Disney’s Feminist Indiana Jones Sequel Bombs Hard – Media Pretends They Don’t Know Why

Disney’s Feminist Indiana Jones Sequel Bombs Hard – Media Pretends They Don’t Know Why. By Tyler Durden.

Disney’s next mistake was putting a rabid feminist like Kathleen Kennedy at the helm of some of the biggest franchises in Hollywood history. Kennedy is perhaps best known as Steven Spielberg’s coffee girl, a secretary that he himself noted was not very good at her job. Somehow, she managed to weasel her way into assistant producing in her 20s (who knows what she did to climb the ladder so quickly).

Looking at her production credits people might think Kennedy is incredibly accomplished, but few if any of her successes occurred without a major director like Spielberg closely monitoring and controlling each project. And once she was truly on her own, the bombs started rolling in.

The latest and perhaps greatest failure by Kennedy is ironically the last franchise IP that Lucasfilm had yet to ruin: Indiana Jones.

Disney’s Indiana Jones And The Dial Of Destiny was clearly a forced scheme to bring back a favored male hero and replace him with a narcissistic female protagonist that spouts woke rhetoric.



It’s the same formula Disney and Lucasfilm have been using with every major reboot for the past several years. But now, it’s beginning to cost them.

Dial Of Destiny has generated a dismal box office of around $250 million, and Disney needs a projected $900 million just to break even (this includes marketing costs). The movie is now on track to becoming one of Disney’s worst flops of all time. …

The inclusion of notorious woke activist Phoebe Waller-Bridge as the actress slated to take the reins of the franchise didn’t help matters. …

Based on serial TV shows and pulp comics from the 1940s and 1950s, the appeal of George Lucas’ Indiana Jones movies was that they brought men’s adventure stories to life on the big screen. Indiana Jones is an archetype of the courageous explorer willing to take risks in the pursuit of discovery, all while defeating the bad guys and getting the girl along the way. It wins with audiences because the premise is simple and the characters are well written.

The best way to destroy such a successful formula is by complicating it with personal politics, as well as putting a feminist in charge of a man’s fantasy tale.