2) From Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb:
Muffley: Well, I, I would hate to have to decide . . . who stays up and . . .who goes down.
Dr. Strangelove: Well, that would not be necessary, Mr. President. It could easily be accomplished with a computer. And a computer could be set and programmed to accept factors from youth, health, sexual fertility, intelligence, and a cross-section of necessary skills. Of course, it would be absolutely vital that our top government and military men be included to foster and impart the required principles of leadership and tradition. Naturally, they would breed prodigiously, eh? There would be much time, and little to do. Ha, ha. But ah, with the proper breeding techniques and a ratio of say, ten females to each male, I would guess that they could then work their way back to the present Gross National Product within say, twenty years.
Muffley: But look here doctor, wouldn't this nucleus of survivors be so grief-stricken and anguished that they'd, well, envy the dead and not want to go on living?
3) In the 1975 post-nuclear armageddon science fiction film A Boy and His Dog, young Vic (Don Johnson) happens upon an underground society where people apply rouge to their cheeks and assume good wholesome rural American poses (apple pie, gingham dresses, false smiles, etc.). Their shared delusion of continuing 1950's era conservative normalcy ironically juxtaposes with the toxic irradiated atmosphere, the layers of fallout overhead, and their inability to survive on the surface of the earth. If a member of this society misbehaves, then he or she is sent to the "farm" (where they are quietly killed). In Vic's case, they hook him up to a machine that mechanically extracts sperm from him, thereby emphasizing how the other men have become sterile. A Boy and His Dog demonstrates how ideological groups become ghastly parodies of themselves over time. They may follow the "form" of their beliefs, but their lives can become a matter of hiding sinister truths: self-delusion, the pointlessness of survival without integrity, and the mockery of authority when the rules become deranged.
Very indirectly, 10 Cloverfield Lane reminded me of Dr. Strangelove and A Boy and His Dog.
5) How has her role as Ramona Flowers in Scott Pilgrim vs. the World prepared the celebrity persona of Mary Elizabeth Winstead for 10 Cloverfield Lane? Is it because Scott Pilgrim's dreamlike fixation on her primes the viewer for whatever interest anyone in the bunker may take in her? Has all of the previous film's Street Fighter-esque fight scenes helped us accept how Michelle fiercely battles whatever might lie within or without the shelter of J. J. Abram's movie?
6) Ultimately, the questions that arise from 10 Cloverfield Lane seem apt for the present moment. With so much fear and prejudice on display in the news, the feeling of being threatened by a constantly redefined other that needs to be opposed, walled out, and subdued, how much are we living in a bunker mentality already?