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>>/84761/
Go through their catalog up until about the 80s when pic 2 logo change occurs, most of the time you see jews before they're either shekel jews (Goldwyn, who was feuding with the Garland-groping Louis Mayer at the time) or producers. Studio was a mostly goy attempt to make an "anti Hollywood within Hollywood" (hence the token jewry, no escaping that there really) by famous actors sick of underpayment, general contract fuckery, and their near-paedo casting couch shit
Content isn't always normie-friendly (there's a lot of "artsy" passion/vanity projects in there) but at least til a certain time (late 70sish) poz free
Studio is also a good example to throw at those "hurr just maek ur own" twitards/plebbits as even with throwing blank checks at every autistic goober (which does include jews rejected by all the other studios, like Fred Zinnemann who made High Noon... Should also note they're nearly all Polish or Hungarian, who were seen as less capable/intelligent by the "westernised" atheist/communist jews) with a fanciful drug induced vanity project, they would still be around and independent had it not been for monopolising hebrew trickery like threatening to sue theatres which played their films alongside UA under breach, or waiting until the week/day before their films were scheduled to be released, then threatening to drop them unless they turned around and dropped UA releases, or wasting UA time and money directly by suing them for using "their lots" even if they'd purchased the whole thing completely first. Their very existence drove most Hollywood jews to what might be considered the first form of a "maddened corporate genocide," the ENTIRE industry turned on this one studio for allowing actors to also be the main director/scripter of their own works. The "masters" were enraged these "slaves" had cut their own "chains" (considering the commie influence in normal pedowood, that's quite ironic innit)
Basically the Reddit vs voat of its day
While they actually 'won' their antitrust suits (most important being studios can no longer directly own theatres), Hollywood found enough workarounds that they were still able to harass them into the red, then buy them out.
They were also sometimes forced to sell their films to the big studios for distribution, Bridge on the River Kwai was originally made by a UA backed studio, but then released by Columbia, as was Advise and Consent. Happened more frequently through the 70s until they couldn't stay afloat independently. After 60 years MGM finally won and EA'd them, since then it's just another average pozzy studio.
...then again, that means the original UA missed out on the cocaine fueled hedonism of the 80s, so perhaps dying without a tarnished record was the best outcome in the end.