Wednesday's HOT MIC
The new Star Wars film, Solo, is headed for the lowest opening box office since the franchise was bought by Disney.
According to the Hollywood Reporter Wednesday, the stand alone movie, about one of the series most beloved characters and rascals Han Solo (played by Alden Ehrenreich), is opening with somewhere between $130 to $150 million in ticket sales in the United States.
While those numbers might sound good, the movie is actually underperforming in sales when compared to the three previous films in the Disney/LucasFilm realm.
In 2016, “Star Wars: The Force Awakens” opened with a record $248 million. That was followed up the same year with $155.1 for “Rogue One: A Star Wars Story.” In 2017, the follow-up to the “Force,” “Star Wars: The Last Jedi,” brought in $221 million for its opening weekend.
If you eat ice cream only every once and a while, it's a delicious, a treat. But if you eat it after every meal every day, it loses its appeal quickly.
Simply put, Disney is running the Star Wars franchise into the ground by developing 3 different story lines in the Star Wars universe and releasing a film about once a year. They are trying to milk every penny out of their cash cow before people get sick of it.
A Star Wars opening used to be special. Now, it's just another remake of a blockbuster.
Your daily reminder that any power you want the government to have to use against your enemies will eventually be used against you.
Don't try this at home.
A word on the passing of writer Philip Roth, who many considered one of the greatest American novelists of the 20th century.
The New Yorker has a short, poignant, retrospective:
Roth also leaves behind a corpus of essays, criticism, and other artifacts, some of which Adam Gopnik explored in his essay “Philip Roth, Patriot,” last year. For this magazine, Roth wrote once and again about his friend Saul Bellow, exchanged letters with a dismayed Mary McCarthy on his novel “The Counterlife,” posted an open letter to Wikipedia airing objections to its entry on “The Human Stain,” and e-mailed with the staff writer Judith Thurman about how his book “The Plot Against America” foreshadowed the rise of Donald Trump. Just last summer, The New Yorker published Roth’s piece on American identity, and on his love of American place names: “The pleasurable sort of sentiment aroused by the mere mention of Spartanburg, Santa Cruz, or the Nantucket Light, as well as unassuming Skunktown Plain, or Lost Mule Flat, or the titillatingly named Little French Lick.”
David Remnick wrote about Roth’s retirement, in 2012, and, the following year, sent a dispatch from Roth’s eightieth-birthday celebration, in Newark—Roth’s home town and the site of much of his fiction. That night, Roth read a famous passage from “Sabbath’s Theater,” “death-haunted but assertive of life,” Remnick wrote. “The passage ends with his hero putting stones on the graves of the dead. Stones that honor the dead. Stones that are also meant to speak to the dead, to mark the presence of life, as well, if only for a while. The passage ends simply. It ends with the line, ‘Here I am.’ ”
Roth was an amazing writer who delved into American themes unlike many writers of his generation. Every once and a while, I find my dog-eared paperback copy of The Human Stain and enjoy reading it all over again.
He will be missed.
Dilbert creator Scott Adams encapsulates the media/deep state spin on Crossfire Hurricane quite well here:
Former FBI director James Comey submitted one more, this morning.
5) The FBI’s use of Confidential Human Sources (the actual term) is tightly regulated and essential to protecting the country.
It's panic time for the ObamaGate corruptocrats. It's been fascinating listening to their excuses evolve as the walls close in.