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Perhaps the most iconic cinematic image of manhood from the days of the presidency of George Bush 41 (1989-1993) is that of Arnold Schwarzenegger as the titular cyborg in the ad for the 1991 film Terminator 2: Judgment Day, sitting atop a motorcycle, wearing a black leather jacket, black T-shirt, and black sunglasses from whose left lens a red point of light glows, an enormous phallus of a gun held in his right hand and pointed aggressively upwards, the entire image darkly swathed in an ominous blue-black neon glow. The image encapsulates the menace and might of Schwarzenegger's newly rearticulated identity as a futuristic killing machine. Always a bit of joke in such films as Stay Hungry (1976) and Conan the Barbarian (1982) and its sequel, Schwarzenegger benefited from James Cameron's innovative use of him as the implacable Terminator in the 1984 film of that name, a sleeper box-office hit and one of the great films of the 80s. But, as Schwarzenegger told talk-show hosts unironically when he campaigned for the 1991 sequel, he was now playing a "kinder, gentler Terminator." This sequel, Schwarzenegger suggested, had been tailored to fit the ideological and rhetorical design of the Bush presidency. In the first film, Schwarzenegger's cyborg, returning from a future in which machines bent on eradicating all the remnants of human life rule the earth, was an unstoppable agent sent to kill the woman, Sarah Connor (Linda Hamilton), whose unborn child, to be named John, would eventually lead the human resistance against the machines. In contrast, Schwarzenegger's cyborg killer in the sequel is the hero, programmed to save the now teen-aged John Connor. The cyborg, to be sure, retains his uncouth instincts to destroy all in his path, and must be counseled by sarcastic but sensitive John in murder-etiquette. This kinder, gentler Terminator learns not to annihilate the hapless humans who inconvenience him but, with cybernetically enhanced precision, merely to wound them in non-vital areas. The spectacle of crippled, wounded, whimpering, maimed men, lying at the feet of the looming Terminator, is an exact image of its time. As J. Hoberman writes, "Politically, Terminator 2 suggests the merging of Schwarzenegger and Schwarzkopf, techno-war and Technicolor. This is truly the Desert Storm of action flicks"...