And Another Thing...

"Those who don't remember the past are doomed to jump on their own junk with cleats." -Aesop

When you can’t correctly diagnose the problem, any suggested treatment is almost certain to be a load of horseshit as well.

Those who knee-jerk disagree illustrate the point better and more concisely than I could, as a poster child for That Guy.

If you’re still not seeing it, pay attention.

Historical note: you got Hollywood as a largely (but not then nor never entirely) Jewish invention, precisely because of the same white-hooded goose-stepping anti-Semitism in the OP and responses, except at the turn of the last century, coupled with the avarice of Thomas Edison Inc., Philadelphia lawyers, and Tamany Hall politics conniving to try to sue Jewish filmmakers out of business every time they made a movie, and the subsequent and reflexive decamping of the Thalberg/Mayer/Goldwyn/Selznick types from corrupt East coast environs, where justice was sold by the pound to the highest bidder, and getting off the train in Phoenix AZ on the one day in 365 it ever rains there.

That wouldn’t do at all, so they all got back on the train, arrived in Los Angeles, saw they had 300+ days of sunshine/year, ocean, desert, mountain, plains, forest woodland, and city-scape all in close proximity, coupled with a thriving and booming metropolis, hard-working people absent trade unionism, and dirt-cheap real estate, with none of the East Coast kleptocracy previously noted, and the match was made that gave you the single greatest cultural achievement in America since ever: the movie business.

They could shoot cowboy and indian flicks three miles from downtown L.A., because in 1910, everything from that point to the Pacific Ocean was bean fields, cactus patches, and rocky chapparal, and hordes of broke-dick former ranch hands became cavalry troopers and Schmoe-hawk tribe Indian stunt men.

Squeeze Jell-O, and you always end up with a mess all over yourself. If Edison, Tamany Hall politics, and robber-baron kleptocracy hadn’t squeezed the Jews out of the East Coast, Hollywood would have been called Long Island, Connecticut, and/or New Jersey. Well-played. How’s that working out for those areas now?

Hollywood is not a Jooooooooooos!!! problem; those exact folks gave you The Wizard Of Oz, Gone With the Wind, Stagecoach (starring some B-list singing cowboy), Goodbye Mr. Chips, Of Mice and Men, The Adventures Of Sherlock Holmes, Dodge City, Drums Along The Mohawk, Gunga Din, The Hunchback Of Notre Dame, Jesse James, Young Mr. Lincoln, and about 100 other movies, including a couple of Secret Service-entitled flicks starring some kid from Illinois, all in just that one year (1939)!

If you can’t suss that out, that year was the Yankee’s “Murderer’s Row” of movie-making, compared to ever in history, anywhere.

Now tell me the names of the producers and studio heads, just for those 12 flicks, in 1939.

As Casey Stengel noted a time or two, “You could look it up.”
https://en.wikipedia.org/wiki/List_of_American_films_of_1939

Tell me about the Hollywood that produced, e.g. It’s A Wonderful Life, Sahara, Twelve O’clock High, Ben Hur, and 30K-40K other films, some 1000 of which are international treasures, and the high points of the entire quintessential American art form; then compare and contrast that with the Hollywood that makes any four examples of the current shite you’d care to name, and see if you can spot what changed between Hollywood 1915-1990ish, versus Hollywood from 1990-present.

If you didn’t know that around the break point in that tale, the overwhelming bulk of movie financing and box office revenue started coming from overseas, which is why Hollywood no longer gives two wet shits for mainstream America’s viewpoint, nor caters to same, you’re waaaaaaay behind the curve on this topic.

Pay more attention to the “business” half of the entertainment business.
In short, “follow the money“.

Hollywood happens to be located in America, but it caters to everyone but America. This isn’t a Joooooooooooos!!! problem, it’s a ¥en/€uro/riyal problem.

WTF do you think the mediocre Red Dawn reboot was CG-scrubbed of the original (as written and shot) ChiCom villainy, and the Norks’ notional invasion scenario CGI-inserted into the entire film in post-?

The man who pays the piper calls the tune, only since about 5000 B.C.

The answer isn’t armbands and goose-stepping.
And for the really, unbelievably culturally dense, Major Strasser was not the tragic hero of Casablanca.

Finance your own viewpoint, and kick the whole corrupt bundle of current Hollywood douchebaggery right in the pussy.

As I noted, Mel Gibson, dragooned bassackwards into the wrong end of this conversation, proved that point: No one in anti-American/anti-Christian mainstream Hollywood wanted to finance a film in spoken Aramaic about the trials and crucifixion of Christ. So Mel coughed up $30M of his own money, shot what he wanted, released it, and as the producer/sole-owner of that flick, raked in the lion’s share of the >$600M gross it returned. So far.

You really want to f**k Hollywood where it hurts, without any lube?
Great.
Do that.
THAT was “Operation Gibson”. He laughed all the way to the bank.

Anything else is just babies shitting their diapers, and flinging the contents as spackle.

Masthead point: The only way to fight a culture war is to FIGHT a Culture War.

But disagree: name one war-by-boycott that ever won anything.
Show all work.

I’ll pitch you a softball along that line:
Explain how sanctions and embargos in the late 1930s-early 1940s brought the Imperial Japanese war-mongering of that era to a swift and bloodless halt.
Bring in supporting evidence from the embargoes and sanctions against Saddam’s Iraq from June 1990-January 1991, showing how that worked out.

I’ll be over here watching.

What changed is who pays for films to be made. Around 1990, give or take.
When you lost the checkbook, you lost the industry’s attention.

This is what happens when you abdicate fighting culture wars, and think you can ignore them, which was the Right, inclusive, from 1960-five seconds ago. Not “conservatism”, not “Boomers” (aged about 0-15 when that clever plan was hatched), but rather every swinging Right-side Richard for 60+ effing years, and counting

Well-played.

Keep doing that, and call me when it succeeds spectacularly.
Not.

Like it never has, nor ever will.

This is why those railing against Hollywood, particularly in the vein of "It's all run by Joooooooooooooos!" are mouth-breathing morons with the IQ of a cup of custard, and less culture than a cup of yogurt.

Hollywood is an American invention, not a Jewish one.

Currently, a ream (Common Core grads, that would 500 sheets, i.e. one sealed bundle of same) of paper at Office Depot runs about $3.

Only in Hollywood can I add $2 worth of ink to any 200 sheets of that ream of paper, turn it into a screenplay, sell it for $1,000,000, have it made into a top-grossing movie, lather rinse, repeat, and retire like George Lucas when DisneyCorp buys your empire, for $6,000,000,000 dollars.
(Not bad for a guy who only actually wrote two movies in his entire life, and only actually directed about four.)

Initial investment, $5. In 1970s dollars, about $1.80.

J.K. Rowling is even worse/better: she was unemployed and living in her car when she penned the first Harry Potter book. In spiral-bound notebooks, with ink pens, FFS. Ten movies, ten books, and a gazillion dollars of promotional merchandise later, she's a wee bit better off.

Try that in any other field of endeavor.

So, show of hands: who doesn't know what a "muggle" is, and never heard of a light-saber?
Beuller? Beueller? Ferris Beuller...?"

{Double hint: that's another example, courtesy of the late great master of adolescent American angst, John Hughes. Clever folks may spot a trend here.)

And, ZOMG, Ben Stein is a Joooooooooooooooooooo!!!!
WTF cares? He was brilliant, and hilarious.

And there's another absolute Semite, who AFAIK only wrote two songs, and everyone in the Anglosphere from age 10-65 can sing them, in their entirety, word for word.
The guy was Sherwood Schwarz.
If that name sounds familiar, it's because the two songs are the opening theme songs for Gilligan's Island and The Brady Bunch.

There's a famous audience-warm-up guy for live-audience television in Hollywood who opens his act by singing just the first line of either theme, and in about 0.2 seconds, the entire audience will complete the tune(s), in a rousing crescendo chorus, from memory.
Every single time he does it, for thirty years and running.

"Just sit right back and you'll hear a tale, a tale of a fateful trip..."

"Here's the story...of a lovely lady..."

You have now received a concise lecture, illustration, and demonstration of cultural penetration.

So, you want to win the cultural wars?

Invest $5, and do that.

Boycotts, anti-Semite mouth breathing rants, etc.?
STFU and die. Of dick cancer.