It’s sad that Hollywood anymore can’t make a movie about science without endeavoring on the tired, and very limited viewpoint that everything ends in environmental disaster. For instance, in Blade Runner 2049 which isn’t that far away, mankind has destroyed the planet to the point of over industrialization, and near extinction where artificial humans are rising up to become a species of their own. I would argue that the future is much more hopeful and much less dark than that, but in an artistic setting where a bunch of liberals try to put their ideas on paper in the form of a screenplay, it makes sense to them. And that is pretty much the position of every science fiction thriller released to the silver screen for many years now. I enjoy the movies, but completely disagree with the basic foundations of the premise for these stories, so the intriguing concepts that are introduced are cheapened greatly as a result, and that’s a shame. But one science fiction franchise that I enjoy immensely, even if it too suffers from some of the same liberal stupidity is the Cloverfield films. It took me a few weeks to get around to it, but the latest film, The Cloverfield Paradox was released directly to Netflix after the Super Bowl in 2018 and it was quite an interesting project.
The Cloverfield Paradox is about nothing short than the complications that can take place during episodes of quantum entanglement, where elements of the multiverse are thrown together in a manner that defies the known laws of physics. Even though the particle accelerator that was put in space during the year of 2028 was built to save earth from its running out of energy problem—which isn’t even close to being a problem in real life, the story line wasn’t distracting enough to really rob a viewer of the fun of exploring this very interesting idea. When the particle accelerator manned by an international crew on a space station conducting the experiments in the vacuum of space fails it opens up a tear across the fabric of time and space to unleash monsters and other versions of themselves into the suddenly unstable multiverse.
I found it very intriguing to watch a story that actually has as a plot line which deals seriously with the problems of multiverse travel. For instance, the main protagonist had lost her children in her version of reality, but at the end of the film had a chance to go to another universe to live in a reality where her children are alive and well—but the only real problem is that the other version of herself that exists in the particular universe is alive too, so how could two of the same people joined quantumly across the mysterious connections of reality between multiverse existence co-inhabit the same reality? Those are the very important questions that science fiction and art should be asking, because behind that comes real answers that lead to real science. That is also why I love the Cloverfield movies so much, they are very smart and big thinking in their scope. Yet because of an entertainment culture that is also becoming very flexible there are opportunities for risk and great rewards that are present for which the producers of these movie can capitalize on.
Mostly, the Cloverfield films are made on low budgets, and given that The Cloverfield Paradox had a super-secret production where even fans looking online for every little hint of a release date were unable to discover much, were all surprised when Paramount released the movie directly to Netflix stepping over a theater release all together. To me that was an alarm that said the film wasn’t of the right quality to have a theater release, so I didn’t invest my time in it right away. But as it turned out, it was a pretty good science fiction entry with decent special effects and production value. Apparently, there is more rumor that there are at least two more Cloverfield movies in production and given the way The Cloverfield Paradox was speculated about, then brought to reality on Netflix, we have to assume that there is merit to the rumors.
I talk a lot about how the Hollywood model is dying, and it is. Big movies hitting theaters are a dying thing, and so is the monopoly that left leaning producers have on the industry. While a guy like J.J. Abrams still has his feet in both small and large productions, most filmmakers are going to have to focus on smaller budgets with much more creative ideas if they want to compete with everything that’s out there. With all the media content, between television, movies, Amazon video, HBO, Showtime, Netflix, Hulu, video games and generally the worldwide internet there are a lot of competing media trying hard to capture the minds of viewers. To me the Cloverfield films represent the best of what filmmaking should be about, and the ideas that come from the films are very thought-provoking, and that’s what counts for me. I think its great that The Cloverfield Paradox was so quick on its feet that it could just make a decision to do a direct to Netflix release to essentially set up all these rumored upcoming movies about supernatural forces founded on actual scientific contemplation.
Not that we should take any of these stories all that serious, it is fun to think about the possibilities which is what science fiction is supposed to do. Few people realized that with a verbal approval from President Trump’s White House Elon Musk started his Boring Company to digging the Hyperloop tunnel from New York to Washington D.C. It won’t be long before we turn on the television and discover that a 20-minute commute from those two big cities is possible using the Hyperloop and that just like that we’ll have a brand-new transportation system that many never would have though possible. Things are happening these days so fast that a grand fortissimo of all these ideas is colliding into each other faster than we’d traditionally be able to deal with it. And I think deep down inside all of us we already know……….the future isn’t about depleting resources, it’s what do we do with the abilities we have developed to define the very nature of existence, and not just in our present reality behaves, but across all the folds of time and space, into even the multiverse. How do we deal with the magnality of those concepts, the mind-bending reality that whatever we might be doing now could be happening across thousands, if not millions of versions of that same reality only tilted slightly to represent some subtle change in that reality that has a consistency connected across all those fields of observation—and why.
What’s best, you can turn on all this magnificence right on your television right now. You don’t have to get dressed and even go to the theater, you can just turn it on and have something like The Cloverfield Paradox delivered straight to your eyes, which I think is a miracle in and of itself. It’s a powerful step in communication that wasn’t even possible prior to the release of Stranger Things showed how powerful a home delivery platform like Netflix could be in bringing content small-scale in production but big in ideas directly to viewers successfully. It gives me the feeling that the particle accelerator shown in The Cloverfield Paradox is more than a metaphor, it’s an artistic rendering of the nature of our very lives in the here and now, the fabric of space and time is being ripped open and we are coming face to face with a reality we never thought possible. And it’s here now staring us straight in the face.
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