Archives for posts with tag: patriarchy

10_cloverfield_lane

Nasty woman Mary Elizabeth Winstead wakes up chained to a cot in survivalist John Goodman’s basement in 10 Cloverfield Lane, a genre-bending experience in the tradition of Cabin in the Woods (2012) and The Signal (2014). Is Winstead, recalling Misery (1990), the prisoner of an obsessive loser who intends to possess her sexually – or is Goodman telling the truth when he claims that he only intends to keep her alive and that the world outside is uninhabitable, that everyone she knows and loves is dead, and that civilization has collapsed after a catastrophic apocalypse? Is it the Russians? The Martians? Or is it just a tall tale to dissuade his uncooperative guest from attempting to escape? Finding out is as frightening and fun as being held captive in John Goodman’s basement!

[WARNING: POTENTIAL SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that 10 Cloverfield Lane is:

4. Alt-media-ambivalent. Goodman is “like a black belt in conspiracy theory”, a mixed bag of a man simultaneously tuned-in and misled as to a number of topics. The fact that, in addition to aliens and Russkies, he is also concerned about “Al Qaeda” seems to suggest that the film is condescendingly and disingenuously conflating neoconservative outlets and various conspiracy-oriented media of varying quality.

3. Anti-redneck. Goodman’s character represents a typical cosmopolitan millennial’s idea of a conservative Republican: a slovenly gun nut, “authoritarian personality”, and “no touching” prude scared of Martians and the prospect of a real-life Red Dawn scenario. He is stuck in a vanished American past, as evidenced by his Frankie Avalon records and VHS collection. The fact that major elements of his assertions turn out to be correct prompts the deliciously implied question at the heart of the film. Which would be more horrifying for a millennial woman – the prospect of an alien invasion that razes everything and everyone she knows, or the possibility that, for all of these years, those hateful, judgmental, beer-bellied, rifle-toting, misogynistic deplorables were right?

2. Disaster-alarmist. Turning viewer expectations upside-down, Goodman’s conspiracy-theory-fueled survivalism comes in handy when the shit really hits the fan. Rather than rejecting extreme preparedness outright, the movie suggests that liberals, rather than pointing and laughing at the conservatives, ought to appropriate such foresight and associated skill sets for themselves. The idea that fashion design could become a survival skill in a post-apocalyptic landscape is no doubt highly appealing to a number of young women and homosexuals with tacky, clashing heaps of student loan debt in the closet.

1. Feminist/anti-family. Goodman presents a negative patriarchal archetype (“I want us to be a happy family.”). Winstead also recounts a traumatic memory of seeing a man cruelly pulling his daughter by the arm and hitting her. Perhaps under the influence of such impressions of family life, she rejects the possibility of reuniting with her boyfriend in order to strike out on her own as a superheroine and save the planet – a choice about which the director, Dan Trachtenberg, expresses a cuckolded you-go-girl enthusiasm in his audio commentary.

Rainer Chlodwig von K.

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY THREE

A_Good_Marriage

Stephen King wrote this blackly comedic thriller about a woman (Joan Allen) who, after celebrating her twenty-fifth wedding anniversary with her seemingly dull accountant husband (Anthony LaPaglia), becomes convinced that he is actually “Beadie”, a patriarchal shitlord serial killer and rapist who has been busily putting strong, liberated women back where they belong – in the grave! Meanwhile, some shabby-looking drifter character (Stephen Lang) seems to be stalking the couple. Who is Beadie and what will the heroine do when confronted with his identity? Finding out should be fun for man-haters and those who enjoy scenes of elderly people screwing.

[WARNING: SPOILERS]

3.5 out of 5 stars. Ideological Content Analysis indicates that A Good Marriage is:

6. Anti-Christian. Allen responds irreverently to a priest’s platitude.

5. Drug-ambivalent. Allen takes a prescription pill to cope with her difficulties. The film, however, warns against alcohol, which impairs judgment.

4. Pro-miscegenation. A congoid can be seen dancing with a white woman at a party.

3. Class-conscious. Prompting the viewer to feel contempt for their social betters is a ridiculous scene in which the leads discuss whether or not to buy a rare coin for $9,000.00. An investigator’s only duty, he says, is to pay his taxes, while LaPaglia contrarily “covers his tracks” from the IRS. The implication would seem to be that the rich will only waste that money they manage to save from redistribution. Allen demonstrates her growth as a character by giving her husband’s belongings to a charity.

2. Misandrist. Sexually insensitive behavior and talk – such “sexist crap” as, for instance, quoting from From Here to Eternity or remarking that a woman’s attire is provocative – is indicative of a psychotic mind that harbors violent hostility toward women.

1. Anti-marriage. Those women who have the misfortune to enjoy “something very rare, a good marriage”, are better off preemptively murdering their spouses – just in case.

Rainer Chlodwig von Kook

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