The film “The American Society of Magical Negroes” faced a swift demise, failing to attract audiences despite its promising premise inspired by a popular Key and Peele skit. With an abysmal box office performance of $2.4 million and a mere 28% rating on Rotten Tomatoes, the movie’s budget of $15 million marked it as a significant financial loss. Its withdrawal from theaters after just three weeks underscored its lack of resonance with viewers.
The failure of this film reflects broader issues within the social justice community and Hollywood. Despite its overtly anti-white narrative, the movie’s inability to attract black audiences highlights a disconnect between the messaging of the film and the interests of its supposed target demographic. This suggests that the narrative of America as a fundamentally racist country, perpetuated by the social justice left, may not be as widely accepted or embraced as some presume.
Moreover, the film’s shortcomings also point to deficiencies in its quality as a piece of cinema. Its reliance on what the author terms “clapter” lines—humor intended to elicit agreement rather than genuine laughter—failed to engage audiences effectively. In contrast, the author references “Blazing Saddles” as an example of a film that effectively critiques racism through humor and remains a classic in Hollywood’s canon.
'The American Society of Magical Negroes' has been pulled from theaters after only 3 weeks
• Finished with $2.4M at the box office
• 28% score on Rotten Tomatoes
• Budget estimated to be $15M pic.twitter.com/iqoxGBBAZy— Culture Crave 🍿 (@CultureCrave) April 9, 2024
The narrative of pervasive racism in America, championed by the left, appears to be losing its appeal, as evidenced by the lack of success of films promoting this message. Rather than drawing audiences to cinemas for “educational” purposes or to indulge in self-victimization, these narratives seem to be falling flat. This suggests that the notion of America as a fundamentally racist country may not align with the realities experienced by many Americans.
The author argues that the left’s preoccupation with racism, particularly in institutions like Hollywood, has led to a form of reverse racism against white individuals. While acknowledging racism as a societal issue, the author calls for the left to confront its own biases and move beyond divisive narratives. Only by addressing these internal biases can genuine progress be made in combating racism and moving forward as a country.
However, the author remains skeptical that this change will occur anytime soon, suggesting that racism has become a lucrative industry for the left. The conclusion implies a cynicism regarding the left’s motives, insinuating that the perpetuation of racism serves as a means of maintaining relevance and power rather than genuinely addressing societal issues.
