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Back again: Terminator: Dark Fate sends the series into a tailspin

Apparently not all jobs outsourced by James Cameron are created equal. Earlier this year, we saw Alita: Battle Angel, his collaboration with director Robert Rodriguez. The hands-on approach of both filmmakers seemed to bring out the best in each, with Rodriguez’s slick camera work and knack for creating chemistry between characters enhancing Cameron’s boundary-pushing special effects and deeply humanistic undertones.

The same lightning did not strike during Terminator: Dark Fate, touted as the series reclaiming its greatness by following T2 and ignoring everything else. The desperation for credibility is right there on the poster: “James Cameron Returns,” with director Tim Miller (Deadpool) getting second billing. Cameron is listed as producer and is one of six credited writers; yes, he’s technically back, but we see little of him in the finished project. For the first time in decades, the story of Terminator is about something more than the minutiae of its own lore, but every new idea gets buried under weightless callbacks, dizzying action, and hollow noise.

Terminator: Dark Fate

R, 134 minutes

Violet Crown Cinema

In an alternate timeline, a previously undetected T-800 (Arnold Schwarzenegger) succeeds in killing John Connor shortly after Skynet has been successfully destroyed. For decades since, Sarah Connor (Linda Hamilton) has been killing any Terminators that find their way back. Today, a different future produces a new model known as the Rev-9 (Gabriel Luna) and an augmented human soldier, Grace (Mackenzie Davis), fighting over the fate of Dani Ramos (Natalia Reyes), an unsuspecting woman who finds herself responsible for human society the same way Sarah did in 1984.

Like many of the great science fiction storytellers, Cameron uses the genre to explore more than cool robots, futuristic warfare, and pretty alien worlds (though there are plenty of those). The first Terminator forced a young Sarah Connor, living her regular life, to carry the weight of the world and do it thanklessly, while navigating the paradox of what it means to fulfill a destiny that is uncertain. T2 examined what makes us human, and whether our self-destructive urges can be altered or reprogrammed. Dark Fate teases at deeper meanings, both personal and political. Both Sarah and the T-800 lost their purpose when Skynet was destroyed and John was killed; once you lose your purpose, the past doesn’t disappear and the future remains unwritten, so either find a new one or adapt.

Politically, Cameron’s touch can be detected in jabs at systemic racism and the exploitation of public trust as a means to circumvent laws and regulations. All Rev-9 has to do is claim a service role, wear a badge, and talk prayer, and he can get through metal detectors and the cops overlook irregularities. A scene in which Grace opens the cages of people rounded up by border control might even elicit some cheers.

Of course, this all amounts to a positive review of Cameron’s involvement in what is otherwise a normal-to-bad movie. Sarah’s triumphant return to the screen is diminished when she says, unprompted, “I’ll be back.” The villain looks cool but is just not scary. The cast is dedicated but their interactions are undercut at every opportunity, and what might have been memorable sequences are slashed to hell with reckless editing. T2 wasn’t just about robots, it also pushed the genre forward visually and technically, so it’s a fair expectation that a direct sequel might at least try to look good. If you insist on comparing Dark Fate to the other sequels, sure, it’s better, but it’s like trying to decide between a Quarter Pounder and a Double Quarter Pounder when a Kobe beef steak is on the menu.


Local theater listings

Alamo Drafthouse Cinema 375 Merchant Walk Sq., 326-5056.

Regal Stonefield 14 and IMAX The Shops at Stonefield, 244-3213.

Violet Crown Cinema 200 W. Main St., Downtown Mall, 529-3000.


See it again

The Godfather Part II

R, 210 minutes

Regal Stonefield 14 and IMAX

November 10, 12

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Arts

ARTS Pick: Kishi Bashi

Playing into it: Athens, Georgia-based multi-instrumentalist Kaoru Ishibashi, who uses the stage name Kishi Bashi, makes a unique brand of indie pop. In some songs, his mastery of violin and guitar come across as bright and joyful, and in others he turns mournful. He’s toured with Regina Spektor, Sondre Lerche, and of Montreal, and has released three studio albums, his most recent being Omoiyari, on which the artist felt an urgency to tell stories of Japanese internment. In the face of racism and xenophobia, Kishi Bashi uses his music to reflect on the Japanese-American experience, and process the lessons of history through song.

Saturday, November 9. $20-22, 8pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. 245-4980.

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Arts

Album reviews: Velveteen Rabbit, Shana Falana, Wished Bone, Yukihiro Takahashi, and Grace Potter

Velveteen Rabbit

Velveteen Rabbit (Hozac)

Rising from the ashes of NYC power poppers The Jeanies, Velveteen Rabbit do up the ’70s glory days of glitter rock in a stripped-down way. They don’t try to match the theatrical majesty of Bowie and Roxy Music—especially vocally—but still they deliver plenty of exhilarating boogie via deliciously sleazy guitar solos and songcraft that holds up even on the mellowest tracks such as the Chris Bell-like “Guitar.” Velveteen Rabbit’s DIY glam is well worth a spin. [7.5]

 

Shana Falana

Darkest Light (Arrowhawk)

Shana Falana is a veteran of the ’90s San Francisco rock underground and the early-’00s Brooklyn nü-garage moment, and Darkest Light, with its churning guitars and dreamy melodies, sounds like it could have dropped at any point in the last 25 years. The album bursts out of the box with the buoyant shoegaze opener “Go Higher” and the Galaxie 500-meets-Sonic Youth rocker “Everyone Is Gonna Be Okay,” but then goth and stoner rock come to the fore, and it’s almost like watching Falana switch cafeteria tables midyear, ditching the smart arty kids for the brooding, ineffectual rebels. [6.5]

 

Wished Bone

Sap Season (Wished Bone)

Currently based in Los Angeles, Ohio’s Ashley Rhodus records as Wished Bone, and second album Sap Season is a deceptively simple collection of low-fi songs that flit from the country-ish “Saucer Eyes” to the Mazzy Star-lite “Cops” to the Velvets-y “Pink Room.” Rhodus’ twee voice is apt as she ascribes stoned significance to life’s banalities (“Who put the butter in the fridge? / You know I don’t like it cold”). The musical dressing often saves the day—when slide guitars and horns show up, they’re like those friends in the room who smile, listening, and then drop perfect remarks. Which, unfortunately, makes Rhodus the one whose faux-naif observations threaten to tip from charming to nattering. [7.0]

 

Yukihiro Takahashi

Saravah! (Wewantsounds)

When Roxy Music played Wembley Arena in 1975, the unlikely opener was Osaka’s Sadistic Mika Band, whose drummer Yukihiro Takahashi would co-found legendary electronic progenitors Yellow Magic Orchestra in 1978. Recorded just before YMO’s debut and featuring YMO bandmates Haruomi Hosono and Ryuichi Sakamoto, Takahashi’s Saravah! is a fascinating document— disco, bossa nova, and lounge rock filtered through Japanese whimsy (Exhibit A: the leadoff cover of “Volare”). Takahashi’s vocals are a bit sober to be sexy, but they’re easygoing, and the musicianship on Saravah! transcends irony and camp (Exhibit B: the nasty Skunk Baxterish guitar solos on “La Rosa” and “Elastic Dummy”). [7.8]

 

Grace Potter

Daylight (Fantasy)

With her 2004 debut, Grace Potter was heralded as Vermont’s answer to everyone from Norah Jones to Bonnie Raitt to Janis Joplin, which implies more versatility than she delivers on Daylight, her third album. Possessor of an undeniably potent voice, Potter can’t resist opening the throttle on the back end of each song, and the vocal peaks start to feel predictable and superficial—it’s singing as pressure-washing. Potter’s lyrics are more nuanced, as she nicely unpacks her messy nest of feelings in the wake of her recent divorce and subsequent betrothal and motherhood. And there are rare respites, like the Patsy Cline-ish “Repossession” and Potter’s gorgeous B-3 coda on “Please.” But a little more daylight would have been nice. [6.0]

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Arts

ARTS Pick: Wilco

Been there: Regardless of which collaborative era in Jeff Tweedy’s career got you on board—Jay Farrar, Jay Bennett, Billy Bragg, Nels Cline—you’ve likely heard the frontman of the revered alt-country, punk-leaning, folk-forward, American rock band Wilco at his best—because Tweedy does not disappoint. Twenty-five years after the band’s formation, Wilco’s poetic authenticity continues to thrive while challenging fans on the quiet, stripped down new album Ode to Joy, which NPR music calls “a deliberately small record by a group of musicians who aren’t trying to impress anyone or expand an audience.”

Friday, November 8. $39-82, 7pm. Sprint Pavilion, 700 E. Main St., Downtown Mall. 877-CPAV-TIX.

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Arts

ARTS Pick: Miranda Lambert

Nashville smash: Superstar Miranda Lambert has a powerful voice, and a striking capacity for emotional depth. She sings female rage songs like “Gunpowder and Lead” and “Mama’s Broken Heart,” aimed at abusive partners and cheaters, and she can tone it down in sentimental crooning ballads, such as “The House That Built Me.” The country queen combines bluegrass tradition, swaggering twang, and vivid storytelling into a winning formula that’s stocked her shelves full of Grammys. Accompanying her on the Pink Guitars and Roadside Bars tour are Maren Morris, Pistol Annies (Lambert’s collaboration with Ashley Monroe and Angaleena Presley), and Tenille Townes.

Thursday, November 7. $40-95, 7pm. John Paul Jones Arena, 295 Massie Rd. 243-4960.

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Arts

ARTS Pick: Lawrence Jackson

Magnetic moments: “Eight years in the White House went by so fast,” says Barack Obama in the forward to Yes We Did, the new book by former official White House photographer Lawrence Jackson. (We feel you, Mr. President.) Jackson will tell stories about his work behind the scenes, snapping photos of Obama’s meetings with world leaders, tender moments with his family, and connections with people in everyday life.

Friday, November 8. Free, 7pm. New Dominion Bookshop, 404 E. Main St., Downtown Mall. 295-2552.

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News

In brief: a new plan for Starr Hill, CRB moves forward, Saga boots again, and more

A new plan for Starr Hill

Since last spring, the New Hill Development Corporation has been working on a Small Area Plan to guide development in the Starr Hill area, which runs from Preston Avenue to the CSX Railroad along West Main Street.

On November 4, the African American-led nonprofit, which was awarded $500,000 to study the issue, presented its research to City Council, concluding that the area continues to suffer from racial disparities in income, education, entrepreneurship, and housing. It believes the best ways to strengthen Starr Hill’s “economic and social fabric” are to increase support for small businesses and entrepreneurship, especially in high-growth industries, and to better prepare black residents for “next-generation jobs,” such as bio-tech and construction. It also wants to develop more affordable living and work spaces, promoting equity and connectivity in the community.

New Hill proposed developing the City Yard, currently used as a maintenance facility, into a mixed-use area with 85 to 255 majority affordable housing units and flexible business/commercial spaces focused on workforce development. The group did not mention how it would address potential contamination on the site from the old gas plant.

New Hill also proposes adding 10 to 46 majority affordable housing units to the Starr Hill residential area and making its streets more pedestrian friendly, as well as transforming the Jefferson School into a “public square” with an amphitheater, art installations, murals, parking spaces, pocket parks, and an enhanced Starr Hill Park. Creating better connections between the Jefferson School and downtown was proposed as well.

New Hill encouraged City Council to endorse its plan and  “low hanging fruit” projects, such as the proposed improvements to Starr Hill Park. The group’s next steps are to secure partnership commitments, establish an advisory committee of local residents, and continue ongoing conversations with key supporters, like UVA and the Jefferson School Foundation.

 


Quote of the week

It makes no sense to put the city tree where no one will see it.” — Charlottesville resident Tony Walsh, protesting council’s moving of the downtown Christmas tree from near the Paramount to in front of City Hall


In brief

Cooperating behind closed doors

At its November 4 meeting, City Council voted 4-1 to disband the Planning & Coordination Council, an advisory group that’s been around since 1986 and was designed to help UVA, the city, and the county cooperate on development issues. It will be replaced by a group comprised of “technical professionals” with an expanded scope to include environmental issues (like stormwater, solid waste, and sustainability) and infrastructure. But the meetings will no longer be open to the public.   

CRB moves forward

The Charlottesville City Council also voted Monday to approve the bylaws and an ordinance for the Police Civilian Review Board, despite some CRB members’ dissatisfaction with council’s revisions to the initial proposal. The board, which was established following the 2017 Unite the Right Rally, is intended to build trust between Charlottesville police and the community. New members will be named to the CRB by mid-December.

The People’s Coalition held a rally outside City Hall October 21.

Saga boots again

Longtime Charlottesville Radio Group operations manager and WINA morning host Rick Daniels was fired last month, allegedly for playing a clip with an f-bomb. Daniels, who had been with the station for the past 30-odd years, used to host “Morning News” with Jane Foy, who was also unceremoniously dumped a year ago. Les Sinclair, who hosts an afternoon talk show on WINA and is its program director, and does those jobs at Z95, has been named operations manager for the stations. Charlottesville Radio Group is owned by Saga Communications, which has recently petitioned the FCC to not renew licenses for five local nonprofit stations.

More from Mike

City Council member and former mayor Mike Signer launched his latest venture October 28: a 60-page report and podcast series titled “Communities Overcoming Extremism: The After Charlottesville Project.” The report, which Signer unveiled in Washington, D.C., brings together ideas from different leaders across the country and discusses policies to prevent the escalation of violent hate groups. Backed by big-name donors like the Charles Koch Institute and the Anti-Defamation League, the project hopes to provide communities with the know-how to combat intolerance and political violence.

Progress staffers win union election

In a 12-1 vote, the staff at The Daily Progress voted to unionize on October 30. The election, monitored by the National Labor Relations Board, came two weeks after the Progress staff announced their intention to form a union, and after BH Media, which owns the paper, did not voluntarily recognize the union. Reporters, copy editors, photographers and a few other newsroom employees comprise the Blue Ridge NewsGuild, which plans to fight for fair wages, increased severance, and more community input. The Progress is the third BH Media-owned publication to unionize.

A job well done

UVA first-year and Charlottesville High School alum Zyahna Bryant was listed in Teen Vogue’s “21 Under 21: The Young People Changing the World.” Bryant, who sits on the Virginia African American Board, led the charge in the campaign to remove the Robert E. Lee statue in Charlottesville at only 15 years old, and was the founder of her high school’s Black Student Union. Bryant published a book of essays and poems earlier this year, entitled “Reclaim.”

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History lesson: Local educators help expand Virginia’s African American history curriculum

Community leaders gathered at the University of Virginia October 28 for the first meeting of the Commission on African American History Education.

Charlottesville City Schools Superintendent Dr. Rosa Atkins is among those appointed to the commission, which was established by Governor Ralph Northam. The purpose, says Atkins, is “to recognize that the African American experience and contributions to the development of our country are significant and have not been fully told. [We want] to fill in those areas in which African American history has not been taught.”

The commission will review Virginia’s history standards and practices and make recommendations for enriched standards related to African American history. The group will also offer recommendations on what support is needed to ensure cultural competency among teachers.

Northam established the commission by executive order on August 24 during a ceremony to commemorate the 400th anniversary of the arrival of the first enslaved Africans in North America at Point Comfort in 1619.

“The important work of this commission will help ensure that Virginia’s standards of learning are inclusive of African-American history and allow students to engage deeply, drawing connections between historic racial inequities and their continuous influence on our communities today,”  Northam said in a press release.

Charlottesville City Schools came under fire last year for a New York Times/ProPublica piece highlighting longstanding racial inequities in city schools. Atkins says such disparities exist throughout the commonwealth, and that telling the story of African American history could be empowering for black students.

“Once our students, teachers, and community have truthful information about who African Americans are in our country and their role, it gives a degree of value to African American people and the experiences they have had, and it empowers them to look forward to the future and do more in our country,” says Atkins.

An enriched curriculum, she says, will help “all of our students to know the beauty—and the ugliness—of our country and of our commonwealth…and to appreciate the diversity of contributions to who we are today.”

Northam has appointed 34 people to the commission, including historians, teachers, school administrators, and community leaders from across the commonwealth. Also representing Charlottesville is Dr. Derrick P. Alridge, a professor of education and director of the Center for Race and Public Education in the South at UVA’s Curry School of Education. Members serve without compensation.

The commission will meet at least quarterly over the next year and publish a report with its findings and recommendations by July 1, 2020.

Atkins recognizes that adding more African American history to the Virginia curriculum is not an end-all-be-all.

“There are other cultures and other groups of people who have not been included in the Virginia history…and that have to be included,” says Atkins. “This is just one part of that hole.”

The commission’s next meeting will be held on December 16 in Farmville.

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Grappling with the past: Historical society struggles to find its way

By Ben Hitchcock

“I feel like I’ve been training for this one job for 30 years,” said Coy Barefoot when he took over as executive director of the Albemarle Charlottesville Historical Society in April of 2018. In an interview with ilovecville.com, the local author and media personality expressed his desire to rebrand the organization and create “a whole constellation of museums that will offer really rich experiences.”

Eighteen months later, Barefoot had resigned from the position. The society released a statement on October 12 thanking him for his work as executive director over the last year and a half.

Multiple members of the society’s board of directors declined to comment directly on Barefoot’s resignation, citing a policy that forbids discussing personnel decisions, and Barefoot did not respond to multiple requests for comment. He told at least one person, who later described the conversation to C-VILLE, that his pay was being cut amid fundraising difficulties.

Barefoot’s departure is the latest shake-up at an institution with a tumultuous recent past.

In 2017, the historical society found itself in an unwelcome spotlight when UVA professor Jalane Schmidt, hoping to conduct research in advance of the June Ku Klux Klan gathering in Charlottesville, was stymied in her request to view a collection of KKK robes and membership certificates owned by the society. “Just a few days before the Klan was coming, these people were so recalcitrant,” she recalls.

The society declined to reveal the names of the owners of the robes in its collection (they were finally revealed in May of this year). And it came under more criticism for failing to respond to the August Unite the Right rally that happened right outside its front door.   

At around the same time, the society was seeking to renew its lease. Since the 1990s, the organization has been given a deal on rent at 200 Second St. NE, a column-fronted hall (formerly a whites-only library) owned by the city, just a few yards from the statue of Robert E. Lee. ACHS’ rent is well below market rates, and that generous lease raises the stakes for everything that happens at the society.

The increased scrutiny over the lease renewal revealed years of dysfunction and declining membership. At a City Council meeting that September, Councilor Kathy Galvin called the nonprofit “an absolute mess,” and a local historian accused the society of having an antagonistic relationship with the Jefferson School African American Heritage Center.

“It’s a shame that we basically have a black historical society and a white historical society, but that’s the way it’s played out,” former ACHS executive director Douglas Day later told C-VILLE, referring to the Jefferson School and ACHS.

The ACHS “just served as a genealogical society for white people, that’s what it seemed like,” Schmidt says.

Director Steven Meeks abruptly resigned in February 2018, and Barefoot was hired that April.

Under Barefoot, the historical society met nine of 10 goals set for it by City Council, and in February of this year agreed to a three-year lease with two one-year renewal options.

The market value for the building is estimated at around $114,000 per year. The historical society will pay just $9,000.

The current physical condition of the premises reflects an institution in transition. A recent visit revealed an empty exhibition room, maintenance equipment scattered around the main hall, and a cart of stackable plastic chairs in the middle of the lobby. The artifacts on display include a rusty cavalry spur from the Civil War skirmish at Rio Hill and a 1920s doll owned by a girl who died of pneumonia.

That collection doesn’t stand out in Charlottesville’s crowded historical tourism landscape. Shelley Murphy, who was elected chair of the board six months ago, conceded that it has been difficult for the society to attract visitors and philanthropy dollars. “Not that it’s competitive, but it is competitive,” Murphy says. “There’s I think 800 or more nonprofits in the area. For people coming in from out of town or even local, you have Monticello here, you’ve got Montpelier here, and you also have Highland.”

Despite these problems, there are reasons to believe that the organization can be turned around. The last two years have seen a near-total overhaul of the society’s board of directors. In addition to Meeks’ resignation, notable departures include Ken Wallenborn, a retired doctor who spent years arguing that Thomas Jefferson did not father the children of Sally Hemings.

“There seem to be more bona fide historians being asked to be involved, like Phyllis Leffler, Shelley Murphy…Certainly more women and people of color,” Schmidt says of the recent changes.

UVA history professor John Edwin Mason says he’s been “unofficially invited” to join the board. “I think that the society can play an important role in the reexamination of our history—something that’s happening in many places right now,” he says. “There’s tremendous energy out there at the moment.”

In order to survive, the historical society will need to shed its image as an insular and inaccessible club.

Barefoot made motions towards that end, renaming the institution the Charlottesville Center for History and Culture and launching a new website. But the site’s featured blog has not been updated since October 2018, and the sign in front of the building, as well as the Facebook page, still say Albemarle Charlottesville Historical Society.

Board chair Murphy says Barefoot “started that change movement” and the society will build from there. “My hope coming in to the future is that we’re building local community partnerships,” she says. “We don’t want to just be sitting here and not serving.”