It’s disheartening to see Hollywood continually succumb to the temptation of pandering to certain demographics, sacrificing creative integrity for the sake of appeasing vocal factions. The upcoming release of Twisters, starring Daisy Edgar-Jones billed as a follow-up, not quite a sequel to the 1996 Hollywood blockbuster Twister, appears to be yet another example of this tiresome trend.
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Unlike the new Twisters, starring Daisy Edgar-Jones billed, the original Twister, was a classic disaster film that captivated audiences with its thrilling portrayal of storm chasing and tornadoes wreaking havoc across the Oklahoma landscape. It was a film cherished for its groundbreaking visual effects and compelling storytelling, featuring characters whose struggles and triumphs resonated with viewers.In Twister (1996), the drama and romance between Jo and Bill, initially on the verge of divorce, drove the narrative. As storm chasers, they confronted their tumultuous relationship amidst tornadoes, reigniting their passion amid chaos. Through shared peril they rediscovered their bond. Ultimately, the twisters that once threatened to tear them apart instead brought them back together.
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However, instead of building upon the legacy of the original film in a meaningful way, Hollywood’s latest Twisters starring Daisy Edgar-Jones opts to take a different route, one that seems more concerned with checking boxes and scoring points with feminists than with honouring the spirit of the original. By making the lead character in Twisters, Kate Cooper portrayed by Daisy Edgar-Jones, a female scientist haunted by past trauma, the film appears to be pandering to feminist sensibilities, catering to gender politics over authentic storytelling.
The Hollywood decision to pivot the focus of the new Twisters towards a female lead, played by Daisy Edgar-Jones, feels like a calculated move to appeal to a specific audience rather than a genuine creative choice. Shoehorning these elements into a story at the expense of good story telling and character development does a disservice to both the film and its audience.
Going by some of the responses to the trailer, the fans aren’t excited about Hollywood’s latest offering Twisters with Daisy Edgar-Jones:
Moreover, the Hollywood trend of remaking classic movies with a feminist twist has become tiresome for many fans who long for original stories and fresh perspectives. Instead of retreading familiar ground with recycled characters and plot lines, audiences crave innovation and authenticity, qualities that seem increasingly scarce in an industry obsessed with chasing trends and appealing to narrow demographics.
By succumbing to the pressures of pandering and political correctness, Twisters with Daisy Edgar-Jones risks tarnishing the legacy of its beloved predecessor and further eroding confidence in Hollywood’s ability to deliver meaningful, impactful storytelling. As audiences, we deserve better than hollow gestures and woke propaganda. We deserve stories that inspire, challenge and resonate on a deeper level, like the 1996 Twister did.
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The past trauma could be a family member getting killed by a tornado, which in itself, would be a retread of the first film’s opening.