by Joaquin Flores, Strategic Culture:
The question of the relationship between the overall collective Western failure of the ‘Great Reset’, failures in numerous past and current military conflicts, and subsequent signs that they are attenuating their messaging, is of critical significance which offers multiply-connected analytics vectors for development. This is because of the relationship between Hollywood messaging and the messaging approved globally by the Western elites writ large. Those reflect a phenomenon known as ‘Human Rights Imperialism’, as well as the ‘Pink Washing’ more novel to the 21st century. Here, we will develop upon ‘Why this Anti-Democratic Anti-Populism in the Age of Big Data Analytics?’
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It is beyond a doubt that what is often termed ‘The Message’, as discussed in ‘Why this Anti-Democratic Anti-Populism’, has been placed at the center of the West’s raison d’etre. Yet Hollywood apparently had to back-off after ‘The Message’ failed to make the numbers happen at the box office and merch sales. Will the WEF, and the political class at large, have to back-off after it failed to make the reset happen?
‘The Message’, as it is known, is a type of indoctrination inserted into mainstream Hollywood film and episodic series which, under the guise of inclusivity, encourages the population to conceptualize social problems as those arising from the thoughts and activities of every-day regular people who are ignorant, and so need to be educated in a top-down manner. With this approach comes much less a focus on the role that structures of power (like banks, corporations) and institutions themselves have in determining power relations between asymmetrically represented and empowered segments of society. The consequence is that rather than punching upward at those actually in power, people are encouraged to punch at each other, and also punch ever downward. But it isn’t necessary to present the origins of ‘The Message’ in conspiratorial form, even though it would be accurate.
The power establishment embarked upon this cultural revolution in the collective West (that’s the conspiratorial part) which we can conceptualize as being something like the most cynical exploits that grifters made out of the Civil Rights movement after the 1960’s, combined with a perpetual 1990’s era post Cold War triumphalism. Finally, transgender and even pro-pedophilia discursive framings have permeated into this motif. Having done so, they had succeeded not so much in convincing many people that this was so much important or even true as they did in convincing other elites that people were embracing this. A strange virtual economy emerged, that would eventually require a correction.
Many Hollywood executives believed they could thrive economically by aligning themselves with grass-roots activist movements (which were actually AstroTurf NGOs) that claimed to represent the future of cultural engagement—asserting that they held the keys to audiences and were on “The Right Side of History.” However, this strategy has revealed itself to be a niche market, often limiting audience reach and profitability. The realization is dawning that politically neutral films—those freed from the constraints of having to promote ‘The Message’—can resonate with a broader audience than those catering exclusively to one ideological side.
One critical lesson that Hollywood and entertainment companies are learning is that taking a definitive stand on culture war issues often alienates one side more significantly than it attracts supporters from the other. A pertinent example can be seen in the case of Bud Light, who infamously placed a male Audrey Hepburn impersonator on their cans, which sought to engage a new demographic but ended up losing a considerable number of its long-time customers. The attempt to appeal to one faction resulted in a backlash from another, illustrating a lose-lose situation. This pattern holds implications for the film industry as well. By attempting to appease either side of the political spectrum, studios risk inciting further alienation, thus compounding their challenges.
For studios, the notion of publicly dismissing their activist-oriented content creators presents its own set of complications. Such a move could trigger a backlash from a significant segment of society, particularly among cultural elites and film critics who perceive such actions as a capitulation to opposing views. This could foster a narrative that the studios have shifted their allegiance, pushing away audiences that feel betrayed. The lesson emerging from this dynamic is that oscillating between ideological extremes is less effective than adopting a more neutral stance altogether.
Consequently, the trend appears to be moving toward a more subtle, yet definitive shift away from overtly politicized content. The aim is to release films that prioritize storytelling over ideology, thereby allowing for a wider appeal without the inherent risks associated with political polarization. The increasing success of films that emphasize narrative over ‘The Message’ suggests a growing audience appetite for this type of content.
However, the road to rebuilding trust among formerly alienated audiences may be long and fraught with challenges. Many viewers who felt burned by past productions might be reluctant to engage with new releases from studios that previously prioritized ideological messaging. This indicates that loyalty to long-established franchises may be irrevocably damaged, as previous fans move on without a new generation of enthusiasts to replace them.
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