Hollywood’s recent politically charged films, including “One Battle After Another,” have suffered major box office failures, signaling a growing disconnect with American audiences.

In a shocking turn of events, Hollywood’s latest attempts to push a progressive agenda through film have met with resounding rejection from American audiences.

The recent release of “One Battle After Another,” featuring A-list stars like Leonardo DiCaprio and Sean Penn, was expected to be a box office triumph, but instead, it has become a glaring example of how out of touch Tinseltown is with the American public.

As the film industry grapples with its declining box office numbers, the message from consumers is clear: they are not interested in being lectured by celebrities on political issues.

“One Battle After Another,” which was marketed as a pro-anti-fascist film, has only managed to rake in a disappointing $138 million worldwide, with a mere $54 million of that coming from domestic ticket sales.

Given its production budget of $140 million, plus an estimated $100 million in advertising costs, the film needs to gross around $500 million just to break even. With its current trajectory, it’s unlikely to even come close.

“Can you believe they greenlit this?” asked one industry insider, shaking their head in disbelief. “Hollywood seems to think that just because they have big names attached, audiences will flock to see it. But the reality is, people are tired of being preached to.”

The film opened with a modest $22 million in its first weekend but saw a steep decline in ticket sales, dropping to $11 million in its second and a mere $6.6 million in its third.

Critics may have praised the film for its artistic merits, but audiences have spoken loudly and clearly: they are not buying what Hollywood is selling.

Brett Easton Ellis, the acclaimed author known for his sharp critiques of popular culture, weighed in on the situation. “It’s shocking to see critics heaping praise on a film that clearly aligns with a leftist ideology,” he stated.

“It’s almost as if they’re responding to the political message rather than the quality of the film itself. The accolades are more about ideology than artistry.”

As Hollywood scrambles to understand the disconnect, it’s worth noting that “One Battle After Another” was not the only film to flop this year.

Other politically charged projects, such as “The Brutalist” and “The Conclave,” also failed to find their footing at the box office, with earnings of just $50 million and $103 million, respectively.

Audiences are not just rejecting films that push a political narrative; they are outright ignoring them.

“The Brutalist,” which attempted to tackle the complex history of Jewish immigrants in post-World War II America, was met with skepticism. Critics hailed it as a thought-provoking epic, but with only $50 million in earnings, it’s clear that viewers were not convinced.

Similarly, “The Conclave,” which centered around the selection of a new pope and included a heavy dose of criticism towards Catholicism, also flopped, earning just $50 million despite a substantial marketing push.

Even in the midst of a politically charged climate, where one might expect audiences to flock to films that reflect their views, the reality is starkly different.

“The Apprentice,” another politically themed film released last year, grossed a mere $9 million worldwide, with only $4 million coming from domestic sales.

After opening in 1,700 theaters, it quickly plummeted to less than 300 after just three weeks due to dismal ticket sales.

“Americans are rejecting these propaganda films,” commented a film analyst. “They want stories that resonate with their experiences, not ideological sermons. Hollywood needs to wake up and realize that their bubble is shrinking.”

This sentiment is echoed by many who have grown weary of the industry’s constant political messaging.

In contrast, films like “Sound of Freedom” and “What is a Woman?” have performed remarkably well, proving that audiences are eager for narratives that resonate with their values and beliefs.

These films, which tackle controversial subjects without the heavy-handed political messaging, have found success at the box office, indicating a clear preference among viewers.

Hollywood’s elite are now faced with a dilemma: continue down the path of ideological storytelling or pivot back to the types of narratives that once captivated audiences.

“They need to go back to telling universal stories that speak to the human condition,” suggested another industry veteran. “People want to be entertained, not lectured.”

As the industry reflects on its recent failures, the message from audiences is unmistakable.

Hollywood must reconsider its approach if it hopes to regain the trust and interest of American moviegoers. The trend is clear: films that prioritize entertainment over ideology are the ones that succeed.

In a time when the stakes are high, and the competition for viewers’ attention is fierce, the question remains: will Hollywood heed the call, or will it continue to alienate the very audience it seeks to engage?

As the dust settles on this latest chapter in the ongoing saga of Hollywood’s struggles, one thing is certain: Americans are fed up with the woke agenda, and they are making their voices heard at the box office.

The industry’s future hangs in the balance, and it will take more than star power and political messaging to turn the tide. Hollywood must adapt or risk becoming irrelevant in a world where audiences demand authenticity and connection over ideology.