Hollywood’s relationship with China has been on the rocks lately. Studios understand how important the global box office is to the success of their films, and one of the most important box offices happens to be located in China. But, due to tough censorship, many Hollywood films including Disney films, haven’t been able to satisfy the Chinese market.
The American stories that are sent over to China have to go through the Communist Party’s censors to get approval to be shown in the country. Unfortunately, Hollywood has had trouble getting its films approved for Chinese theatrical releases as the country’s nationalism grows.
Now, China has asked Hollywood to improve the quality of their stories for Chinese audiences.
Bloomberg reported that Sun Yeli, the vice minister of the Communist Party central committee’s publicity department, said, “We hope the quality of American films can continue to be improved on the basis of respecting our culture, customs, and audience behavior.”
Let’s take a minute, and think about how worthless koshervatism is. What the communist Chinese have shown is that Hollywood can indeed be bullied into submission. But you have to use the government to crush them.
So Koshervatives get out there to fill the heads of the goyim with the ludicrous notion that using the government to crush the Harvey Weinstein’s of the World is somehow morally bad. But then they also go and constantly beat the drums of war against China for various bullshit reasons that have nothing to do with any of us.
Hollywood’s market share plunged to record lows last year as China moves to curb Western influence.
As one of the world’s largest movie markets, China has been an important source of revenue for Hollywood. According to the Hollywood Reporter, Hollywood films make up 48.2% of China’s box office revenue. However, the Chinese Communist Party has left American projects on the shelf in favor of patriotically themed Chinese pro.
Free market economics do work in some small markets. They do not work in gargantuan industries like Hollywood, because these Schlomos end up controlling distribution. As a result, they dictate to the market what the market will like, not the other way around.
Hollywood makes trash that people don’t actually like or want. They totally exclude anyone with a message or voice at odds with Harvey Weinstein.
All of which brings us to our next article from the same site.
The wealth divide is becoming more and more noticeable in L.A. There is a soul-crushing feeling that is already pushing down the incoming workforce, making it seem impossible for them to generate any substantial income if they don’t have family money to lean back on.
Actors are not being paid as they used to be in the age of streaming. For example, the cast of Friends can live comfortably with the $20 million residuals they get each year for the show’s reruns while actors nowadays in streaming series cannot survive on residuals they receive for their shows.
Defector reports, “[P]assive income, which is the real American dream, is no longer something that the actual artists—not just actors but writers and directors and everyone else who ever made a dime off of residuals—involved in the entertainment business get to enjoy.”
Kelsey McKinney may well be right that passive income is the American Dream, but that’s another way of saying not actually having to work. How could it possibly be true that not working is the dream of people, when work provides most of our lives with so much value?
But then again, does it? Alyssa Miller, the writer of the piece above, says that there’s a “soul crushing feeling that’s pushing down the incoming workforce.” That’s very flowery language being used to describe mass immigration which destroys wages for the poorest in society, or at least the poorest who actually work. But beyond that, it makes people wonder what the point is in contributing to “society,” when it’s a bunch of kikes at the top and the brown masses at the bottom. Alyssa Miller and the rest of these kosher-leftists would of course never speak to that sentiment, but it’s shared by all of us, whether we are cognizant of it or not.
To put things in perspective, writers are paid less now than they were 50 years ago for the same work. Ernest Hemingway was paid $1 a word in 1936, which would be roughly $21 per word in today’s money. The novelist was a special case as he negotiated his pay, receiving double the average income of other writers, but he was able to live an incredibly comfortable life as a writer.
The Freelancer, which defines itself as a “guide to the gig economy” maintains a database of rates received by freelancers. Today, the median pre-word rate stands somewhere between 76 cents and a dollar. The rates have hardly changed in almost a century, which is a massive red flag for artists.
In fairness, Hemingway was known for having a very terse style, so paying him so much by the word wasn’t the worst thing you could do, and it’s potentially unfair to compare a very famous writer in Hemingway with the median freelancer. I was wondering why the woman who wrote this piece included that factoid, except that it’s not really true. A casual glance at the actual page she references
The pay is quite clearly a great deal less than a dollar per word. The very last item on this list works out to just over 2 cents per word. Adjusting for inflation, that’s about 1/400th of what Hemingway was getting paid, and the only exceptions to this are highly technical writing, which should be thought of as almost it’s own thing separate from creative writing or even reporting.
Nevertheless, I can’t help but think that at least part of the low pay for writers is simply that no one cares. I covered before the precipitous decline in Netflix revenues and share price, as well as CNN+ being holocausted in the crib. Whenever the market has an opportunity to express itself, it’s resulting in people just saying no and not bothering to watch this drek.
Some people in our fields are making very good money. But these people are not making the art. Their salaries are reported by the Hollywood Reporter.
For example, Warner Bros. Discovery CEO David Zaslav made $246.6 million in total pay for merging Warner Bros. and Discovery. Disney Chair Bob Iger took home $45.9 million last year. We could go on and on.
Personally, I think that is a wild amount of money to give to people who cancel projects on a whim or have the power to remove work from platforms because they feel like it.
Zaslav and Iger, eh?
What a total cohencidence!
I’ve covered Bob Iger before. He’s one of these totally fake rags to riches story that sounds really inspirational until you realize he actually got where he is purely due to heebrew nepotism. That’s the way you need to interpret any puff piece where the writer is scratching their head, mystified as to how this man got put in charge of first Disney, and now, as of 2020, he has this vague position at Disney that appears to be some sort of sinecure that still has power.
Hollywood is a portal into the planned future. It’s a totally nepotistic place, where the goy children of some connected people can enjoy success gifted to them on a silver platter, and racially connected jews can enjoy collecting guaranteed paychecks while pushing their unpopular politics, all while presiding over an ever-Browning population that makes less and less money every year. And while all of this is happening, Koshervatives are there cheering it on, while being assblasted that China is actually doing something about it from thousands of miles away.