Choosing How We End

The inescapable idea Dystopia was sold to us as an inevitable future. Harboring both our desires, and an expectation of a specific aesthetic, to come from the “future” (our acual real present), as well as our nightmares, encased in our most recognized and inspiring blockbuster science fiction. There is no thicker listing of predictive programming indoctrination films and shows, than the ones dealing with slightly different takes, often with directly similar concepts and plot devices, actual technological devices being “predicted” as some aspect of either the RFID chip, or some other development of a Huxley-esque technocracy. Of course, the rest of the films in this unbelievably saturated genre, are most potent in what, conspiracy minded audiences would see as clues to the plans of the New World Order, in one of many immediate futures.

Nightmares:

Besides technologically based government fascism, these dystopias may have characters going through both existential and survival based challenges along the way. Often environmentally, everything is in, quite easily predictably, much worse condition, if it’s not already, then often some part of the plot involves massive cataclysms or that damage being done during the film’s plot itself.
There are tons of other commonalities, just to illustrate, just how many of these films there actually are, I mean, that they can then be broken into smaller groups of identical plot twists, is, to me, really kinda disturbing. It’s more disturbing that these patterns can then be overlayed on top of stats from an identical study, of identical themes, in children’s animated series, and you get even more restriction in what a given show can base an episode around, and how other shows mimic it in intense and unsettling ways.
In the two links below I have grouped two major themes. Most of the episodes are viewable from that link as well.

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Alien Disclosure in Animated Series
WTC in Animated Series

Anyways, besides the nightmare, these themes all, similarly, follow our hopes and expectations for the collective future.
Some of these include futuristic shiny, neon, or ravaged survivalist fashion aesthetics, flying cars, VR, advanced intellectuals crowded in smart cities often including some Aeon Flux, Plato metaphor of a walled off, or shut in population, who can’t leave the known, world after the (insert your fave cause of mass devastation here) took place, which the citizens of whateversville Silicon Valley Westworld, are always oblivious that the tech elite who make their lives so “convenient”, and pleasantly forgettable, through an electronic lobotomy of one type of another, are actually imprisoning them, as they make strides toward a physical breakaway civilization (definitely think Elysium) of some kind; as they tax the average citizens for oxygen (Doctor Who), or utilize false flag mind controlled Patsy’s and terror events, to control the populace. The framing of this scenario is always careful to make those with much less, or those still in the areas of nuclear fallout from the big one, or, and these can and do often overlap, those trapped outside the city walls (Logan’s Run, Aeon Flux, Judge Dress) or even underneath it, responsible for terrorism being discussed in the media, reminding the people of the middle class society that they must be protected from such a threat from an omniscient government or their corporate/ military agenda.

The more a given show or film serves as a vehicle, as well as an adaptation, the more likely it will carry heavy handed conspiracy dystopia tropes for another generation, always resurrected with the understanding this is some kind of literary or science fiction, or comic book, and even now video game “classic”, so the pill goes down easier assuming this is something people revere, and you should honor it as well. (Fahrenheit 451, Impostor, Total Recall, Brave New World, 1984) Also since people are known to enjoy it, it is sanitized, identified, it can’t be dangerous for mindless consumption. There’s clarity that it is just entertainment, and quality entertainment at that. The opposite of this kind of focus on, agreed on staples of past pop culture, is the movie that’s often not a good movie, low budget, left field, nearly indie type pulp production, which is used all the same, for other messages, and they can even overlap with the huge blockbuster themes and symbolism. This is true with the theme of blotting out or destroying, either our relationship to, or the actual, sun (as in Highlander, the Animatrix, and Terminator. ). Here we see, what is essentially three quite different audiences all swallowing the chemtrails/blotting out the sun pill, with completely different production values and levels of popularity.