Actor’s Furious Outburst Over ‘Straight People’ Follows Box Office Flop Of Woke Movie ‘Bros’

In a stunning display of Hollywood’s relentless push for so-called “woke” content, the movie industry has once again found itself in the spotlight for all the wrong reasons. The recent release of the film “Bros” has not only left audiences unimpressed but has also ignited a fiery Twitter tirade from its own creator, Billy Eichner. The movie’s epic failure at the box office raises important questions about the industry’s obsession with virtue signaling over quality entertainment.

Described as a “woke” masterpiece by its makers, “Bros” revolves around the story of Bobby, a neurotic podcast host who navigates the world of Tinder dates without any intention of settling down. His life takes an unexpected turn when he crosses paths with Aaron, a detached lawyer with a similar commitment-phobic attitude. As their unconventional bond deepens, the film’s creators attempt to transform it into a commitment, resulting in a cinematic experiment that has spectacularly misfired.

With an eye-roll-inducing tagline that reads “Turning Detachment into Commitment,” the movie’s description alone is enough to make any sensible viewer cringe. And cringe they did, as the film pulled in a mere $4.8 million at the box office, an embarrassing figure considering its widespread release across 3,350 theaters. To put it in perspective, that’s a pitiful average of around $1,432 per location, or approximately the price of 70 movie tickets at $20 each.

Billy Eichner, the film’s openly gay creator, didn’t take the colossal failure lightly. In a feverish Twitter rant, Eichner unleashed his frustrations, demanding that non-“homophobic” viewers flock to theaters to salvage the sinking ship. He went as far as blaming “straight people” for the movie’s abysmal performance, placing the blame squarely on a demographic that evidently saw through the veil of virtue signaling.

In a series of tweets, Eichner attempted to salvage his pride by citing a supposedly sold-out screening in Los Angeles, complete with laughter, applause, and tears from the audience. Yet, even as he boasted about Rolling Stone’s endorsement of “Bros” as a top comedy of the century, he conveniently brushed aside the movie’s 5.4 rating on IMDB, a stark contrast to its 90% Rotten Tomatoes score.

Eichner’s desperate attempts to shift the narrative and deflect from the film’s flaws only underscore Hollywood’s persistent problem: substituting genuine entertainment with preachy, politically charged content. As he continued his defensive campaign, Eichner devalued the significance of box office earnings, claiming they had no bearing on a film’s quality. It’s a notion that conveniently ignores the audience’s ultimate vote of confidence or disdain in the form of their hard-earned dollars.

As the dust settles around the wreckage of “Bros,” it remains to be seen whether Hollywood will heed the warning signs or continue down the path of alienating mainstream audiences with virtue signaling masquerading as entertainment. The failure of “Bros” serves as a stark reminder that viewers, regardless of their orientation, are hungry for authentic stories that transcend identity politics and resonate on a universal level.

In the end, Eichner’s Twitter tirades and Hollywood’s stubborn adherence to woke narratives might generate noise, but it’s the audience’s verdict that truly matters. The saga of “Bros” illustrates the importance of substance over agenda, and that, perhaps, will be the lesson that Tinseltown’s elite finally internalizes.