{"id":358,"date":"2016-08-10T15:19:58","date_gmt":"2016-08-10T15:19:58","guid":{"rendered":"http:\/\/pascaleditions.com\/colintrafford\/?page_id=358"},"modified":"2025-07-25T16:02:46","modified_gmt":"2025-07-25T16:02:46","slug":"10-cloverfield-lane","status":"publish","type":"page","link":"https:\/\/pascaleditions.com\/colintrafford\/10-cloverfield-lane\/","title":{"rendered":"10 Cloverfield Lane"},"content":{"rendered":"

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The Breivikian Subtext Of 10 Cloverfield Lane<\/h1>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,1_2,1_4″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/pascaleditions.com\/colintrafford\/wp-content\/uploads\/10_Cloverfield_Lane.png” align_tablet=”center” align_phone=”center” align_last_edited=”on|desktop” admin_label=”Image” _builder_version=”4.16″ animation_style=”slide” animation_direction=”left” animation_duration=”500ms” animation_intensity_slide=”10%” use_border_color=”off” border_color=”#ffffff” border_style=”solid” animation=”left” sticky=”off” always_center_on_mobile=”on” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” use_border_color=”off” border_color=”#ffffff” border_style=”solid” global_colors_info=”{}”]<\/p>\n

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For the most part 10 Cloverfield Lane<\/a> is a loathsome, somewhat Faulkneresque, piece of trash.\u00a0 <\/span>Conceived in the modern Pavlovian manner, its elements are there more to make you drool than think.\u00a0 <\/span>That puts it firmly in the realm of anti-sf, not science fiction at all.\u00a0 <\/span>Still, the fact that its creators saw fit it to have it masquerade<\/i> as science fiction merits comment.\u00a0 \u00a0<\/span><\/p>\n

The story line is simple:\u00a0 <\/span>our heroine Michelle, a buxom maid with a T-shirt maximally designed to forefront her boobs, elects to dump her boyfriend after an argument and drive off to pastures new.\u00a0 <\/span>Bad hair day:\u00a0 <\/span>she is hit by a car as she absconds,and wakes up chained and helpless in a cellar room.\u00a0 <\/span>Are we salivating yet, audience?<\/p>\n

This porn flick scenario is strengthened by the appearance of Howard, the lurker at the threshold.\u00a0 <\/span>Played by the talented and normally engaging John Goodman, here he is dour, bearded, curt, and curmudgeonly. Our feisty heroine, mind and nipples straining, tries various ways to free herself and brain the repressed but clearly simmering Howard, but fails.\u00a0 <\/span><\/p>\n

Sighing, Howard darkly enlightens her. \u00a0Kidnap her for purposes of mere hanky-panky? \u00a0Hardly. \u00a0He has saved her sorry and ungrateful ass because massive and abysmal alien apocalypse has trashed the outside world, and they may be all that’s left.\u00a0\u00a0<\/span>The air is contaminated.\u00a0 <\/span>Nukes, Martians, something, God knows what, has blown all the radio and TV and satellite transmissions off the air.\u00a0 <\/span>It\u2019s the End Times! Thankfully\u00a0survivalist Howard is ever ready, his well-stocked basement at 10 Cloverfield stuffed with all the bourgeois conveniences from canned goods and IVs to books, stereo and R-rated VHS.<\/p>\n

Though gruff, grizzly, older and overweight, Howard has fed her, sheltered her, given her a place to stay, shared his limited resources, saved her life.\u00a0 <\/span>But, alas:\u00a0 <\/span><\/i>he is not buff.<\/i>\u00a0 <\/span>So expectations that this will become a tale of Adam and Eve repopulating the blasted Earth are in vain.\u00a0 <\/span>Indeed, the more he tries to establish some sort of personal connection, the more the lady draws back, sensing that the silly old man wishes she would repay his kindness with an occasional dash of poontang.\u00a0 <\/span>No chance, Fatso.<\/p>\n

Howard has been dumb enough to also rescue and shelter Emmett, another End Times survivor.\u00a0 Emmett\u00a0<\/span>is the sort of clod you find sucking back brewskis on the bar stools of every Country saloon in the land. \u00a0But he’s younger and less pudgy than Howard, so naturally Emmett and Michelle soon pair off. Emmett, looking both ways, murmurs that Howard had another<\/em> girl in his basement earlier, but — ahem — she ain’t there now, <\/em>honey\u00a0(if you catch my drift). \u00a0<\/em>Sinister chords warble as Michelle takes the hint. \u00a0Howard may be canning more than preserves in his dank cellar!<\/p>\n

But if so, why does Howard expend his limited resources to give shelter to Emmett at all? \u00a0For that matter, doesn’t keeping two outsiders inside leave him potentially outnumbered and in danger? \u00a0Ah, but you’re thinking logically, Reader. \u00a0The goal is not to make sense, but to stoke rape scenarios in the moviegoers’ salivating libidos.<\/p>\n

Thus, as suspicions grow that Howard may be an armed murderer and rapist with a growing crush on Michelle, the scriptwriters ramp up the growing Michelle and Emmet solidaridad<\/em>\u00a0to the point where they flirt right in front of the armed and lovelorn sap. \u00a0Stupid, eh? Somehow\u00a0Howard appears to manage. \u00a0But when they actively plot together to get Howard’s gun so as to equalize their position as houseguests, the situation goes from emotional cruelty to a potential direct threat to Howard’s survival. \u00a0Enough. Howard loses it, and kills Emmett.<\/p>\n

Sensing that the situation has changed \u2014 they are no longer chaperoned, and (gulp) Howard has shaved<\/i> \u2014 Michelle realizes in true Victorian fashion that Howard may soon subject her to A Fate Worse Than Death.\u00a0 <\/span>None of that for this<\/i> plucky lass.\u00a0 <\/span>She splashes Howard with acid and sets the shelter burning, killing Howard in the subsequent explosion and escaping outside, preferring fatal irradiation to whoopie-doo under Howard\u2019s patriarchal thumb.\u00a0 \u00a0<\/span><\/p>\n

This story has been told before.\u00a0 <\/span>It\u2019s the YA classic Z For Zachariah<\/i><\/a>, in which boy meets girl in post-apocalyptic landscape.\u00a0 <\/span>There as here the boy is rough and rude and clearly appears more and more ready to use force to bend the lady to his romantic will.\u00a0 <\/span>Naturally the weaker sex gets the upper hand and walks out on the loser.\u00a0 <\/span>As they\u2019re the last of the species, this also means the end of the human race.\u00a0 <\/span>But, hey, better the human race end than a modern woman consent to have sex with a dork.<\/p>\n

Cloverfield<\/i>‘s screenwriters could simply have updated this for \u201cadults,\u201d if one can apply that word to modern American movie-goers.\u00a0 <\/span>Even better:\u00a0 they<\/span>\u00a0could have arranged it so that Howard\u2019s tale of apocalypse turned out to be a ruse, with the departing heroine going out not into the alien corn but into the plot-twist shock of everyday normality.\u00a0 <\/span>A foreign director might have explored the starved and lonely isolation of Howard, or done a few Freudian arabesques on the incest theme, or even played with the possibility of the heart of Beauty being touched by The Old Beast.<\/p>\n

But this is stock stereotype Hollywood, where Old White Men are always the villain and the young superwoman always breaks triumphantly free.<\/p>\n

So she does.\u00a0 <\/span>Out she goes, as Howard goes up in flames.\u00a0 <\/span>Surprise!\u00a0 <\/span>Birds are flying.\u00a0 <\/span>The air is clear.\u00a0 <\/span>The contamination has wafted away! Unfortunately there\u2019s another surprise:\u00a0 <\/span>an alien spacecraft slithers over like a manta ray to see what those rising flames are all about.<\/p>\n

Loathsome tentacled thingies, creatures half out of Alien<\/i>, half out of the Tom Cruise\u00a0War Of The Worlds<\/i>, descend, chase our heroine cat-and-mouse through the house topside, then snap up into the air the car into which she finally leapt for shelter.<\/p>\n

But as slimy alien loathsomeness slithers nearer for a peek if not a tickle \u2014 how like Howard, eh? \u2014 our newly free Ms. Marvel shoves a handy Molotov cocktail up its\u2026 er\u2026 orifice.\u00a0 <\/span>Up goes the thingie.\u00a0 <\/span>And by golly, so does the entire galaxy-spanning alien spacecraft!\u00a0 <\/span>They just don\u2019t build them the way they used to.<\/p>\n

The car drops to earth; and, despite a recent road crash, apocalyptic radiation fallout, weeks of just sitting there idle, and now an aerial drop from crushing alien pincers, it starts right up soon as it hits land.\u00a0 <\/span>How about that quality Ford engineering, eh?\u00a0 <\/span>Our heroine is back on the road.<\/p>\n

And as she drives, the radio comes on. Hurrah, Americans are kicking alien butt and taking back the land!\u00a0 <\/span>And they need all the help they can get.\u00a0 <\/span>Join up today!\u00a0 <\/span>Our heroine swerves onto the empty Interstate to help mankind finish the job.<\/p>\n

\"10That’s the story. \u00a0Such as it is. \u00a0<\/p>\n

But what is this film actually\u00a0about?<\/em>\u00a0 Psychologically it seems more a standard piece of feminismo<\/em> than anything else — a flight-from-sex tale embodied in a narrative string of fatuous and failed relationships with men; feminist paranoia, really.\u00a0 Our heroine starts by walking out on her Significant Other, fails to collaborate well enough with doofus Emmett to keep him from getting killed, slaughters Howard outright, and wipes out the alien probe down to the last probing, slithering feeler.\u00a0 Dude, can\u2019t we all just get along?\u00a0 Apparently not.<\/p>\n

Art can be built on the theme of refusal, of course.\u00a0 <\/span>Not for nothing is Antigone<\/i> classic.<\/p>\n

But why drag sci-fi into it?<\/p>\n

As readers know, I regard most sf as an expression in metaphor of quietly pressing but subterranean issues.\u00a0 This is no new insight. We’ve long heard that in, say,\u00a0The Time Machine<\/i>, Morlock and Eloi are anticipations of the ultimate fates of underclass debasement and aristocratic decadence; that in The War Of The Worlds<\/i>, the invading Martians are an analogue for the coming Germans.\u00a0 The metaphors have continuing resonance and relevance because they are loose enough to fit later concerns. (The German Martians of Wells become the Communist Martians of yesterday become the Islamic immigrant Martians of today, and so on.)<\/p>\n

There are, of course, alternative, stronger and better methodologies of science fiction — the Soviet way of rational utilitarian futurology, in which the writer projects a likely and desirable future and portrays active and admirable protagonists constructing it.\u00a0 Star Trek<\/i> is a prime example.<\/p>\n

Unfortunately that is also one of the toughest ways of approaching artistic creation.\u00a0 Conscious and deliberate art is like conscious and deliberate spontaneity:\u00a0 one can foster the conditions which give\u00a0rise<\/i> to the spontaneous, but one can\u2019t produce it on demand.\u00a0 Far easier to simply copy what seems to sell, like Steven Spielberg\u2019s stream of\u00a0Indiana Jones<\/em> or Holocaust or feelgood family film rehashes, or to spin out one\u2019s narrative improv and follow it wheresoever it will, as with David Lynch\u2019s numerous self-indulgences.<\/p>\n

But this is what makes the conclusion of 10 Cloverfield Lane<\/i> a puzzle.\u00a0 None of this explains the need to tack on a science-fiction element to an essentially non-sci-fi tale.\u00a0 Why do it? \u00a0Just because SF sells?<\/p>\n

Maybe. \u00a0But I think that something more is going on. \u00a0My suspicion? \u00a0Alien invasion is sprinkled on at the end not<\/i> to express what is pre-consciously intuited, but so as to avoid <\/i>expressing it. It’s a new trend: \u00a0a move from science fiction as social metaphor to science fiction as social mask.\u00a0<\/em><\/p>\n

Consider.\u00a0 What large-scale social phenomena are currently everywhere in the press, and socially evident as well?\u00a0 Immigration, migration, racial and ethnic rioting and looting — multicultural friction, in short. \u00a0Would one not therefore expect a crop of science fiction films featuring swarming aliens and cities in flame? \u00a0Such exaggerated expressions of social immigrant \u201cinvasion\u201d would seem the inevitable result of a society riven by the subject.<\/p>\n

But\u00a0no film can examine feelings of discomfort or concern over immigration directly or sympathetically \u2014 that would be racist<\/em>, a label that is for the moment a social and professional kiss of death.\u00a0 So one sees no full-blown struggle-against-occupation War Of The Worlds<\/i> plot lines.\u00a0 That cuts too close.<\/p>\n

Thus, while alien invasion is the motor driving the entire situation of 10 Cloverfield Lane,<\/i> the actual<\/em> threat, the\u00a0alien <\/i>threat, is pushed to the side throughout, and not faced till the very end of the picture.\u00a0 The immediate<\/i> threat throughout the whole of the film is Howard.<\/p>\n

And that is why I think 10 Cloverfield Lane<\/i> is not so much a feminist film as a Breivikian one \u2014 indeed, something of a fascist classic.<\/p>\n

In many ways 10 Cloverfield Lane<\/i> is Robert Putnam\u2019s Bowling Alone<\/i> writ cinematic.\u00a0 Putnam is the academic who famously studied diversity so as to celebrate all its wondrous benefits, only to find that the results were wholly negative, and principally marked by a decay of social trust and what he called \u201ctunneling\u201d \u2014 the tendency of those in diversifying environments to withdraw into their houses and into isolation.<\/p>\n

This is of course the perfect image of Howard the survivalist, who deals with invasion not by facing it but by hiding from it.\u00a0 Who kills not the Enemy but a fellow human being so as to secure his hiding place and get the girl. \u00a0He thins out his own people — the human population, not the competing alien one.<\/p>\n

Apparently the Alpha male, he is in reality Beta:\u00a0 all he wants to do is survive.\u00a0 And of course you can\u2019t survive<\/i> the Enemy:\u00a0 you have to confront, defeat, and expel him.\u00a0 This is not something the film wants to say out loud, just as it does not want to say that the first step in dealing with the Enemy is dealing with the cowards and enablers that put off that direct confrontation.<\/p>\n

This is the Anders Breivik approach: when struggling against Islamic foreigners, kill local liberals first. \u00a0And this is the true if implied subtext of 10 Cloverfield Lane<\/em>.<\/p>\n

Why is this fascist reading arguably the truer one?\u00a0 Because the feminist reading requires no alien invasion.\u00a0 Howard could have been simply a nut capturing a girl and faking some paranoid story to convince her to stay willingly.\u00a0 And she could have seen through it and dispatched him, to politically correct applause.<\/p>\n

But the fact that there are<\/i> aliens, and humanity is pitted against them, puts the entire situation in a new perspective. \u00a0Howard’s killing of Emmett detracts from that struggle; Michelle’s killing of Howard frees her to advance it. \u00a0From the point of group<\/em> survival, the survivalist is not a warrior but a traitor; though it puts her at personal<\/em> risk, Michelle is correct to reject him.\u00a0For the threat transcends the personal.<\/p>\n

But this is not something that can be framed in contemporary terms. \u00a0The swarm cannot be Muslim or Somali.\u00a0Hence the science fiction. Grotesquely alien life forms are distant enough for us to have our paranoia and get a feminist thumbs-up review from The New York Times<\/i> too.<\/p>\n

The interesting question is:\u00a0 is this concealment deliberate?\u00a0 Are science fiction tropes now being used to hide<\/em> social material, as opposed to their traditional function of consciously or unwittingly expressing it? if so, it\u2019s a significant and possibly ominous displacement.<\/p>\n

And not the only displacement. \u00a0The ostensible feminism is only ostensible:\u00a0 there is a subtle redirection at work in this film, one in which Michelle’s struggle against Howard\u2019s cubbyhole\u00a0authoritarianism eventually issues in her final decision to join with the far more generally authoritarian military state for combat yet to come.<\/p>\n

While structured for commercial reasons as soft porn, in the end this is a war film.\u00a0 And a pro-war film at that. \u00a0<\/span>But one\u00a0that it is taking conventional feminist fears and hatreds and redeploying it to combative tribal\u00a0ends — a nearly imperceptible conversion from left to Alt Right. \u00a0<\/span><\/p>\n

An intentional passage?\u00a0 Probably not.\u00a0 But social trends don\u2019t have to be intentional to flourish, or to flourish with ultimately devastating impact. \u00a0And there is quite a difference between an intuitive emerging awareness breaking through in artistic forms, and works of art striving\u00a0to repress<\/em> that emergence — between an art expressing things we are only just beginning to suspect, and an art that obscures these new transitions under old tropes. <\/span><\/p>\n

And what that leaves us with is… very\u00a0little indeed: a\u00a0science fiction that is no longer about the future and not even about the present.<\/span><\/p>\n

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The Breivikian Subtext Of 10 Cloverfield Lane For the most part 10 Cloverfield Lane is a loathsome, somewhat Faulkneresque, piece of trash.\u00a0 Conceived in the modern Pavlovian manner, its elements are there more to make you drool than think.\u00a0 That puts it firmly in the realm of anti-sf, not science fiction at all.\u00a0 Still, the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-358","page","type-page","status-publish","hentry"],"yoast_head":"\n10 Cloverfield Lane - Science Fiction Today With Colin Trafford<\/title>\n<meta name=\"description\" content=\"A review of 10 Cloverfield Lane by science fiction author Colin Trafford. 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