Oscar-Bait films are also failing on streaming platforms

Americans are so put off by Hollywood, the Oscars and prestige films that they don’t just fail at the box office; they are ignored on their respective streaming platforms.

“While the post-pandemic box office woes of prestige films have been dissected at length, there has been far less discussion of the other side of the equation,” reports the far left. Variety. “For most of these films, large audiences also didn’t show up for streaming.”

Well well well…

Although the Variety the article does not capture what these numbers really mean (because that would require moral courage), after going through these numbers I will tell you exactly what they mean…

Of the top five picture nominees measured by Showlabs, three managed to capture more than 5 million hours of unique viewing and viewership in their first 28 days on air. However, two of those three were “Elvis” and “Top Gun: Maverick,” two major box office hits; the third was Netflix’s “All Quiet on the Western Front,” which never received a wide theatrical release, but was heavily promoted on the ubiquitous streamer’s homepage.

Meanwhile, “Everything Everywhere,” a movie that brought in substantial box office earnings, earned four of its five SAG Award nominations, illustrating the inconsistency with which high box office performances or box office debuts streaming are correlated with the rewards circuit. .

Only 3% of HBO Max users watched “The Banshees of Inisherin” for any length of time in its first four weeks on air, while “She Said,” an Oscar hopeful eventually kicked out of the running, did not. attracted only 1.8% of Peacock users.

by Steven Spielberg The Fabelmans only managed to break into the top ten on iTunes after “a significant price reduction (from $20 to $6)”. But this leap did not last long. “[I]In the two weeks between the nominations announcement and the price drop, “The Fabelmans” had dropped out of the top 10 tracks on the iTunes chart.

Watch below:

Tar, That I Loved was available to stream on Peackcock just days after earning multiple Oscar nominations, including Best Picture. Nonetheless, it “attracted less than 2% active users and less than half a million unique viewers in its first week on the platform.”

Other than the Fabelmansthese films are all available on streaming services at no additional cost to subscribers, and subscribers – other than box office hits Elvis And Top Gun: Maverick – do not look at them.

Watch below:

So what does that mean, other than the obvious, other than nobody cares about anything that Hollywood tells us is important? Well, now we come to my favorite part…

Remember all the lies Entertainment told us about why these movies were falling apart and falling apart in a downright humiliating way? Remember the excuses the entertainment media has built up, the excuses I told you were BS all along. So here is their excuse, their lie, their BS that these streaming numbers have proven to be lies and BS…

These movies are failing because everyone is waiting for streaming now. So why go to the cinema when you can wait a few weeks and watch the movie at home?

Oh really?

Well, if that were the case – see if you can follow my logic here – wouldn’t people be watching them… at home?

Because Hollywood and the water-carrying entertainment media of the industry have become far-left propagandists, they will never admit that 1) the public rejects their fascist, anti-art woketardy, and 2) that the problem is content. The box office problem isn’t streaming, the Chinese flu, old people who don’t want to go out, the weather, or anything other than what’s next… Nobody, not even when it’s available in the comfort of a living room, only wants to watch Hollywood’s pretentious, preachy, anti-art trash.

Hollywood has a brand problem, and the mark with the problem is Hollywood. Sadly, all of this unfairly tarnished a truly great movie like Tar. Yet that’s what it is – and what it is, that’s what I’ve been saying for years: America doesn’t buy the conformist, smug, pedantic, sexless, dishonest trash that entertainment industry sells.

Follow John Nolte on Twitter @NolteNC. Follow his Facebook page here.


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