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‘Bombshell’ Bombs: Movie That Demonized Donald Trump and Roger Ailes Tanks at Box Office

Hollywood left-wing propaganda is being rejected by audiences.

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Another Hollywood left-wing propaganda flick has performed abysmally in the box office. ‘Bombshell,’ a movie that lionizes former Fox News hosts Megyn Kelly and Gretchen Wilson, garnered a mere $5.075 million over its first weekend.

The movie is an anti-Trump missive that smears deceased former Fox News chairman Roger Ailes as a villainous predator. The movie has already received a great deal of Academy Award buzz, as the Hollywood cesspool caters to the #metoo mob.

But push back against the movie may derail its Oscar hopes. Even liberal movie goers are having a hard time stomaching the propaganda of ‘Bombshell,’ considering the movie’s heroines are so disreputable. Wilson and Kelly were Fox News readers for many years until it personally benefited them to jump ship, and left-wingers haven’t forgiven them.

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A reviewer in Cosmopolitan explained why liberals cannot stomach the whitewashing of Wilson and Kelly’s reputations:

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I don’t want to feel bad for people like Kelly and Carlson, because what the movie fails to do is show much of the problematic sides of either. Let’s not forget that Kelly has been called out for racist comments more than once. Remember the time she said black face was acceptable if it was part of a Halloween costume? Or the time she said there was no way Santa or Jesus could be a black man?

What about the time Carlson said focusing on LGBTQ issues was getting in the way of real concerns, like jobs. Or the time she said she “couldn’t get her head around” trans rights. I don’t want to feel bad for women who, at one point, contributed to a machine like Fox News, that makes this country a more hateful place every day.

Most of these details are conveniently left out of the film, except Kelly’s comments about Santa. There’s even a scene where Carlson tries to talk about International Day of the Girl on-camera, and gets reprimanded for it by Ailes. So not only did the filmmakers choose to ignore the problematic pasts of both, but they almost want us to believe that Carlson was trying to make Fox News more feminist by the time she was fired. I don’t buy it.

A reviewer in the Manhattan Mercury levied similar criticisms toward the movie:

It recalls some of Donald Trump’s campaign tweets, not things even his fans would pick out as evidence of his classiness.

So the movie’s about Trump, right? Or about the campaign? Nope. So why are the tweets included? The movie-makers wouldn’t understand the question. They apparently assume they and the viewers all feel the same way about the president…

Besides the acting, what is there here to see? For some reason the movie wants to be coy about what sexual acts which of the real life characters engaged in, which undercuts the effect the film wants.

And, then, that opening business about Mr. Trump and the concentration on a story about the politically conservative news channel on basic cable will have counter-punchers remarking about glass houses. Wouldn’t a movie about Harvey Weinstein’s casting couch have been more sensational and wouldn’t it have provided even more parts for actresses?

Similar to the lackluster cume of ‘Terminator: Dark Fate’ at the box office and the disappointing performances of the ‘Batwoman’ and ‘Watchmen’ television shows, the failure of ‘Bombshell’ is evidence that the public is rejecting content infused with social justice tropes. The public is finally growing weary with the victimhood agenda pushed by leftists.

Hollywood

‘Ghostbusters’ Director Blames Hillary Clinton’s Unpopularity for Failure of All-Female Franchise Reboot

Maybe your movie just stunk, dude.

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Nearly four years later, the all-female reboot of ‘Ghostbusters’ is now remembered as one of the worst atrocities in the history of cinema, and director Paul Feig is blaming anti-Hillary Clinton backlash for its failure.

“I think some really brilliant author … needs to write a book about 2016 and how intertwined we were with Hillary [Clinton] and the anti-Hillary movement,” Feig said while appearing on SiriusXM radio last week.

“Everyone was at a boiling point. I don’t know if it was having an African American president for eight years that teed them up, they were just ready to explode,” he added.

Feig is desperate to make excuses for his movie’s failure, rather than take personal responsibility for creating one of the worst movies in film history.

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“It’s crazy how people got nuts about women trying to be in power or be in positions they weren’t normally in,” Feig said. “It was an ugly, ugly year.”

The fake news media has been pushing the line that sexism doomed the movie since its historic failure at the box office during its summer 2016 release. However, ‘Ghostbusters’ creator Ivan Reitman believes that it was nostalgia that caused the backlash, not sexism. Viewers did not want to watch a ‘Ghostbusters’ reboot that was seemingly blasphemous to the original.

“I think there’s way too much talk about gender [when it comes to this film],” Reitman said during an interview with Mashable. “I think that many of the people who were complaining were actually lovers of the [original] movie, not haters of women.”

Feig refuses to admit that his creation was so horrendous and even hopes to release a grueling 3.5 hour directors’ cut of the flick despite the fact that nobody wants to see it.

Because the movie was such a massive bomb, the cast has been scrapped and replaced with a new cast for the upcoming re-boot “Ghostbusters: Afterlife.” The initial trailer was released last year to rave reviews.

It can be seen here:

Actress Leslie Jones, who starred in the failed all-female reboot, whined about the new movie that is set for theaters in 2021 for completely sweeping her movie under the rug. Similar to her director, she blamed Trump because everyone hated her awful movie.

Feig and Jones, in true liberal fashion, have refused to own up to their own failures. They will continue to create scapegoats instead of admitting the obvious about their horrendous movie that failed spectacularly in its feminist agenda of female empowerment.

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