Hollywood for more than a couple decades now, where Chinese companies have been buying up interests in film studios and even trade magazines. They have been trying to do to American markets what they do internally in China as communists, and that is to control everything at every level. I mean give me a break, Star Wars was beat at the box office in China by Ip Man 4: The Finale, and that is very fishy. Instead of making the story about the Chinese box office being a failure of Star Wars to reach an audience, the story is really about how China as a government controls such box office numbers so that they can protest against western ideas influencing their country, especially when the protests in Hong Kong are fueled by those same western ideas. The box office numbers themselves do not tell the story, but our media which has been heavily influenced by the Chinese even from such a far reach uses the known measurements that China controls to attempt to shape the kind of stories that are told in our culture—which the rest of the world obviously loves as they were.

I admired Disney, which is a big global company that wants to please everyone, because they allowed the filmmakers of Star Wars to get back to what made the films popular with fans and The Rise of Skywalker is a love letter back to them full of very positive storylines that don’t get hung up on negativity. The previous installment The Last Jedi was taking a turn to the dark side in all aspects and critics loved it. But the fans didn’t. As I said at the start of this article, one way to control people is to take away from them hope, disconnect them from options so that they will be forced to embrace a way of life that the controller wishes to impose. When Star Wars looked to be taking a negative “realistic” tone with this modern trilogy, critics loved the film, but when the box office diminishing returns started showing that fans were leaving, Disney had to make some decisions and listen to the fans, and return to the kind of storytelling that Star Wars has always been for people—which is not the trend of the world full of communists in China that still have global plans.

I doubt that Patrick Frater from Variety is an open communist, but I would bet that he’s likely an anti-Trump political personality and that the whispers of his college days speak to him in copious amounts, and that the roots of those whispers were sympathetic to the type of society that China has been trying to export for decades. Star Wars obviously stands against that sentiment. While in the states, Variety has been very supportive of Star Wars so long as they could view the Resistance as being anti-Trump and liberal. However, the reality is that Star Wars has always been a small government love letter and few stories in the history of storytelling has ever shown how a government can be great one day, and on the next turn into a mass manufacturer of dystopia and scandal. The enemies of American ideas I would offer are those who have also been giving bad reviews to The Rise of Skywalker. While Disney has tried to make everyone happy, especially with the ridiculous lesbian kiss at the end of the movie as if to throw a bone to the dogs, ultimately there is no way to shut out the negativity that comes from the press because the goal is to attempt to keep people from being enchanted by the positive messages of Star Wars, since it is control over mankind that is at stake.

This movie is just one more example of why China is ultimately irrelevant. Nobody can make movies culturally that China and America will enjoy together. If a film studio tries to make movies that China will like, American audiences will push it away. And if the story is too “western” then China will shut it down in their markets. This is the nature of this entire battle yet I don’t see any evidence from the trades in dealing with the issue properly. That is because they are part of the problem and when they can, such as in this Variety article, they must take down any challenges to China as a communist culture. To save Star Wars, Disney had to choose, and they went with traditional western storytelling as they should. Nobody cares about China’s stupid contributions. Its worth dropping a $100 million at the box office, which is likely what it cost. But that money will be made up many times over in the other markets before its all said and done, and Disney will be rewarded for their choice, even if the trades like Variety are rooting against it for all the reasons stated.

Rich Hoffman

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