The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-EIGHT

In a series of events with which the fans of the original Terminator will already be familiar, futuristic human resistance leader John Connor (Jason Clarke) sends his own father (Jai Courtney) back through time to 1984 to save his mother before a Terminator cyborg (CG-rejuvenated Schwarzenegger) can kill her before she conceives the destined savior. Terminator Genisys then proceeds to overturn the audience’s expectations by having Reese arrive not in the 1984 of the first film, but in an alternate, already altered reality in which Sarah Connor (Emilia Clarke) has already been toughened by years of tutelage from “Pops” (geriatric Schwarzenegger), her own personal cyborg sidekick and father figure. Genisys, an Orwellian app to be launched in 2017, turns out to be the catalyst for the rise of the machines. The plot gets a lot more convoluted than this, and none of the time travel gobbledygook makes any sense; but fans of the franchise ought to enjoy it, its sinister purposes notwithstanding.

4 out of 5 stars. Ideological Content Analysis indicates that Terminator Genisys is:

3. Feminist. Sarah Connor in this movie is already a battle-hardened warrior woman. She resents Reese’s presumption that she is in need of his protection; and, in fact, it is she, not Reese, who utters the famous line, “Come with me if you want to live.”

2. Zionist. In the bleak future sampled in the exposition, humanity is confined in camps, given arm-barcodes, and exterminated. The term “final solution” even occurs in the script, so that human resistance in Terminator Genisys is understood subtextually to serve as the avatar of holocaust-fearing organized Jewry. Awakening European racial consciousness is equated with the quest of a totalitarian order of genocidal robot supremacy. This is the future that must at all costs be prevented. (Skydance Productions, which made the film, is run by Jews David Ellison, Dana Goldberg, and Jesse Sisgold.)

1. Pro-choice and anti-white. Jew-killing robot armies of whites will never be able to serve their purpose as long as they are never born. Terminator Genisys, consequently, is greatly concerned with promoting Euro-American childlessness. Thirty years of cultural collapse spanning the first film and this one can be read between the lines. Whereas, in the first entry in the series (made in the decade following the Roe v. Wade decision), the Terminator is an antagonist – an abortionist sent from an inhuman future to preemptively terminate Sarah’s pregnancy – this same soulless, robotic abortionist (or one with identical facial features) has, in Terminator Genisys, become a perverse father figure to Sarah, who enlists his help in killing her son, John Connor, who, Sarah discovers in this installment, has become a corrupted collaborator of Skynet in the yet-to-be. One of the major action sequences in Terminator Genisys features Sarah driving a symbolically passengerless school bus – signifying the white race’s decadent demographic decline – in her desperate rush to evade and/or destroy her own posterity. Once freed from the horror of her son’s bleak destiny, Sarah can enjoy sexual freedom and happiness with Reese because, as she puts it, “Now I can choose.” Additionally, the necessity in the film of preemptively assassinating a future savior can be read as expressing a Jewish wish that Christ had been aborted.

Rainer Chlodwig von Kook