Hollywood just can’t help itself.
The entertainment industry has been in turmoil recently, thanks to a string of inconsistencies. While there have been notable outliers, films that were both critically and commercially successful, there’s a much longer list of movies that have failed.
Disney’s “The Marvels” was a financial disaster, as was “Madame Web,” “The Flash,” “Lightyear,” the atrocious live-action “Snow White” movie, and of course, 2026’s “Supergirl.”
Massive financial losses. A dramatic decrease in audience trust and consumer interest in many entertainment industry projects. There are varying reasons for each, but most have one thing in common: Hollywood doesn’t understand audiences or the material they’re making, and they’re committed to putting their political beliefs and ideology above competence.
Based on the early returns from one of Netflix’s biggest and most expensive projects, the once-dominant streaming service is soon to release one of its own. And as with many other Hollywood mistakes, it was easily avoidable.
Several years ago, in 2023, news broke that Netflix hired director Greta Gerwig to make at least two films based on the legendary C.S. Lewis book series, “The Chronicles of Narnia.” This announcement came after Gerwig’s latest film, “Barbie,” became a box office phenomenon during and after the “Barbenheimer” weekend.
Filming on “Narnia: The Magician’s Nephew” started in 2025 and wrapped up in time for the first trailer to hit the internet this October ahead of a 2027 theatrical release. To say that the first trailer has been poorly received would be a dramatic understatement.
Several sites have reported that browser extensions showing YouTube “dislikes” found that it’s racked up over 65,000 such ratings, though there have been positive reactions too. A quick watch of the preview, and some background on Gerwig and her take on “Narnia” explains why.
First, the trailer itself looks, well, awful. Special effects and visuals look like something out of a Marvel movie, overblown, obviously fake, and far too modern for the world that most fans of the book series imagine. To drive home the point that this would be for “modern audiences,” the studio and creative team chose Led Zeppelin’s “Stairway to Heaven” to play over the visuals. Nothing says: “A story written in the 1950s set at the turn of the century and during the early years of World War II in the late 1930’s-early 1940s,” like Led Zeppelin.
Second, Gerwig’s preferred version of the story seems to purposefully remove the underlying meaning of it, of Lewis’ work and the religious influence behind it. In an interview published in 2018, for example, Gerwig said that while she goes to church, she’s “uncomfortable” with “Jesus is my lord and savior” talk, adding that she finds it “creepy.”
Lewis, of course, famously converted to Christianity and the Narnia stories contain obvious Christian imagery and symbolism. Including the character of “Aslan,” a representation of Jesus Christ. Aslan in this film will be voiced by Meryl Streep, a confusing choice, to say the least. Then the trailer depicted The Eagle and Child, the pub where Lewis and author J.R.R. Tolkien met to discuss writing and their stories, being destroyed by the villain in the film. Some interpreted that as a purposeful nod to the audience that this wouldn’t be a faithful retelling of the story.
And why would it be, when Gerwig’s filmography is littered with one specific ideology: feminism.
The message of Gerwig’s “Barbie” had as much subtlety as throwing a brick through a window. The real world is an oppressive patriarchy, while the Kens taking over in the Barbie world is an abject disaster that must be fixed by the Barbies returning to rule their fictional world.
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Her adaptation of “Little Women” was similarly obvious in its goals, eschewing Jo’s marriage from the novel because Gerwig thought it better represented Louisa May Alcott’s vision.
There’s nothing wrong with Gerwig making films that align with her worldview. The issue is that the Narnia story doesn’t, and as we’ve seen over time, forcing ideology into movies where it doesn’t belong simply does not work. While she’s maintained that she’s a devoted, life-long fan of the stories and Lewis himself, the trailer looked like it came from someone who’s never thought about them, let alone understood them. Even worse for Netflix? They gave her a reported $250 million budget, at least, to make it.
At the time, Gerwig was the hottest filmmaker in the business, thanks to the runaway financial success of “Barbie.” But throwing that much money at a director who wants to put a modern ideological spin on every movie she makes? It’s insane.
And it’s clear that Netflix CEO Ted Sarandos has seen the writing on the wall.
While there are likely other factors at work beyond just “Narnia” being a potential financial failure, Netflix this week went on a stunning spree of removing top film executives. After a decade there, Sarandos fired Chief Content Officer Bela Bajaria. Then Dan Lin, their now-former head of film, and his top lieutenant, Doug Belgrad.
Netflix is famously ruthless, but these are not decisions made on the spur of the moment, and it hints at broader problems within their film division. Years of poor quality content and politically motivated projects have taken their toll on subscriber growth. Problems that would only be exacerbated if “Narnia” flops.
It’s been rumored that the film was subjected to extensive reshoots after dismal test scores at screenings over the summer. Rumors that seem likely to be true, given Netflix pushed the release date back from late 2026 to February 2027. Hardly a time for a blockbuster, $250 million+ movie. Now the first trailer’s been greeted with a surge of negative reactions and disappointment. As it always would, given Gerwig’s specific penchant for storytelling and inability to remove her own biases. Fittingly, Gerwig discussed the movie with of all people, Stephen Colbert, at a recent exclusive IMAX preview.
“Narnia” might turn out to be better than expected. Maybe the Streep casting as Aslan won’t be the distraction many feared. Maybe Gerwig didn’t pour her predictable beliefs into a story that can’t accommodate them. Or the off-putting fever dream visuals might be less prevalent than the trailer makes them look.
But given the test screenings, her track record and the visuals, it’s hard to give her the benefit of the doubt. If audiences don’t either, it’ll be the latest in a long series of predictable financial failures from Hollywood. And as always, it’s their own fault.
