The strange thing is that screenwriters are apparently only one thing can come to astronautes, to motivate, to give colour or gelaagder to make: let their children die.
Is the Dead Woman in the Fridge it is remarkable because of the generality of the cliché, then the Astronaute with the Dead Child by the bizarre specificity: a female heroine in space, then a flashback of her dead child.
It’s in Gravity, in which it appears that Sandra Bullock had a daughter who died in a speeltuinongeval. It’s in Arrival, in which the storyline of Jessica Chastain propelled by the future memories of the death of her daughter, we believe to recall It was in Aliens, from lack of time a scene deleted which showed that Sigourney Weaver the second time, the space attracts because her daughter in the meantime has died.
Moral of the story: your children are not without reason, died, as women with living children to draw the space in.
Have male heroes dead women, female heroes are not without dead children.
The most recent example of the Astronaute with the Dead Child, is also the most telling. The Cloverfield Paradox, a scififilm of Netflix, scored high on the woke-index, with a black director, a black woman as the main character and a diverse cast, but mispakte then one plotlijn. In the film draws Gugu She-Raw space in to a partikelgenerator to start, and thus save the world. It soon becomes apparent that that is not her only motivation is her two children have died.
After the movie, the cliché even further depth. She-Raw comes in a parallel universe where they are on earth, continued, and not to the space. The twist: in that parallel universe prove her two children did have to live. Moral of the story: your children are not without reason, died, as women with living children to draw the space in.
That was a bit harsh.
It is unclear where the Astronaute with the Dead Child exactly comes from. It seems to be a way of screenwriters to female characters more human, to make – ” Yes, you drew the space in it, you fought against a killer alien and you can with a flamethrower handle, but deep down, you stay still, a mama, not, Sigourney?’
It certainly seems a deeply ingrained metaphor in the scifigenre, a genre that has an obsession with loss and grief – ” Yes, you’re on own strength on earth, landed with a makeshift capsule, but actually did you the to your loss, isn’t it, Sandra?’ But the strange thing is that screenwriters are apparently only one thing can come to astronautes, to motivate, to give colour or gelaagder to make: let their children die.
Seriously. That is disturbingly specific.
Read everything about the Astronaute with the Dead Child and six other clichévrouwenrollen we must be in our +zone, or in the Knack Focus from 20 June 2018.