In my introduction to this series, I presented my thesis. The Jurassic Park movie series is about the sexual revolution in Western culture. De-extinction of dinosaurs is a symbol. It represents an unnatural, hubristic, and dangerous act perpetrated by man in rebellion. The motto “God creates dinosaurs” captures this conviction. This use of scientific power for consumerism is a metaphor for the sexual revolution. And the everyday signs of the sexual revolution are pervasive in the plots of the films. They reinforce the connection. And the agency of the functional family saves the day.
Signs of the Sexual Revolution
“Jurassic World: Fallen Kingdom” (2018)
Fallen Kingdom parallels The Lost World (1997) just like Jurassic World (2015) paralleled Jurassic Park (1993). Each movie of the pair features a character or two who turned from a life as an entertainment-based capitalist-consumerist to a guilt-ridden naturalist-preservationist and animal-rights advocate regarding the dinosaurs. Both suffer from the same problem of not questioning their fundamental mistake: it wasn’t their business to create dinosaurs in the first place, and once the deed was done, it doesn’t make preservation of dinosaurs noble or moral.
And while The Lost World and Fallen Kingdom each have a misguided guilt-driven wannabe hero seeking self-redemption (i.e. John Hammond and Claire Dearing), they each have an antagonist doubling down with an even more ruthless capitalist-consumerist plan for the dinosaurs (i.e. Peter Ludlow and Eli Mills).
Mills: “Claire, I admire your idealism. But we both exploited these animals. At least I have the integrity to admit it. … You exploited a living thing in a cage for money. How is that any different?”
Mills has a point here. At the end of the day, exploitation is exploitation, whether people experience it with a smile of delight or a wince of disgust. Keeping with the metaphor of my thesis, sexual liberation is just a deluded “happy” form of our sexual self-exploitation. In Jurassic World, the dinosaurs are the happy pampered park inhabitants who exist for the pleasure of tourists, like a lifestyle of casual sex. In Fallen Kingdom, I see Ken Wheatley’s crew capturing, roping, crating, caging, intimidating, transporting, and abusing a bunch of dinosaurs, and I can’t help but see something a lot like international sex trafficking.
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The metaphor that forms my thesis starts feeling a bit convoluted or confusing at times when applied to Fallen Kingdom, because a point has come where the metaphoric and the literal begin to be one and the same. Nowhere do the metaphoric and the literal meet with greater clarity than Maizie Lockwood—a child clone of the dead daughter of a sad lonely dying old man. Not the embodied icon of the self-sacrificing love of her parents. But an isolated child who’s the product of capitalist-consumerist reproductive technology for the satisfaction of a wealthy recluse who doesn’t have the ethical sense to know the difference between whether he could do a thing and whether he should do a thing.
Benjamin tells Claire that he’s “trying to save us” with his grand philanthropic gesture to relocate the dinosaurs. And his final stated reason they have to do this is that it’s “for the children” as an abstraction. It’s peak irony. Real individual children are the victims of the sexual revolution, whether as collateral causalities, consumer commodities, or sacrificial offerings to cultic careerism.
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It was a dark and stormy night on Isla Nublar …
The opening scene is fertile ground for imagery and becomes pregnant with meaning. The dark watery gates to the Jurassic World lagoon open, and the mini-sub enters. Working backward from the monstrous life that is to be created from dead remains at the bottom of the lagoon, it functions as a metaphor for a womb. And a barren womb as hoped by the mini-sub driver who assures his partner.
Driver: “Anything in here would be dead by now.”
Beginning here in the lagoon, there is a reversal of the origins of the sexes that took place in the beginning. God put the man who he created into a death-sleep. God took a rib out of the man, and from that rib, God builds a woman. But in Fallen Kingdom, it is arrogant, avaricious, and hubristic man who takes a rib from the dead remains of the Indominus Rex, and from that rib, man builds an Indoraptor.
As I presented previously, the female Indominus Rex is an Anti-Eve, an Anti-Mother and destroyer of all living. And from her death, there arises a male Indoraptor that is an Anti-Adam, an Anti-Father and destroyer to make the earth barren. They’re completely twisted from their natural purpose as living things that were created and commanded by God to be fruitful, multiply, and fill the earth.
Weaponizing dinosaurs is like the sexual revolution in that it changes the teleology of a thing. The sexual revolution is about man rending asunder the divine design for human sexuality and reconfiguring it for ends which it was never designed to serve and cannot serve with any genuinely good and healthy fruition.
The monstrous manufacturing of the Indominus Rex, and even more so the Indoraptor, is Frankensteinian scientific madness and horror. And the movie embraces this by taking on the genre of a horror movie as the Indoraptor is debuted, escapes, and wreaks havoc and carnage until it’s impaled to death.
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In an argument of the time and cost of the work to further perfect the Indoraptor, Henry Wu tells Eli Mills what the fundamental problem is with the Indoraptor they have.
Wu: “It needs a mother!”
The bottom-line problem is still one of family dysfunction and breakdown. Mad science won’t impart empathy, obedience, and other civilizing traits to this monster. It can’t fill the gap that only real parenting can fill.
And here we have Blue who has grown up from being a good daughter under Owen Grady and takes on motherliness in a variety of ways in the movie. She protects Zia and Franklin like two hapless kids in danger. She marks and confronts the Indoraptor as a threat to her adoptive family—Owen, Claire, and Maizie who have formed up as a family following the recurring theme in this movie series where functional family units survive and overcome.
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I’ll conclude with the remarks of an older wiser seasoned Ian Malcolm testifying before a government committee.
Malcolm: “I think that we should allow our magnificent, glorious dinosaurs to be taken out by the volcano. … This is a correction.”
The listening crowd hisses and mumbles, “Murderer.” But Malcolm is right. As I presented previously, the takedown finale of the Indominus Rex is a metaphor. The sexual revolution will come to a disastrous end. It will be challenged and pecked at by genuine wise Reason (Blue the Velociraptor). It will be bucked and pummeled by tested and tempered Tradition (Rexy the Tyrannosaur). And it will finally be dragged down to the depths and drowned by rugged and relentless Nature (Shamu the Mosasaur). The sexual revolution is against all of these things. And Nature, the created order with its created meaning and purpose, is the most fundamental of the trio. In Fallen Kingdom, Nature has taken a new form, Mt. Sibu the active volcano. And it is offering a guilt-free opportunity to just step back and allow it to set things right. And Malcolm tells us why we should do so.
Malcolm: “We amassed a landmark technological power, and we’ve consistently proven ourselves incapable of handling that power … Now we’ve got genetic power. How long is it going to take for that to spread around the globe? And what’s going to be done with it? It ain’t gonna stop with the de-extinction of dinosaurs … I’m talking about manmade cataclysmic change … Change is like death; you don’t know what it looks like until you’re standing at the gates. … We’re causing our own extinction.”
Here again, the metaphoric and the literal begin to meet and be one and the same. The sexual revolution has been aided every step of the way by the particular applications of technologies that have enabled the circumvention and redeployment of human sexuality from its God-given purposes. And it’s becoming a proposed and desired gateway for some to pursue the transformation of future generations of humans into something other than human. As C.S. Lewis argued in The Abolition of Man, the grand project of seeking ultimate freedom over ourselves, over the restrictions of our own nature, so that man can remake himself any way he sees fit will end with man having only the fallen rebellious desires of his morally corrupt nature to guide the foolish project. Thus this transhumanism will enslave man to his fallen desires and destroy man.