{"id":197763,"date":"2019-11-12T08:04:23","date_gmt":"2019-11-12T08:04:23","guid":{"rendered":"http:\/\/www.thetruthseeker.co.uk\/?p=197763"},"modified":"2019-11-17T09:54:31","modified_gmt":"2019-11-17T09:54:31","slug":"terminator-the-great-replacement-one-more-franchise-gets-woke-goes-broke","status":"publish","type":"post","link":"https:\/\/www.thetruthseeker.co.uk\/?p=197763","title":{"rendered":"TERMINATOR: the GREAT REPLACEMENT\u2014One More Franchise Gets Woke, Goes Broke"},"content":{"rendered":"

Paul Kersey \u2013 via The Unz Review Nov 10, 2019<\/a><\/h1>\n

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Producer James Cameron and director Tim Miller have, in the latest Terminator epic Terminator: Dark Fate<\/span><\/a><\/em>, taken another <\/em>billion dollar entertainment franchise<\/a><\/span> and driven it into the ground in the name of Social Justice, Hollywood-Style. Here\u2019s how it happened.<\/h5>\n
The message of the first two Terminator <\/em>films is in a line from Judgement Day<\/span><\/em><\/a>, <\/em>sequel to the 1984 original<\/a><\/span>: \u201cThere is no fate but what we make for ourselves.\u201d Heroine Sarah Connor utters that line in a powerful but regrettably deleted scene<\/span><\/a> from the first film, and delivers this message: We have the power to change the present. The future is unwritten. Unfortunately, the latest installment of the franchise delivers a less optimistic message: You, white man, are doomed. Indeed, Terminator: Dark Fate <\/em>might well be called Terminator: The Great Replacement<\/span><\/a><\/em>.<\/h5>\n
The Marvel superhero films have been pushing<\/span><\/a> that message as well, and now the latest Terminator <\/em>adds its voice. Dark Fate, <\/em>a direct sequel to James Cameron\u2019s ground-breaking Judgement Day<\/span><\/em><\/a> in 1991, literally pretends that the events in Terminator 3: Rise of the Machines<\/em>, Terminator Salvation<\/em>, and Terminator Genisys<\/em> never occurred. What viewers get instead is a myth more in tune with our anti-white<\/span><\/a>, anti-male<\/span><\/a> present [\u2018Terminator: Dark Fate\u2019 Director: Why Mackenzie Davis Will \u2018Scare the F\u2014 Out of\u2019 Misogynists<\/span><\/em><\/a>,<\/em> by Matt Donnelly, Variety<\/em>, July 10, 2019].<\/h5>\n
\"\"<\/a>That message still doesn\u2019t work well. Empty theaters and $29 million in receipts greeted the new Terminator\u2019s in its opening weekend. Losses for 20th<\/sup> Century Fox, Paramount Pictures and Skydance Media might exceed $130 million [\u2018Terminator: Dark Fate\u2019 Puts Franchise on Ice, Faces $120M-Plus Loss<\/em><\/a><\/span>,<\/em> by Pamela McCintock, Hollywood Reporter<\/em>, November 3, 2019].<\/h5>\n
My advice: Avoid this bomb, which one would hope kills the franchise before it gets any more preachy and ridiculous. For the record, the first two films and Rise of the Machines <\/em>are an underrated trilogy.<\/h5>\n
But if you plan to see it, here\u2019s your spoiler alert.<\/h5>\n
Set three years after the events of Terminator 2: Judgement Day<\/em>, the saviors of humanity\u2014Sarah and John Connor\u2014live in peace. They didn\u2019t know another T-800 Terminator, Arnold Schwarzenegger\u2019s character that broke the mold 35 years ago, was sent back in time with the mission to murder John, the resistance leader in the post-apocalyptic future.<\/h5>\n
The second T-800 dispatches John with a shotgun before most viewers have a chance to grab their first handful of popcorn or sip their soda. It\u2019s shocking, and not just because John Connor is killed. Rather, in just a few minutes, the storyline of the first two films is erased.<\/h5>\n
But that\u2019s what allows director Tim Miller to retune and bring the franchise into harmony with post-white America<\/span>.<\/a><\/h5>\n
The heroine for mankind\u2019s future is a Mexican named Dani Ramos (Natalia Reyes<\/span><\/a>). Sarah Connor\u2014no longer the mother of the messianic John Connor\u2014shows up to protect her from an advanced Rev 9 Terminator (Gabriel Luna<\/a><\/span>). In this John Connor-less timeline, we learn a form of artificial intelligence was designed to fight cyberwarfare, but took control from humans. Nuclear holocaust was the result. Meanwhile, a white woman named Grace (MacKenzie Davis<\/span><\/a>), cybernetically enhanced by humans in the future, is sent back in time to defend the Hispanic Ramos.<\/h5>\n
Replacement message: White John Connor becomes Mexican Dani Ramos; Schwarzenegger\u2019s white T800 becomes an nearly androgynous white woman. On that note, by the way, Slate.com\u2019s Christina Cauterucci [Tweet her<\/span><\/a>] enthusiastically reported that \u201cwhen photos from the set of Terminator: Dark Fate<\/em> showed Mackenzie Davis sporting a fashion bowl cut, grimy tank top, and massive deltoids, lesbian Twitter lost its mind\u201d [Terminator: Dark Fate Is the Gayest Terminator Yet<\/span><\/em><\/a>, by, November 1, 2019].<\/h5>\n
\u201cFrom the get-go,\u201d one reviewer noted, \u201cthis new film is all about diversity: Linda Hamilton\u2019s Sarah Connor gets to say \u2018I\u2019ll be back\u2019; there\u2019s a new politicized trans-human lady Terminator, plus a Latina<\/a> <\/span>hero and her Latino Terminator nemesis\u201d [Terminator: Dark Fate\u2014Arnie\u2019s back, but he should have stayed away: Review: All the diversity window dressing can\u2019t hide Dark Fate\u2019s inconsequentiality<\/span><\/em><\/a>, by Tara Brady, Irish Times<\/em>, October 24, 2019].<\/h5>\n
Get it? Not just a lady<\/span><\/a> Terminator, but a \u201ctrans-human lady Terminator.\u201d<\/h5>\n
Anyway, the message in the removal of John Connor and his replacement<\/span><\/a> by a Hispanic woman isn\u2019t what one would call subtle. We\u2019re supposed to hear it, loud and clear.<\/h5>\n
And not just with Connor\u2019s demise. Miller also offers viewers another message in a scene where our three heroines try to cross the U.S.-Mexico border illegally, only to be caught by the U.S. Border Patrol. The villainous robot from the future disguises himself as an agent and tracks them down to one of the agency\u2019s facilities. In the ensuing, bloody fight, cages holding hundreds of illegal aliens are opened and they are freed [In the 1990s, Terminator\u2019s Ultimate Evil Took the Form of a Cop. In 2019, It\u2019s the U.S. Border Patrol<\/span><\/em><\/a>, by Chris Klimek, Slate.com, November 4, 2019].<\/h5>\n
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nice piece from @ctklimek<\/a> on how the Terminator franchise lightly drags the LAPD and CBP for their violent dehumanizationhttps:\/\/t.co\/572cAjnRMD<\/a><\/p>\n

— Christina Cauterucci (@c_cauterucci) November 7, 2019<\/a><\/p><\/blockquote>\n