Wednesday, December 27, 2017

THE LAST JEDI: Are Whites Getting The Message–That Disney Doesn’t Want Them?

The Left dominates the culture, but it does not (yet) completely control it—hence, for example, the War On Christmas Resistance, Gamergate, and of course the election of Donald J. Trump. Now Star Wars Episode VIII (The Last Jedi), released in mid-December to resounding applause from Main Stream Media reviewers is tanking, well behind the 2015 Star Wars movie The Force Awakens [Fans Speak with Closed Wallets as “The Last Jedi” Now $175 Mil Behind “Force Awakens”,, December 24, 2017]. It may not be a border wall, but it’s something.

According to, 92 percent of critics loved The Last Jedi, compared an audience score of only 52 percent. the lowest audience score of any Star Wars film. The MSM is blaming the Alt-Right, although this debacle is far beyond the power of a still-nascent movement. [‘Star Wars: The Last Jedi’: Alt-Right Group Claims They Messed With Rotten Tomatoes Score,, by Joseph Schmidt, December 22, 2017] Toy sales–which brought Lucas a surprising amount of money for the first Star Wars films–are also tanking. The simple truth: the primarily white fan boys, whose repeat viewings of prior entries in the series drove box office records, just don’t like the new movie. [‘The Last Jedi’ had a historic $151 million decline in its 2nd weekend at the box office, by Jason Guerassio, Business Insider, December 24, 2017]

Not surprising. An astonishing New York Times article makes clear the anti-white direction the Star Wars franchise is headed, after Disney took over originator Lucasfilm in 2012:

Five days a week, in the foggy hills of San Francisco, 11 writers and artists discuss the minutiae of storm troopers. This is the Lucasfilm story group, and its members hold the keys to everything “Star Wars”: Under their guidance, the franchise’s narratives are linked no matter the platform, whether it’s television, games, theme parks, publishing, merchandise or, of course, film. With their ideas shaping each character and setting, they don’t see themselves as gatekeepers but as partners furthering the stories their creators want to tell.

Read the entire article