Then they succeeded. That's what they wanted; to demoralise you, to make sure you know that everything you care about, even movies about space wizards, will be subverted, corrupted, and thrown back into your face.
The reason we (high trust societies) play the game is to win. We want more resources, better technology, and greater acheivements. To this end, yes, we would want people to keep playing (contributing) to get us more of everything.
That is not the game anyone else is playing. They are playing so that everyone else loses. They don't care if all of our amazing systems collapse so long as they are the ones sitting on top of the pile at the end.
What did Schwab write? 150M people, globally, to act as serfs for a tiny technocracy? Does that look like "winning" to you, even if you're one of the elite? No more progress or innovation, no spiritual development, massive drops in standards of living, but you and yours get to wear the big boy pants? Because that's what winning looks like to the people producing these movies.
And then they will find that thing you are engaging with and destroy it too. This the the pattern we've been watching unfold for years now. It's why GamerGate made them lose their shit, it was one of the only times they've encountered active resistance rather than passive acceptance and a quiet retreat.
If what they wanted was to destroy the circuses that kept people distracted from their subversion, then they aren't very smart. People were happy to blindly play their games and watch their slop tv while the world burned. And now a whole lot of them want to glass Israel so they can go back to playing their games and watching their tv.
Yeah, well the world is burning, the bread is stale, the circus is a dud, and people still aren't doing a damn thing.
The bread and circus thing only applies to high trust society where people identify with the State. They aren't even really a distraction, rather they're a reassurance that, even though things look fucked, the State is able to feed and entertain everyone. They're a reassurance that things will be okay if you just keep plugging along.
What does it mean when the State is not the one putting on the circus? Then it really is a distraction; the whole point is then to have people make peace with their predicament (by, for example, viewing yourself as the "enlightened centrist" who has it all figured out), rather than reassure them things are under control.
Therefore, nothing is getting worse because everything always sucked. Star Wars is a movie about space wizards with glowsticks, not a moral story about redemption, sacrifice, faith, or loyalty. James Bond and Indianna Jones are goofy, aging, bozos, not embodiments of the masculine hyper-competence needed to face the evil plotting to destroy the world. Oh, and Animal Farm is a generic kids story about funny talking farm animals, not an iconic, scathing critique of a totally failed ideological system (that is rearing it's ugly head in popular discourse yet again).
But under all of that surface level stuff is the message that the State is pathetic, corrupt, and incompetent by it's very nature. You would be a fool to sacrifice even your spare change because they'd only use it to replace you. When people lose faith in the State, even if they're correct, polities die.
See, even as much as the prequels were lambasted, it was NEVER this bad as despite the scripts and dialogue, the world building was on point and could easily be built upon most prominently with Clone Wars.
The Disney stuff? There's NOTHING to build on as prominent former characters are either dead, emasculated or both, characters do dumb things to justify set pieces and any lore they try to bring in is easily contradicted by what follows it.
So they killed Star Wars thinking that they didn't need to follow the world building Lucas had in place.
"Fun" is something uniquely lacking in modern cinema; the closest we get "sardonic self-deprecation".
The 90s Mario Bros movie, for the absolute insanity of it, was way more fun than either of the "accurate" new corporate committee slop products and the only one I'd actually rewatch by choice.
"Concerns" tells me that they've not learned their lesson. It's certainty.
They don't know their audience, don't know their target, don't know their market. They bought an IP that was popular with all ages, but especially with the 14-29 male demo: swords'n'planets sci-fantasy with strong hero themes and cool mechas that took itself far too seriously.
And they turned it into a parody. Fart jokes. 4th-wall pokes. An arbitrary and nonsensical galactic-political situation where the "rebels" own 90% of everything including all levels of government but somehow are the plucky underdogs.
"We changed literally everything about it, why aren't the audience sticking around?!" cries out Disney, wearing their "The Force Is Female, Kill The Past If You Have To" t-shirts.
An arbitrary and nonsensical galactic-political situation where the "rebels" own 90% of everything including all levels of government but somehow are the plucky underdogs.
This is my favorite part. It's such an unconscious self-report from the shitlibs controlling so much of Hollywood. They know they need the narrative advantage of being the underdogs so they can rise up and overthrow the Evil Power, but they are also just too stupid to recognize that in order for that to be true, there needs to be an organization that rules over them in some illegitimate way first. They tried to redo too much of the original Star Wars, and it blew up in their dumb fucking faces.
I think the political situation is even messier than you are describing. I think the dominant political group is The New Republic. But then there is also the "Resistance" but really who are they resisting? Then there is Snoke's First Order which is some kind of Empire remnant which has limited scope in The Force Awakens. Thinking about it now it's amazing how nebulous the background actually is.
Even something shitty like Rebel Moon has a more established universe
What part of Disney star wars actually appealed to teenagers? The part where they didn't explain anything? The part where they kept running pointless contradictory shipping between Rey and Kylo? The part where they trivialized the war andtried to pretend that no sides were good and thus no actions actually really matter?
Like seriously... What was supposed to draw the teens in?
The part where she crashes into his spaceship with her own spaceship to save him, they kiss, and she passes out was some of the most confusing plot I've ever seen.
Throwing the source material away, and then using it anyway.
The Last Jedi is the name of an EU novel.
Palpatine comes back
more superweapons
the next Skywalker generation having someone named Ben
Han and Leia's son turns to the darkside
And don't forget:
literal Goonies plot device of an item matching the horizon, somehow, considering it was an ancient dagger and the horizon was less than 30 years old because it was the remains of the second Death Star
Bonus point:
Goonies was also directed by Kathleen Kennedy
None of the material was new to cinema or even their own resumé, let alone Star Wars.
The one that really gets me is Jan Ors, intelligence operative and second fiddle to one of the most fun characters, replaced by Jyn Erso, generic criminal. Naturally, Katarn is simply deleted.
Reusing a few names for very different purposes, ignoring the best of the old plot points, and somehow remaking the stupidest of the old plot points is hardly putting the old source material to use.
Legacy is created by substance. A self-consistent fictional world created from strong themes that you can actually care about. Setting aside the politics of the sequel trilogy, it has an utter lack of substance. One gets the overwhelming sense that everything about the sequel "universe" is simply the props presented on screen in the moment the characters are in a given location, only to disappear when they move on to the next setpiece, never to be seen again. If anyone dares to ask questions, well, to quote the shriveled orange in TFA, "that's a story for another time."
Disney bought Star Wars for the built in teen/men market. Shit completely on the free revenue. Tried desperately to replace them with girls/women (a market they already had cornered) and then act surprised when the money doesn't instantly appear in their pockets.
I find it funny when people are surprised by what companies are doing.
They don't care about money anymore. That's completely obvious. They're willing to dump billions into movies they know full well will never make it back.
This stuff is pure propaganda by the people who want to control what you think. It's financed through the systems they control, government "subsidies" and private "investments". They don't care that the loans are junk, that might even be a bonus. All they care about is destroying any and everything that inspires people (history, statues, movies, etc) so that no one has the energy to oppose them.
It sounds conspiratarded but I'm never surprised by their decisions while all the critics are scratching their heads at each increasingly "insane" move the studios make.
But what if you were in control of billions of dollars of other people's money that you just convinced them to give to you? Is the loss of trust in your company, which you can dissolve and reform within 10 years, a high cost?
Further, what if you control the money supply itself? Money means nothing at that point, so what does? Control. So, again, they get something of value in exchange for something that isn't really worth anything.
Even further than that, where does the $4B go? Actors (and their agents), (union) technical production crews, advertising, and a script (which they probably got their cousin to write). Does anyone have any idea how much money that is spent is immediately recouped by the people instigating these projects?
Tl;dr: They take money that isn't theirs, launder it through expensive productions, and subvert society while they're at it.
If you look at Western media over the last ten years (at least) through this lens, nothing is surprising about anything they've done.
Not when the money is all fake and gay and being provided via Blackrock or some other money laundering scheme. If they run out they can just have the Fed print them some more.
Like AAA video game studios, they just assume the chuds will mindlessly slop up anything handed to them so they cut the balls of the franchise to appeal to the mythical modern audience.
I get this sinking feeling that they're going to use Spaceballs 2 to push Jewish apologetics.
I could be wrong, and maybe Mel Brooks will do it raw like he did Blazing Saddles or Young Frankenstein. But there was one thing that stood out to me in that trailer for Spaceballs 2 -- and it was Mel acknowledging the joke that they "already had more money" and there was a quick cut to a bag full of money, which is why he decided that wasn't going to be the subtitle of the film.
It reeked of interference; as if to say, he's being paid to make Spaceballs 2 rather it being a last ditch passion project before he kicks the bucket.
It's going to be awkward as hell seeing a Star Wars parody post episode 9, whether that's Spaceballs or the (presumably cancelled) Friedberg and Seltzer movie.
I don't even care enough about star wars to write a few paragraphs here talking about how much I don't care.
Then they succeeded. That's what they wanted; to demoralise you, to make sure you know that everything you care about, even movies about space wizards, will be subverted, corrupted, and thrown back into your face.
That's not success. Success is keeping people playing the rigged game, not walking away from the table.
We can go read, watch, and play something else. And most people have.
We aren't playing the same game.
The reason we (high trust societies) play the game is to win. We want more resources, better technology, and greater acheivements. To this end, yes, we would want people to keep playing (contributing) to get us more of everything.
That is not the game anyone else is playing. They are playing so that everyone else loses. They don't care if all of our amazing systems collapse so long as they are the ones sitting on top of the pile at the end.
What did Schwab write? 150M people, globally, to act as serfs for a tiny technocracy? Does that look like "winning" to you, even if you're one of the elite? No more progress or innovation, no spiritual development, massive drops in standards of living, but you and yours get to wear the big boy pants? Because that's what winning looks like to the people producing these movies.
Sure.
And people completely walking away from their influence does not help them achieve that.
And then they will find that thing you are engaging with and destroy it too. This the the pattern we've been watching unfold for years now. It's why GamerGate made them lose their shit, it was one of the only times they've encountered active resistance rather than passive acceptance and a quiet retreat.
If what they wanted was to destroy the circuses that kept people distracted from their subversion, then they aren't very smart. People were happy to blindly play their games and watch their slop tv while the world burned. And now a whole lot of them want to glass Israel so they can go back to playing their games and watching their tv.
Yeah, well the world is burning, the bread is stale, the circus is a dud, and people still aren't doing a damn thing.
The bread and circus thing only applies to high trust society where people identify with the State. They aren't even really a distraction, rather they're a reassurance that, even though things look fucked, the State is able to feed and entertain everyone. They're a reassurance that things will be okay if you just keep plugging along.
What does it mean when the State is not the one putting on the circus? Then it really is a distraction; the whole point is then to have people make peace with their predicament (by, for example, viewing yourself as the "enlightened centrist" who has it all figured out), rather than reassure them things are under control.
Therefore, nothing is getting worse because everything always sucked. Star Wars is a movie about space wizards with glowsticks, not a moral story about redemption, sacrifice, faith, or loyalty. James Bond and Indianna Jones are goofy, aging, bozos, not embodiments of the masculine hyper-competence needed to face the evil plotting to destroy the world. Oh, and Animal Farm is a generic kids story about funny talking farm animals, not an iconic, scathing critique of a totally failed ideological system (that is rearing it's ugly head in popular discourse yet again).
But under all of that surface level stuff is the message that the State is pathetic, corrupt, and incompetent by it's very nature. You would be a fool to sacrifice even your spare change because they'd only use it to replace you. When people lose faith in the State, even if they're correct, polities die.
That's the goal.
It’s been a 10 year process in this instance. It’s working for them all across culture right now.
See, even as much as the prequels were lambasted, it was NEVER this bad as despite the scripts and dialogue, the world building was on point and could easily be built upon most prominently with Clone Wars.
The Disney stuff? There's NOTHING to build on as prominent former characters are either dead, emasculated or both, characters do dumb things to justify set pieces and any lore they try to bring in is easily contradicted by what follows it.
So they killed Star Wars thinking that they didn't need to follow the world building Lucas had in place.
And even though there was a lot of cringe dialogue in the prequels they at least also had tons of material for jokes and memes
"Fun" is something uniquely lacking in modern cinema; the closest we get "sardonic self-deprecation".
The 90s Mario Bros movie, for the absolute insanity of it, was way more fun than either of the "accurate" new corporate committee slop products and the only one I'd actually rewatch by choice.
Fun died when sincerity died. Everything is cringe now, so better hide it under several layers of irony.
Yeah, everything is full of snide little quips and several layers of "irony". It's the Redditfication of media and I fucking hate it.
People like to dunk on that movie but it was charming and left an impression. Who could forget the goomba elevator scene?
Darths and Droids alone justifies the existence of the prequels in my book.
"Concerns" tells me that they've not learned their lesson. It's certainty.
They don't know their audience, don't know their target, don't know their market. They bought an IP that was popular with all ages, but especially with the 14-29 male demo: swords'n'planets sci-fantasy with strong hero themes and cool mechas that took itself far too seriously.
And they turned it into a parody. Fart jokes. 4th-wall pokes. An arbitrary and nonsensical galactic-political situation where the "rebels" own 90% of everything including all levels of government but somehow are the plucky underdogs.
"We changed literally everything about it, why aren't the audience sticking around?!" cries out Disney, wearing their "The Force Is Female, Kill The Past If You Have To" t-shirts.
This is my favorite part. It's such an unconscious self-report from the shitlibs controlling so much of Hollywood. They know they need the narrative advantage of being the underdogs so they can rise up and overthrow the Evil Power, but they are also just too stupid to recognize that in order for that to be true, there needs to be an organization that rules over them in some illegitimate way first. They tried to redo too much of the original Star Wars, and it blew up in their dumb fucking faces.
I think the political situation is even messier than you are describing. I think the dominant political group is The New Republic. But then there is also the "Resistance" but really who are they resisting? Then there is Snoke's First Order which is some kind of Empire remnant which has limited scope in The Force Awakens. Thinking about it now it's amazing how nebulous the background actually is.
Even something shitty like Rebel Moon has a more established universe
This is the world built by people who think they know how you should vote...
What part of Disney star wars actually appealed to teenagers? The part where they didn't explain anything? The part where they kept running pointless contradictory shipping between Rey and Kylo? The part where they trivialized the war andtried to pretend that no sides were good and thus no actions actually really matter?
Like seriously... What was supposed to draw the teens in?
Fat Asian chick and black sidekick
The part where somehow Palpatine returned.
"No one's ever really gone."
The part where she crashes into his spaceship with her own spaceship to save him, they kiss, and she passes out was some of the most confusing plot I've ever seen.
It was a failure years ago, thinking otherwise is grade A copium.
Who would have thought throwing all the source material away , so we can watch 3 movies of Mary Sue have no character development, would be a bad idea
Throwing the source material away, and then using it anyway.
And don't forget:
Bonus point:
None of the material was new to cinema or even their own resumé, let alone Star Wars.
The one that really gets me is Jan Ors, intelligence operative and second fiddle to one of the most fun characters, replaced by Jyn Erso, generic criminal. Naturally, Katarn is simply deleted.
Reusing a few names for very different purposes, ignoring the best of the old plot points, and somehow remaking the stupidest of the old plot points is hardly putting the old source material to use.
It's not a bad idea, it completely destroyed everything good about Star Wars, which was the intent.
This is why they fought so hard for infinite copyright on their franchise portfolio; so they could dismantle it.
Legacy is created by substance. A self-consistent fictional world created from strong themes that you can actually care about. Setting aside the politics of the sequel trilogy, it has an utter lack of substance. One gets the overwhelming sense that everything about the sequel "universe" is simply the props presented on screen in the moment the characters are in a given location, only to disappear when they move on to the next setpiece, never to be seen again. If anyone dares to ask questions, well, to quote the shriveled orange in TFA, "that's a story for another time."
That's why they keep pumping out serials. Easier to hook goyim in with them.
Disney bought Star Wars for the built in teen/men market. Shit completely on the free revenue. Tried desperately to replace them with girls/women (a market they already had cornered) and then act surprised when the money doesn't instantly appear in their pockets.
I find it funny when people are surprised by what companies are doing.
They don't care about money anymore. That's completely obvious. They're willing to dump billions into movies they know full well will never make it back.
This stuff is pure propaganda by the people who want to control what you think. It's financed through the systems they control, government "subsidies" and private "investments". They don't care that the loans are junk, that might even be a bonus. All they care about is destroying any and everything that inspires people (history, statues, movies, etc) so that no one has the energy to oppose them.
It sounds conspiratarded but I'm never surprised by their decisions while all the critics are scratching their heads at each increasingly "insane" move the studios make.
I don't see it as losing money, they just bought really expensive propaganda.
$4 billion plus the money spent on the entire disaster that is Disney Star Wars, that's a pretty high cost.
Sure, to you or I or most governments.
But what if you were in control of billions of dollars of other people's money that you just convinced them to give to you? Is the loss of trust in your company, which you can dissolve and reform within 10 years, a high cost?
Further, what if you control the money supply itself? Money means nothing at that point, so what does? Control. So, again, they get something of value in exchange for something that isn't really worth anything.
Even further than that, where does the $4B go? Actors (and their agents), (union) technical production crews, advertising, and a script (which they probably got their cousin to write). Does anyone have any idea how much money that is spent is immediately recouped by the people instigating these projects?
Tl;dr: They take money that isn't theirs, launder it through expensive productions, and subvert society while they're at it.
If you look at Western media over the last ten years (at least) through this lens, nothing is surprising about anything they've done.
Not when the money is all fake and gay and being provided via Blackrock or some other money laundering scheme. If they run out they can just have the Fed print them some more.
One of the few IPs people will plaster on their fucking cars. They knew what they were doing.
Like AAA video game studios, they just assume the chuds will mindlessly slop up anything handed to them so they cut the balls of the franchise to appeal to the mythical modern audience.
The failure wasn't in it's lack of commercial success, but in how the propaganda failed to take root.
There are better AI slop star wars videos on YouTube than anything Disney has shat out with its infinite money
Doesn't even need AI, there's 20 year old fan films better than the Disney slop.
Link.
What they don't understand it's that it's all too late. Sure they're ruining it now but it's too late.
There's decades of good quality shit you can get that they haven't ruined.
There's more games on the PS2 than you can play in your lifetime, before the taint.
It's all too late. All they're doing is making people fed up with their bullshit and turning to other things.
Not by much -- more for morbid curiosity.
I get this sinking feeling that they're going to use Spaceballs 2 to push Jewish apologetics.
I could be wrong, and maybe Mel Brooks will do it raw like he did Blazing Saddles or Young Frankenstein. But there was one thing that stood out to me in that trailer for Spaceballs 2 -- and it was Mel acknowledging the joke that they "already had more money" and there was a quick cut to a bag full of money, which is why he decided that wasn't going to be the subtitle of the film.
It reeked of interference; as if to say, he's being paid to make Spaceballs 2 rather it being a last ditch passion project before he kicks the bucket.
Jews in space, protecting the hebrew race.
When goyim attack us, we give 'em a smack, and put them right back in their place...
It's going to be awkward as hell seeing a Star Wars parody post episode 9, whether that's Spaceballs or the (presumably cancelled) Friedberg and Seltzer movie.
If you think about it even a little bit from any rational perspective "we hate our audience and want a new one" makes zero sense.
It can only be understood as a vanity project to destroy something loved by people they loathe.
Does anyone?
The IP would be healthier if they had released no movies or shows. I dont even rewatch the old stuff anymore.