In the bustling realm of Hollywood, where the glitz and glamor of the red carpet often outshine the dawn, a peculiar trend seems to be streaming down the silver screens and spilling into mainstream media. Big name stars and blockbuster productions are continuously tripping over their own hubris, leading to financial fiascos rather than box office bonanzas. It seems Hollywood’s once unfaltering magic has been tempered by a sprinkle of political activism, with Disney emerging as a prime example.
Let’s start with a tale as old as time™, or rather, a tale recently done a disservice. Disney’s live-action Snow White, with its choice of a rather outspoken actress, took a nosedive that even the sugary sweet apples couldn’t sweeten. Her political outcries seemed to overshadow the innocence of fairytales, alienating audiences who prefer fantasy to fiery activism. The result? An empty auditorium echoing the grim realities of a steep financial loss.
Of course, this isn’t an isolated incident. The recent Tron revamp, which seemed to switch gears with little to no fuel in the tanks, also fizzled rather than sizzled at the theaters. Its headliner, Jared Leto, found himself greeting a gallery less than half-filled—a scene perhaps better suited for a horror film than a techno-fantasy flick. Folks on the outside were more intrigued by the street tents than the artificial glow within, demonstrating a stark depreciation in the appeal of such political-tinged spectacles.
Not wanting to break tradition, Marvel too entered the fray with its own version of a theatrical letdown. Fantastic Four’s reboot was less than fantastic, with poor casting choices proving detrimental. Much like their protests against monarchy, the actor’s ventures into political spheres seem to consistently result in similar dim-witted displays of disinterest. Yet, Hollywood persists in repeating its role as the jester at what should be a royal cinema fête.
Ironically, while these stars parade their causes, their celebrity status allows them to maneuver through protests with nary a shadow of worry. Pedro Pascal, an actor whose family fled Chile during the Pinochet regime, joins the chorus of condemnation at rallies, all while remaining blissfully unguarded. It’s a curious case of privilege that doesn’t apply to those on the opposite side of the political spectrum, who often face much harsher receptions and higher security requirements.
In the end, the glitter of Hollywood is turning more to gut-wrench than gold, dissolving the once-powerful influence it held over popular culture. The hunger for heartfelt storytelling is overshadowed by the hollow proclamations of political pyrotechnics. Whether Tinseltown eventually wakes from this self-imposed spell remains to be seen. Until then, the audience takings are seeing as sharp a drop as the proverbial curtain on this brand of movie-making-misadventure.
