Locusts that seem dead, the size of chihuahuas, are arising again while one rapturous dinosaur approaches the two women from this entrance and then another treacherous t-rex from that one—death now seems imminent. Even so, given the Hollywood trope for tidy, positive endings, those in the movie audience predict feisty escape, even giddily jaded me. Ian Malcolm (Jeff Goldblum) shouts from the control room above, “Push the button three from the top or four from the bottom. Same thing.” Kayla Watts (DeWanda Wise) and Ellie Sattler (Laura Dern) need clear instructions, or their bodies become the next dino meal. “E6,” Ramsay Cole (Mamoudou Athie) clarifies, giving them the right power to fight back. Ian tries to add the disclaimer that these things are complicated, yet with no time to spare, the women shout they cannot go for his so-called (privileged?) complexity.

Director Colin Trevorrow’s movie Jurassic World Dominion takes two rapid-fire hours to sound the alarm. Earth has no time to spare for purported complexity on the simple message that we humans must coexist with every living source if we aim to continue. Several weaving storylines propel the draconian consequences of dinosaurs and other creatures genetically designed in the laboratory to harm, turning science against us when the other option to coexist innovatively stays true. The button right before us.

Several swashbuckling characters locate proactive buttons to push. Many female leads (and several males) take action for coexisting with nature, saving the world Hollywood style. Kayla flies an airplane and then a helicopter to bring many to safety, an aeronautic talent she earned in the air force, the one in which her mother had a legacy. Scientist Ellie inserts a needle into one locust to source evidence on BioSynsis inventing nefarious DNA laboratory projects. And the 14-year-old teenager Maisie Lockwood (Isabella Sermon) volunteers her DNA to reverse these lab calamities for humans and earth. Her genetic code has been altered to avoid receiving the genetic inheritance her scientist mother Charlotte Lockwood had that took her life early.

Predictable dinosaur tooth sabering happens in many near fatal encounters yet watching such dino dynamism is the gruesome fun. Movie audiences viewing another rendition of the Jurassic film dynasty know to stay hopeful for humans exiting a fatal situation they created. The dinosaurs look so real—and so do the fictional humans. Flourishes of diversity spike this optimism. When the main evil scientist Lewis Dodgson (Scott Campbell) claims that his black colleague Ramsay is exactly like him, white privilege backfires when Ramsay takes brave steps to whistle blow Dodgson’s Biosyn corruption to the ground. Or consider when Kayla admits to the velociraptor trainer Owen Grady (Chris Pratt) that she too finds female redheads attractive, the quick lesbian reference works as a seamless prelude to Kayla later humble bragging to a woman as the film ends, a brunette, yet the flirting makes good sense. And aging paleontologist Adam Grant (Sam Nell) claims he prefers the quiet life to examining bones in static dirt but then reverses direction when he tells Ellie he will stay by her side, bringing to flame the ember the friends have had for decades, portraying new starts for older folks, too. Sexism, heterosexism, racism, and ageism are tumbled down, fallen dinosaurs that they are.

Hollywood brings the familiar tropes of human versus nature rather than humans with nature and yet Jurassic World Dominion mixes up the predictable by challenging simple expectations in complex ways. When we say the future belongs to our youth, the movie visually confirms so in teenager Maisie who declares that Bryce (Claire Dearing) and Owen are her parents even if not through biology. Takes a village. Or in the case of youth evolving into future ethical scientists, Jurassic world dominion might become Jurassic world co-existence. Watch and see. Bring the family if you wish.