For those with a certain attraction to B-movie, tongue-in-cheek cinema, the “Sharknado” series has been a must-see summer tradition.

On August 6, the fifth installment of the meteorological predator action, “Sharknado 5: Global Swarming,” will arrive on the SyFy Network. All manner of ridiculousness is assured, from questionable special effects to stunt cameo casting and premise-stretching reality.

The tagline “Make America Bait Again” should be all that’s needed to understand the asinine atmospherics of this flick. There is a global theme to this sequel about tornado sharks, and the production studio — The Asylum — has released a trailer displaying the expected farcical premise and the globe-crossing plotline. Various well-known global landmarks are shown coming under the destructive force of these tiburon twisters.

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We see the aquatic predators lay waste to London’s Big Ben, the Great Wall of China, and the Sphinx in Egypt, to name a few. What is notable but not too surprising is what we don’t see. Notably spared are any Islamic locales from Muslim nations. This is likely a result of Hollywood’s growing reluctance to depict Islamic people or locations in any sort of negative light.

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During the recent spate of awards shows, we saw how celebrities and some studios lent support to those supposedly “banned” by President Donald Trump’s executive order on travel to and from certain countries. And within the industry, there’s been a broader hesitancy via content. In recent years, liberal creative types have depicted the Middle East and Muslim people with a balanced view — or they’ve avoided conflict entirely.

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That a “Sharknado” film would systematically sidestep a politically sensitive region of the world is both silly and endemic. Yet there have been other instances in which the avoidance of those areas was not just notable but intentional.

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Director Roland Emmerich has made a number of films filled with scenes of rampant destruction — whether at the hands of aliens (“Independence Day”), a giant lizard (“Godzilla”), or global warming (“The Day After Tomorrow”). Five years ago he made “2012,” a film that depicted global destruction.

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This was not just in Emmerich’s wheelhouse — it was his chance to make a statement. The director made clear he intended to depict scenes of destruction against numerous religious landmarks across the globe.

The reason, he told Syfy Wire, was “because I’m against organized religion.” <(go to page 2 to continue reading)[lz_pagination]