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Pro-Feminist ‘Terminator: Dark Fate’ Bombs in Theatres as the Public Rejects Woke Entertainment

Fans are not interested in the latest installment of the franchise.

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Action movie Terminator: Dark Fate is bombing hard at the box office, as it is expected to rake in only $27.1 million domestically during its first weekend in theatres when the movie cost as much as $196 million to produce.

Factoring in marketing costs and other expenses, the film will need to gross $470 million throughout the world in order to just break even. It is not expected to come close to that mark, in what may be the final death blow to the beleaguered Terminator franchise.

The promotional scheme for Dark Fate has been centered around diversity and empowerment, with a cast of largely female and minority protagonists saving the world from futuristic despair. The movie is tanking with an audience that is growing sick of woke culture and are effectively voting with their dollars against leftist dogma.

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Natalia Reyes, who plays Dani Ramos in the movie, praised the cast’s diversity while being interviewed by Entertainment Weekly. The savior of the world from the previous movies, a white child by the name of John Connor, was replaced with a Latina female in this new edition.

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“[Film producer] James Cameron has always been great about changing the rules… I love that it just shows diversity without really trying. And I think that is actually different to what we are seeing around; it’s showing the world as it is, and it makes me really proud of the movie,” she said.

The movie begins in Mexico, shows images of migrants being mistreated and held in cages, features a gruesome scene where border patrol agents are viciously murdered, and even shills for Mexican beer at one point.

Vox praised Dark Fate in their review for its wokeness:

The screenplay boasts, in the manner of many Hollywood franchise blockbusters, a whole lot of screenwriters. There are eight credits spread among six men, along with five “story by” credits (including James Cameron himself) and three more screenplay credits. And somewhere along the way, someone noticed that the original Terminator film, despite having one of the greatest female action stars at its center in Sarah Connor, was still surprisingly man-centric. Sarah Connor wasn’t important because of herself but because she was the future mother of John Connor, the man who would save the world. Which seemed pretty natural in 1984. Although Sarah has always remained important to Terminator mythology, she’s been more of a Mother Mary figure (albeit a very ass-kicking one) than a savior herself. It’s her son that matters.

This sequel-reboot gives the writers a chance to undercut those expectations and inject some life into the series, something that’s always good after years of wallowing in stagnation. (The post-T2 box office returns have varied but tended to trend downward, and that’s not even adjusting for inflation.) As Dark Fate points out, women have always been central to the Terminator story, and one woman in particular: Sarah Connor. Linda Hamilton is awesome in Dark Fate; she’s the reason to see the movie. But there’s room in the story for many more women, particularly since the movie suggests that while mankind will always want to destroy itself, womankind might have some new ideas about living.

The leftist reviewer class is once again wholly out-of-touch with the sensibilities of the masses. Similar to what has happened with Watchmen and Batwoman in recent weeks, the public is now rejecting agenda-driven entertainment and proving the axiom “get woke, go broke” to be undeniable.

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