A key element of understanding the smooth-brained antics of the woke left is that they are incapable of doing anything “creative” without sexualizing it and politicizing it.  Their collective identity revolves around who they lust after, how to virtue signal to the herd and who is supposedly the most oppressed.  Remove these things from their daily lives and there’s not much left to look at.  They could disappear tomorrow along with all of their media products and the world wouldn’t miss them in the slightest.  

When a company chooses to pander to this small margin of the population there’s very little profit to be made.  A few years ago ESG lending was the big motivator for corporations to promote far-left ideology – With every progressive product, progressive commercial and progressive employment policy those businesses added to their overall ESG score.

Cheap debt from global conglomerates like Blackrock created the fuel that made the woke movement possible.  However, with the advent of the Federal Reserve’s interest rate hikes ESG loans were no longer viable and venture capital dried up.

In other words, woke companies used to be able to distribute propaganda despite ample consumer opposition.  They could pump out all the DEI they wanted, alienate the majority of their customer base and not worry.  Now, those days are over.

Case in point – The numerous failures of Disney.

Once a media juggernaut that could not be stopped, the company is currently on the ropes after an endless list of woke bombs.  Their journey to self destruction really started with their attempt to subvert Star Wars; perhaps the most popular franchise in film history.  The addition of feminist politics, forced diversity and an obvious hatred of the original characters drove away their audience until there was nothing left.  In terms of box office receipts, after ten years Disney still has yet to make back the $4 billion they paid George Lucas to get the rights.

Almost every film and streaming show they have launched in relation to “a galaxy far far away” has met with increasing public disdain.  The decay even spread into Disney’s theme park projects.  They would certainly prefer people forget all about their embarrassing “Galactic Star Cruiser” hotel, a Star Wars LARP experience that cost around $6000 or more for a family for only two days.  

Under the guidance of Kathleen Kennedy and woke Lucasfilm the hotel refused to use themes from the original movies.  The project imploded within a year after it was thoroughly ridiculed by fans.

Apparently not deterred by the abject humiliation, Kathleen Kennedy barreled forward with several more increasingly political iterations of the science fiction classic.  This effort tied into Disney’s overall wokification culture, determined to saturate western entertainment with DEI.  Kennedy dismissed all criticism until the creators of South Park dissected her in hilarious fashion.  The anti-woke movement was now officially mainstream and Disney made it all possible.

Today, there is almost zero chance of a woke movie or TV series success story.  For every ‘Barbie’ there are a hundred bombs like Furiosa or The Marvels.  Of course, film and streaming series productions are usually initiated at least a couple years in advance of release.  So, even with the sweeping sea change in public awareness of woke propaganda, media companies like Disney are still stuck with the garbage projects they already sunk money into back in 2022-2023.  

This is why we now have ‘The Acolyte’ to look forward to – Another woke Star Wars travesty featuring lesbian representation, a perfect diversity pie chart, and director Leslye Headland, the former personal assistant to Harvey Weinstein.  Headland noted that this version of Star Wars will break from the good vs. evil roots of the franchise and will instead explore morally relative characters.  Truly, a crowd pleaser…

The Acolyte, to be released this week, is expected to plunge in viewership after the first episode much like every other Star Wars show featured on Disney+.  The corporation and the establishment media are already in damage control mode declaring that the fans are the problem, instead of the show and its content.  It is likely that The Acolyte signals the end of any fantasy that Disney Star Wars will ever win an audience.