They told us streaming killed the box office. They told us the pandemic killed the box office. They told us that movies being available too soon at home killed the box office.
They lied.
And while they were lying, they knew they were lying, because at no time did their excuses make a lick of sense.
If streaming, the shortened theatrical window, and the pandemic killed the box office, then the box office should have been dead across-the-board. And yet, titles such as Top Gun: Maverick, The Sound of Freedom, and Spider-Man: Far From Home broke box office records.
But-but-but if people aren’t going to the movies, why are people going to the movies?
Normal People all knew what was wrong. Despite the lies spread by Hollywood’s sycophants, especially in the entertainment media, we all knew why we weren’t going to the movies… Movies suck.
Disney went full groomer. Woke infested pretty much everything. Instead of having a good time, we were lectured, shamed, and hectored. Those in a protected group (gays, racial minorities, leftist women) were also not entertained. Instead, they were pandered to, which isn’t fun for anyone with an IQ above 70.
We stayed home because for more than a half-decade movies stopped appealing to what makes art vital — the exploration of the human spirit. Instead, movies tried to rewire the human spirit with the lie that identity matters more than merit, that we must pay for the real and perceived sins of our ancestors, that how you conduct your sex life replaces a personality, that women are perfect as they are, that men are the problem, and that biology, truth, right, wrong, and normalcy are immoral while entitlement, narcissism, and flying your freak flag in front of small children are virtues.
Oh, and if we didn’t want to pay to watch two hairy guys kiss, or if we were unwilling to give up a precious afternoon to be insulted, demeaned, and to watch our heroes destroyed, Hollywood called us bigots.
Well, after years and years and years of box office decline, reality did what it always does — it won, and this year, Hollywood put away the woke and Normal People returned to the movies.
“A resurgent year at the box office hit new heights this weekend as Disney’s ‘Toy Story 5’ opened to an estimated $312 million globally — the second-best debut ever for a Pixar animated film,” writes the left-wing Wall Street Journal. “Domestically, the sequel launched with $160 million, making it the biggest opening for any film in the U.S. and Canada since ‘A Minecraft Movie’ in April 2025.”
The domestic box office sits at $4.46 billion so far this year, its best showing since 2019.
“Executives now project total domestic box office this year will come close to or exceed $10 billion,” the report adds. “The highest post-pandemic total previously was $8.9 billion in 2023. Receipts are still below the late-2010s, when total ticket sales exceeded $11 billion for five consecutive years.”
Toy Story 5 enjoyed the biggest opening of any Toy Story movie in its 30-year history. Remember the previous Toy Story movie? It wasn’t Toy Story 4. Instead it was 2022’s Lightyear. Lightyear was marketed to small children and it crashed and burned at the box office because it centered on a love story between two women. And that’s why we call the Disney Grooming Syndicate the Disney Grooming Syndicate.
Oh, but look what happens when Toy Story goes back to being Toy Story… Suddenly people return to the movies in record numbers.
So, what’s making money this year? Normal movies for Normal People. Movies that deliver rather than lecture… Project Hail Mary, The Super Mario Galaxy Movie, Michael, The Devil Wears Prada 2, Backrooms, Obsession, and a non-homosexual Toy Story movie.
This year’s one massive disappointment is The Mandalorian and Grogu, the latest in the once-unbeatable Star Wars franchise. Unfortunately, between its woke TV shows and movies produced deliberately to alienate core fans, Disney bludgeoned us until our attitude towards Star Wars was one of total indifference. The Mandalorian and Whatever.
It should be interesting to see how one of this summer’s woketard holdovers does next week. Between its promotion campaign and its mouthy and obnoxious star (Milly Alcock), Supergirl feels like something straight out of 2022. If it underperforms as expected, I’m sure Hollywood and the entertainment media will go right back to blaming streaming, the pandemic, and the theatrical window. Oh, and us bigots. Don’t forget us bigots.