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Jurassic World: Rebirth
Movie

Jurassic World: Rebirth

2025 • Action, Adventure, Sci-Fi

Woke Score
6.4
out of 10

Plot

Five years post-Jurassic World: Dominion (2022), an expedition braves isolated equatorial regions to extract DNA from three massive prehistoric creatures for a groundbreaking medical breakthrough.

Overall Series Review

Jurassic World: Rebirth is a continuation of the franchise’s core critique of unchecked corporate science, framed this time through a new, diverse cast and an overt 'Girl Boss' dynamic. The film scores high in Identity Politics and Feminism due to the clear competence-hierarchy established among the new main characters. The elite team is led by a hardened female mercenary, Zora Bennett, with the primary antagonist being a duplicitous white male corporate executive. Male characters, particularly those representing traditional 'masculine' roles like the arrogant security chief and the corporate stooge, are depicted as either quickly incompetent or the root of the ethical danger. The Oikophobia score reflects the franchise's long-standing 'man is the real monster' theme, amplified by one of the lead male scientists outright stating that human intelligence is a long-term evolutionary failure compared to the dinosaurs. The film avoids explicit lecturing on sexuality or religion, with the most profound moralizing being a cynical but clear condemnation of human hubris, a theme consistent with traditional moral frameworks.

Categorical Breakdown

Identity Politics7/10

The main heroic trio and the supporting team exhibit significant racial and gender diversity, with a female-led expedition (Zora Bennett) supported by a Black male operative (Duncan Kincaid) and a paleontologist of ambiguous ethnicity (Dr. Loomis). The primary villain, Martin Krebs, is a Big Pharma executive and is portrayed by a white male, falling into the 'evil/incompetent white male' trope common in this scoring bracket. A secondary male antagonist, the arrogant security chief, is a disposable 'redshirt' who quickly meets his comeuppance, reinforcing the hierarchy of competence.

Oikophobia6/10

The plot continues the long-standing franchise tradition of vilifying unchecked Western corporate and technological institutions (Big Pharma, scientific hubris) as the core evil. This is reinforced by Dr. Loomis’s philosophical musings, where he contrasts the 165 million years of dinosaur survival with the brief 300,000-year history of humans, explicitly framing human intelligence and civilization as an evolutionary mistake, which scores as a classic critique of Western Enlightenment values and human primacy.

Feminism8/10

The lead protagonist, Zora Bennett, is a flawless 'Girl Boss' figure—a skilled, battle-hardened, ex-CIA covert operations expert who effortlessly leads the mission. She is not a 'damsel in distress' and is positioned as superior to several male characters, including the intellectual Dr. Loomis (described as 'out of his depth' in action) and the corporate villain. This clear-cut dynamic positions the female lead as instantly perfect and highly competent, while men are often depicted as the primary sources of danger, incompetence, or intellectual/physical weakness.

LGBTQ+3/10

The narrative itself does not center on alternative sexualities, gender ideology, or deconstructing the nuclear family, maintaining a largely 'normative structure.' While one of the main actors (Jonathan Bailey, Dr. Loomis) is openly gay, his character's on-screen 'romcom chemistry' is with the female lead, Zora Bennett. The civilian family, the Delgados, functions as a traditional nuclear unit in a survival setting. The score is low, reflecting the absence of overt 'Queer Theory' themes in the plot.

Anti-Theism4/10

The movie follows the *Jurassic Park* formula of being a cynical but clear-cut cautionary tale about 'playing God' and technological advancement divorced from moral purpose. This theme of human hubris and the cost of violating creation aligns with a traditional moral framework and can be interpreted as a call back to objective truth and limits, though it's delivered with secular-cynical flair. It does not actively demonize traditional religion or feature religious characters as villains.