A great example of how Hollywood self-imploded is the career of Harrison Ford.
In his heyday, he starred in not one but two of the most successful franchises in history: Indiana Jones and Star Wars.
As Han Solo in the original Star Wars trilogy, Ford embodied the ultimate rogue—cocky, charismatic, quick-witted, and always getting the girl in a classic damsel-rescued-by-hero dynamic.
In Raiders of the Lost Ark and its THREE sequels, his Indiana Jones was the epitome of rugged masculinity: a whip-cracking archaeologist-adventurer who outsmarted Nazis, romanced strong but supportive women like Marion Ravenwood, and saved the day with brains, brawn, and unapologetic heroism.
Air Force One saw Ford playing the President of the United States, kicking terrorist ass and declaring “Get off my plane!” in a peak-patriotic, alpha-male role that grossed over $315 million worldwide.
In other hits like Blade Runner, he was the brooding, hard-boiled detective Deckard.
In The Fugitive, he was the wrongly accused everyman fighting the system.
And “Witness” earned him an Oscar nod for protecting the innocent.
Ford was Hollywood’s go-to leading man for action, drama, and romance, raking in billions and defining pop culture for decades.
Then the female empowerment agenda hit, and Hollywood started deconstructing his icons to make room for “diverse” reboots and girlboss narratives:
Han Solo: DEAD from a sacrificial stab by his own son, paving the way for Mary Sue Rey to inherit his ship, his blaster, and his legacy without earning it.
Indy: Depressed, old, and cucked by his snarky goddaughter Helena, who bosses him around, steals his thunder, and even wears the fedora in promotional vibes—it went on to FLOP HARD at the box office ($384 million against a $300 million budget).
Deckard: Relegated to cameo status in Blade Runner 2049 (2017), where the once-iconic replicant hunter is a hermit hiding in a casino, his mystery unraveled to serve Ryan Gosling’s story—another legacy character diminished for the new guard.
Ford’s box office draw plummeted from consistent $100M+ hits to bombs, with audiences rejecting the “get woke, go broke” formula that turned his tough-guy personas into cautionary tales of male obsolescence.
Hollywood didn’t just age him out—they neutered his legends to push empowerment propaganda…
…proving that when you mess with classics for politics, fans bail and empires crumble.
Rest in SHAME, Hollywood.
You can read more of Byl Holte on his Substack:
Ford wasn't a canary as he served no purpose as a warning. He was deliberately gassed.
A lot of the problems in the big-money creative professions seem to come from ignoring audiences and instead trying to impress peers by being “progressive” and “pushing boundaries.” Architects do this, too: creating buildings that win architecture awards but which look ugly to most people and are rarely optimum for tenants. Another version of the same problem happens in academia.