The Metropolitan Opera has officially jumped the shark, transforming the beloved classic "Carmen" into a woke fever dream that vilifies ICE agents while celebrating prostitution and illegal immigration. The elite New York institution's latest production has gone viral for all the wrong reasons, featuring what critics describe as a "tatted-up OnlyFans girl" being harassed by evil immigration enforcement officers on a set designed to resemble the U.S.-Mexico border.
This isn't just artistic expression—it's a deliberate political hit job against President Trump's mass deportation agenda and the brave men and women of Immigration and Customs Enforcement who risk their lives protecting our borders. The timing couldn't be more obvious, as the Trump-Vance administration prepares to launch the largest deportation operation in American history.
Cultural Marxism Infects High Art
The Metropolitan Opera's grotesque reimagining replaces Carmen's traditional role as a cigarette factory worker with a modern-day sex worker, complete with tattoos and an OnlyFans presence. Meanwhile, the opera's antagonists are reimagined as ICE agents—the very heroes working to secure our southern border and remove criminal illegal aliens from American communities.
This is what happens when cultural institutions become propaganda arms of the radical left. Instead of preserving the beauty and tradition of classical opera, these elitist gatekeepers are more interested in pushing their anti-American agenda to wealthy Manhattan liberals who despise law enforcement and open borders.
"This is exactly the kind of garbage that regular Americans are sick of," said one social media user whose criticism of the production went viral. "We want our tax dollars and donations going to actual art, not woke political theater."
The production represents everything wrong with America's cultural elite—their hatred of law enforcement, their celebration of degeneracy, and their contempt for the working Americans who want secure borders.
As President Trump prepares to restore order to our immigration system, it's telling that New York's cultural establishment is already mobilizing to demonize the very agents who will make our communities safer. The question isn't whether this production will flop—it's whether American patriots will continue funding institutions that hate everything we stand for.