Is the Original Predator (1987) the First Successful Woke Blockbuster? An Analysis

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When considering the success of Predator (1987) as a groundbreaking film, many undoubtedly focus on its groundbreaking special effects, action sequences, and overarching plot. However, an interesting discourse has emerged surrounding the film's role in woke cinema—specifically, whether it can be considered as the first successful "woke" blockbuster and, consequently, whether it surpasses modern efforts in this space.

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The Origin of the Debate

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The debate revolves around how the film should be viewed from a contemporary standpoint. Critics and audiences today often discuss films in terms of their diversity and inclusiveness, evaluating them based on their representation of different ethnicities, genders, and social backgrounds. For staunch fans of the original Predator, the question of whether or not the film can be classified as "woke" is a contentious one.

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Judging by its release date in 1987, one might argue that Predator is ahead of its time in terms of representation. The film features a diverse cast, including Carl Weathers as the African-American federal agent and Shoryu Kitamura as the Japanese paratrooper. However, the film's director, John McTiernan, and the script do not draw explicit attention to this diversity. Instead, the characters are portrayed as individuals with their own unique traits and motivations, rather than stereotypes or archetypes that rely on their ethnic backgrounds.

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Breaking Down the Woke Criterion

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For a film to be considered "woke," it must meet certain criteria. These include: representation of diverse backgrounds, avoidance of harmful stereotypes, and a proactive stance on social issues. By these standards, Predator (1987) does represent a diverse group of characters from various backgrounds, but does it go beyond simple representation to make bold social statements?

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Predator addresses themes of power dynamics and invasion, placing the protagonists in an alien-dominated environment. This inherent premise inherently includes diverse perspectives as the protagonists come from different walks of life and backgrounds. However, it is crucial to note that the film does not delve deeply into social issues or cultural conflicts in a manner that modern "woke" films often do. It is more focused on the thrilling survival and action aspects than on social commentary.

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Modern vs. Original: A Comparative Analysis

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One cannot simply compare a film of the 1980s to today's "woke" blockbuster standards. Modern movies often aim to highlight and address social and cultural issues, sometimes even at the cost of the traditional plot structure. Films like Black Panther (2018) and Crazy Rich Asians (2018) are celebrated not only for their action and entertainment value but also for their contributions to the representation and empowerment of minority groups.

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These films are not only "woke" in the sense of representation but also in their narrative and thematic decisions. They incorporate social commentary and showcase strong, diverse characters as central to the plot, often aiming to challenge and reflect modern social norms. In contrast, Predator (1987) primarily serves as an action-packed survival horror film, albeit with a diverse cast.

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Final Verdict

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While Predator (1987) does represent a step in the right direction with regards to diversity and representation, it is difficult to categorize it as the first successful "woke" blockbuster. It paves the way for future films in terms of representation but lacks the deliberate social commentary and thematic depth that modern "woke" films often incorporate. However, it is undeniably a significant milestone in the evolution of representation in cinema, paving the way for more inclusive storytelling.

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The original Predator remains a groundbreaking film in its own right, but the label of "the first successful woke blockbuster" does not fully encapsulate its legacy. It is a product of its time and, while it can be appreciated for its strides in diversity, it is modern "woke" cinema that often pushes the envelope in terms of representation and social commentary.