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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.

Hollywood

‘Ghostbusters’ Director Blames Hillary Clinton’s Unpopularity for Failure of All-Female Franchise Reboot

Maybe your movie just stunk, dude.

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Nearly four years later, the all-female reboot of ‘Ghostbusters’ is now remembered as one of the worst atrocities in the history of cinema, and director Paul Feig is blaming anti-Hillary Clinton backlash for its failure.

“I think some really brilliant author … needs to write a book about 2016 and how intertwined we were with Hillary [Clinton] and the anti-Hillary movement,” Feig said while appearing on SiriusXM radio last week.

“Everyone was at a boiling point. I don’t know if it was having an African American president for eight years that teed them up, they were just ready to explode,” he added.

Feig is desperate to make excuses for his movie’s failure, rather than take personal responsibility for creating one of the worst movies in film history.

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“It’s crazy how people got nuts about women trying to be in power or be in positions they weren’t normally in,” Feig said. “It was an ugly, ugly year.”

The fake news media has been pushing the line that sexism doomed the movie since its historic failure at the box office during its summer 2016 release. However, ‘Ghostbusters’ creator Ivan Reitman believes that it was nostalgia that caused the backlash, not sexism. Viewers did not want to watch a ‘Ghostbusters’ reboot that was seemingly blasphemous to the original.

“I think there’s way too much talk about gender [when it comes to this film],” Reitman said during an interview with Mashable. “I think that many of the people who were complaining were actually lovers of the [original] movie, not haters of women.”

Feig refuses to admit that his creation was so horrendous and even hopes to release a grueling 3.5 hour directors’ cut of the flick despite the fact that nobody wants to see it.

Because the movie was such a massive bomb, the cast has been scrapped and replaced with a new cast for the upcoming re-boot “Ghostbusters: Afterlife.” The initial trailer was released last year to rave reviews.

It can be seen here:

Actress Leslie Jones, who starred in the failed all-female reboot, whined about the new movie that is set for theaters in 2021 for completely sweeping her movie under the rug. Similar to her director, she blamed Trump because everyone hated her awful movie.

Feig and Jones, in true liberal fashion, have refused to own up to their own failures. They will continue to create scapegoats instead of admitting the obvious about their horrendous movie that failed spectacularly in its feminist agenda of female empowerment.

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