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America's home for home loans, 866-569-4711. That's 866-569-471100 or visit American financing.net Walsh here's something you probably don't realize about how Hollywood works. I know I wasn't familiar with it, but it turns out that for some of the biggest franchises in the industry, studios often sign use it or lose it agreements. And what this means is that they buy the rights to a franchise for a certain number of years, but if they fail to make any progress towards, you know, making a film after a while, then they run the risk of losing the rights entirely. So studios can't buy the rights to a major franchise and then take a long time figuring out what kind of movie they're going to make. They're under pressure to produce content quickly. For Spider man, for example, Sony committed to begin production on new films within three years and nine months of their last release. And they must get into theaters within five years and nine months of their last release. This has been standard in the industry for a long time. The very first film adaptation of the Hobbit, a lot of people don't realize, was made in 1967 and the film was just 12 minutes long and was produced in less than a month. And we'll put it up on the screen so you can see the quality of the animation or lack thereof. It's really just a few drawings that the camera zooms in on. The only reason for the film's existence was to allow the producer to keep the license to Lord of the Rings so that he could sell it back to the Tolkien estate for a $100,000 profit. So he scrambled to put together this atrocious production where the One Ring doesn't even do anything and the animation doesn't animate in order to hold on to the rights. More recently, New Line Cinema acquired the rights to the film adaptations of the Lord of the Rings, and it cost them a lot more than a hundred thousand dollars. But the same general rule applies to New Line Cinema. New Line is compelled to pump out new Lord of the Rings content or else they'll lose the deal. It doesn't matter how bad or pointless the content may be. They're contractually forced to have something in motion. And that's why in 2024, something called the Lord of the the War of the Rohirrim was released. And you've probably never heard of this film. Apparently it was some kind of anime, which, as you know, is my favorite. And as you can see from this poster, the protagonist was a woman, the fiercely independent daughter of the legendary King of Rohan. For obvious reasons, nobody watched this film. No one liked it wasn't actually based on anything in the books. They took a no name character from a footnote in an appendix of Return of the King and made her the protagonist. And they wrote a script very quickly too. According to Variety, quote, the animated film was developed and fast tracked to ensure that New Line Cinema didn't lose the film adaptation rights for Tolkien's novels. While Jackson and the teams behind the Lord of the Rings and Hobbit trilogies, we're working on two new liveaction films for 2026 and beyond. The first of those liveaction films has been titled the Hunt for Gollum and it's slated to come out next year. Everyone already knows it will be horrible because it has no reason to exist. You know, there's a reason that Tolkien didn't devote much time to this particular series of events in the books. Just not that interesting. It's also a prequel with no stakes because we all know how the story turns out. We know that Gollum is captured and gets away and then the next movie happens. But they have to make the Hunt for Gollum or else they'll lose the movie rights. They're contractually obligated to pump this garbage out. They can't take 10 years and come up with a better, more compelling, more interesting film. They got to produce it right now. And then once they're done with this one, they need to have a follow up in the pipeline. So the pace is relentless by design. And here's the key point. While the studios would prefer that the movies do well, that's actually a secondary objective. Their primary goal is to simply get a movie out, any movie, so that they can hold on to the rights for as long as possible. And the so called creative team, the writers and executives, understand this mandate very well. They know that when executives are desperate for film, it's extremely easy to inject obvious lazy feminist propaganda into an established story. That's exactly what's happening now to the Lord of the Rings. It was evident in that atrocious anime film that nobody watched. It is evident in the Amazon atrocity, the series that they put out. It's especially evident in the new Lord of the Rings film that's going to be written primarily by Stephen Colbert and his Nepo baby son, which already gives the game away. Colbert's only relevant experience for this gig is that he destroyed late night television, which used to be a major part of American culture. And precisely because of that recent experience, not in spite of it, Colbert has been brought on board to obliterate the relevance of the Lord of the Rings, one of the great landmarks in Western literature. Watch.
