A new report claims that Hollywood studios are leaving money on the table by not making films and appealing to “red state moviegoers.”

Jim Caviezel as Tim Ballard in Sound of Freedom (2023), Angel Studios

This new report comes from Deadline’s Anthony D’Alessandro in a lengthy article breaking down how Indiana Jones and the Dial of Destiny was defeated by Insidious: The Red Door in its second weekend at the box office.

Insidious: The Red Door raked in $33 million from just 3,188 theaters for a $10,351 per theater gross compared to Indiana Jones and the Dial of Destiny’s $26.5 million domestic haul from 4,600 theaters and only a $5,761 per theater gross.

Indiana Jones and the Dial of Destiny was also defeated by Sound of Freedom in its per theater gross. The film brought in $18.2 million in just 2,951 theaters for a $6,172 per theater gross.

(L-R): Teddy (Ethann Isidore), Indiana Jones (Harrison Ford) and Helena (Phoebe Waller-Bridge) in Lucasfilm’s INDIANA JONES AND THE DIAL OF DESTINY. ©2023 Lucasfilm Ltd. & TM. All Rights Reserved.

RELATED: ‘Sound Of Freedom’ Defeats ‘Indiana Jones And The Dial Of Destiny’ At The Box Office On Independence Day

As part of his report, D’Alessandro noted the solid box office performance of Sound of Freedom, which has racked up $40.2 million domestically in just a week in theaters.

He wrote, “This is all very reminiscent of American Sniper, but on an indie scale and level. I don’t mean in terms of gross, but in stoking red state moviegoers, which Hollywood doesn’t do often enough, leaving money on the table with what is perhaps the missing link in the post-pandemic box office.”

Jim Caviezel as Tim Ballard and Javier Godino as Jorge in Sound of Freedom (2023), Angel Studios

Reacting to D’Alessandro’s report, YouTuber WDW Pro commented, “Movie theaters used to enjoy the attendance of people of all political spectrums. And what has happened is that these studios have made the decision to push propaganda and divisive content in such a way that they have eliminated vast swaths of their audience.”

RELATED: New Report About Gina Carano’s Firing Confirms Disney Caters To The Left Wing Social Media Mob

As WDWO Pro notes D’Alessandro’s report flies in the face of how major studios have marketed their films in recent years. A previous report in The Hollywood Reporter from writers Aaron Couch, Tatiana Siegel, and Borys Kit noted that publicists are “advising clients to steer clear of politics, especially anything leaning right.”

The report then cites founding partner at Emerald Digital and President of HeraldPR Juda Engelmayer who specifically claimed that Disney caters to hate mobs from the left.

Engelmayer stated, “I don’t know what people at Disney personally believe or don’t believe with regard to politics, but as a corporate entity, they want to stay as trouble-free as possible. And anything that’s going to offend the left is a problem.”

He  then claimed that clients are actively pushing left wing talking points, “I have clients who are making an extraordinary effort to post what the social left wants to see.”

Gina Carano is Cara Dune in THE MANDALORIAN, season two, exclusively on Disney+.

Former Marvel Studios executive Victoria Alonso also outlined Marvel Studios’ marketing initiatives were focused on representation during an appearance at the Annecy International Animation Film Festival back in 2021.

RELATED: Marvel Studios EVP Victoria Alonso Claims “You Are Leaving Money On The Table By Not Representing”

As reported by Deadline, she said diversity, inclusion, and gender parity “all go hand-in-hand with showing the world as it is… There’s about 6,000 characters in the Marvel library that we have access to, so if this goes right, we will be telling these stories for many, many, many, many, many generations to come.”

“And the importance of laying the ground for what’s to come is that in those stories there’s many different characters that you can actually voice,” she added.

Kevin Feige, Victoria Alonso, Stephen Broussard attend the Ant-Man and The Wasp Quantumania World Premiere at the Regency Village Theatre on Monday, February 6, 2023 in Westwood, CA.
(Photo:Alex J. Berliner/ABImages)

Also also declared, “The reason we have that success consistently is because our audience is global. You cannot have a global audience and not somehow start to represent it… For us, it was really, really, really important to have that.”

“For the longest of time, we heard a woman-led film will never open,” she continued. “I say, ‘Please check, Captain Marvel made a lot of money.’ Then they always told us that Black Panther was never going to open and that nobody wanted a completely Black cast, and that made $1.3B.”

“So you can look at it from the social point of view, the cultural point of view. But truthfully, this is a business. From a fiscal point of view, you are leaving money on the table by not representing,” Alsono explained.

Xochitl Gomez and Executive Producer Victoria Alonso attend the Doctor Strange in the Multiverse of Madness World Premiere at the Dolby Theatre in Hollywood, CA on Monday, May 2, 2022. (photo: Alex J. Berliner/ABImages)

Xochitl Gomez and Executive Producer Victoria Alonso attend the Doctor Strange in the Multiverse of Madness World Premiere at the Dolby Theatre in Hollywood, CA on Monday, May 2, 2022.
(photo: Alex J. Berliner/ABImages)

She went on to declare, “I think 51% of our audience is female, 28% of our audience is Hispanic. If we don’t represent the people that watch what we make, eventually they’ll go elsewhere because somebody else will figure it out.”

Alonso concluded, “We can only tell stories if we succeed and actually have money to make them. So the idea being, ‘If it makes money, why not make it?’ To me it seemed like a very simple equation, but it took a lot of time, a lot of talking.”

LONDON, ENGLAND - OCTOBER 27: Victoria Alonso attends the UK Gala Screening of Marvel Studios’ "Eternals" in London, UK on October 27, 2021.

LONDON, ENGLAND – OCTOBER 27: Victoria Alonso attends the UK Gala Screening of Marvel Studios’ “Eternals” in London, UK on October 27, 2021.

RELATED: J.J. Abrams’ Bad Robot Shares Employee Guide For “Dismantling White Supremacy At Work”

Numerous studios also include Diversity, Inclusion, and Equity departments that promote racist policies against white individuals. J.J. Abrams’ Bad Robot production company specifically implies that “white values” whatever those are, are tantamount to white supremacy.

A section of their employee guide states, “What is white supremacy? The idea that white people and the ideas, thoughts, and actions of white people are superior to people of color and their ideas, thoughts, beliefs, and actions. While most people associate white supremacy with extremist groups like the Ku Klux Klan and the neo-Nazis, white supremacy is ever present in our institutional and cultural assumptions that assign value, morality, goodness, and humanity to the white group while casting people and communities of color as worthless, immoral, bad, and inhuman and ‘undeserving.'”

Bad Robot’s Guide to Dismantling White Supremacy at Work

The guide also defines white privilege, “White privilege refers to the unquestioned and unearned set of advantages, entitlements, benefits and choices bestowed on people solely because they are white. Generally white people who experience such privilege do so without being conscious of it.”

Bad Robot’s Guide to Dismantling White Supremacy at Work

RELATED: Disney Executives Admit They Are Pushing “Not-At-All-Secret Gay Agenda,” Actively Removing Gendered Greetings, And A Whole Lot More

The Walt Disney Company employees and executives have also made it clear they are including a “not-at-all secret gay agenda” into their television shows and films.

Latoya Ravenau said, “In my little pocket of Proud Family Disney TVA, the showrunners were super welcoming . Meredith Roberts and our leadership over there has been so welcoming to my not-at-all-secret gay agenda.”

“Maybe it was that way in the past, but I guess something must have happened in the last, they are turning it around, they’re going hard, and then like all that momentum that I felt, that sense of ‘I don’t have to be afraid to have these two characters kiss in the background.’ I was just, wherever I could, just basically adding queerness. If you see anything queer in the show — no one would stop me, and no one was trying to stop me,” she declared.

RELATED: Neil Gaiman Calls Critics Of Casting For Netflix’s ‘The Sandman’ Series Racists, Sexists, Homophobes, And Anti-Vaxxers

If you happen to criticize this blatant agenda then Hollywood actors, producers, writers, and more deride you as a racist, homophobic, transphobic, etc…

Case in point, Neil Gaiman took issue with critics of Netflix’s The Sandman casting saying, “These complainers don’t like gay people, they don’t like black people, and they don’t like women. And if you look at their profiles, they don’t like vaccines, they don’t like Democrats, and they’re not big on voting.”

The Sandman. Writer Neil Gaiman on the set of The Sandman. Cr. Ekua King/Netflix © 2022

What do you make of this new report?

NEXT: Disney CEO Bob Chapek Fully Aligns Company With LGBTQ+ Agenda, Declares He Will Be “An Outspoken Champion”

  • About The Author

    John F. Trent
    Founder and Editor-in-Chief

    John is the Editor-in-Chief here at Bounding Into Comics. He is a massive Washington Capitals fan, lover of history, and likes to dabble in economics and philosophy.