Show Announcement: Last night was the third episode of the award winning livestream that you can watch on Rumble and YouTube.

The Academy Awards show was this week and outside of the bugmen on YouTube, there was not much interest in the program. They claim it drew 19.69 million viewers, but they also claim that it is a five-year high, even though the number they claimed last year was slightly higher. Like everything else about the entertainment business, television ratings are mostly fake. There was a time when this award show was a big deal, but now it is mostly fodder for critics and comedians.

There are a lot of reasons why people have stopped caring about the awards shows, but one big reason is the product is dreadful. The nominees for best picture were a who’s who of films no one watched. The winner for best picture was a film called Anora, which appears to be a low-budget Slavic version of Pretty Woman. One of the runners up was a film called The Brutalist, which is about hideous architecture. It was also a low-budget, low-interest film that went straight to home video.

According to the bugmen who follow this stuff, the winner was supposed to be a film called Emilia Pérez, but the people who decide these things changed their minds at the last minute because the transvestite star had once held unapproved opinions about blacks and Muslims or whatever. Apparently, there is a hierarchy of degeneracy that the carnies are required to respect. It is Hollywood, so who knows if any of it is true, but it gets to why these awards show are floundering.

The Oscars used to be a popular topic because people were curious about how their opinions of the films stacked up with the insiders. Women liked watching the stars parade on stage and do their act in a social atmosphere. That only works when people watch the films and recognize the so-called stars. A Spanish man dressed as a woman, who is totally unfamiliar to Americans, lumbering on stage to get an award is not going to be a big draw for an American audience.

The fact is, Hollywood no longer serves the American audience. You see it in the box office for this year. The top grossing film is comic book movie that is popular with non-English speakers because it is mostly special effects and stupid dialogue. Half its gross is from overseas and you can be sure that a big chunk of the domestic box office is from people who are on the lookout for Tom Homan. Remove the nonwhite box office and Hollywood does out of business.

Of course, the dependence on foreign sales and non-English-speaking domestic customers is driven by the general decline in quality. Who is the biggest male lead in Hollywood these days? If you do not know, you are not alone, but it is probably a homosexual or a nonwhite. The same is true for female stars. The days of Hollywood stars being glamourous and recognizable are gone. Instead, it is a freakshow of random carnies picked from the diversity lottery.

Starting about ten years ago, Hollywood began to see a steady decline in revenues in North America, for both movies and television. Every year the gross declines, with some years seeing double digit declines. The remedy is to make an increasingly offensive product, which drives down the numbers further. Even easy things like remakes of classics turn into fiascos. The live-action Snow White has been repeatedly delayed because the diversity loons turned it into a punchline.

The funny thing about the collapse of Hollywood is that it is a good proxy for what we have seen in society as a whole. Unlike the government, colleges or the media, Hollywood needs to move product and that means they have to provide a product that the audience wants to buy. It is the ultimate test of the social fads pushed by the radicals over the last ten years. The fact that it was a disaster in the market should have been a clue to what was coming.

Things are about to get worse for the entrainment rackets. AI will soon make writers obsolete as software will generate scripts. Given that we know there are a finite number of plots and character types, and there is data on how these combinations appeal to audiences, it is easy to see what happens. Software will generate scripts that have the highest probability of success that year. That means all the experts on what is trending will be working at Home Depot.

Of course, the content itself will soon be generated by robots. You can now generate believable audio conversations using hints and suggestions. Businesses are already doing this for training and development. Video is coming online next. This not only will replace the actors, but it will lower the barrier to entry of filmmaking. Soon, teenagers will be making feature films that they find interesting. Just as digital audio killed music sales, AI will kill the Hollywood production studio.

To fill this out a bit, imagine you want to watch a film and you want something like the old spy thrillers of the past. You talk to your television about what you have in mind and it creates a feature film using your suggestions. Maybe it first suggests content made by others who had the same idea. Or maybe it recreates a James Bond film using period correct actors, but with changes based on your inputs. This is something that will soon be possible with AI.

What all this points to is that the woke lunacy that has raged for the last decade may have been the last effort at ideological control of the culture. The slow and steady erosion of the control mechanisms coincided with the woke rage. Perhaps the blue haired rage head was a reaction to the steady disaggregation of the culture that has been brought on by the technological revolution. She was not the vanguard, but a desperate rearguard action that has failed.

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