Why I'm Turning to 'The Thing' as the US Election Looms

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The Thing
The Thing

The anticipation surrounding the 2024 U.S. presidential election is palpable on a global scale. As an outsider, I'm struck by the intensity of the continuous discussions it generates worldwide. Interestingly, people passionately debate the possible outcomes on social media and in daily conversations, even if they're far removed geographically. While these heated exchanges may seem absurd at first, I've come to realize their deeper significance. These debates aren't just about proving the accuracy of one's predictions—they're expressions of ideologies, values and steadfast conviction in one's stances. The U.S. presidential election serves as a global stage where individuals assert their beliefs and challenge opposing viewpoints. Thankfully, these discussions mostly stay within the realm of intellectual discourse.

But imagine a more chilling scenario: What if ideological differences escalated into the questioning of one's humanity, violence, or even premeditated murder? While some may dismiss this as wartime extremism, others argue convincingly that such situations can arise anywhere. When trust erodes and suspicion takes over, appalling mutual killings can erupt anytime. This sobering reality is why I consider John Carpenter's The Thing the ultimate horror film. The true apocalypse isn't the arrival of corporeal monsters—it's when we start seeing one another as "the other."

The Thing, a masterful adaptation of the 1938 novella Who Goes There?, thrusts us into the unsettling world of American researchers at a remote Antarctic base. There, they encounter an alien entity capable of possessing and perfectly mimicking other life forms. As the horrifying realization dawns that anyone could be the creature in disguise, the base descends into a despairing and dreadful nightmare of paranoia and impending doom.

Today, The Thing is widely regarded as one of the greatest horror films ever made. Its cult status is solidified by countless homages and annual screenings at the Amundsen-Scott South Pole Station in February to mark the beginning of winter in the Antarctic. However, its premiere in 1982 tells a different story. Critics harshly dismissed it as a poor imitation of Alien. It bombed at the box office and was bombarded with negative reviews. For Carpenter, who was riding high after the success of Halloween, The Thing marked a crushing career setback.

To fully understand the film's initial failure, it's important to consider the context of the 1982 U.S. recession. Blade Runner, another sci-fi classic released around the same time, suffered a similar fate. In contrast, Steven Spielberg's E.T. the Extra-Terrestrial dominated the box office that year (and the decade that followed). The difference in reception reveals a lot: audiences of the time flocked to E.T.'s optimistic take on alien contact and shied away from the unrelenting pessimism that defined The Thing.

The Thing
The Thing

Over the years, however, The Thing has claimed its rightful place in cinematic history. Initially viewed as an allegory for the threat posed by communism to capitalism during the Cold War or the AIDS crisis of the early '80s, its central message digs deeper. It explores the devastating consequences when trust between people collapses. This breakdown is driven by a primal fear—the perception of others as fiends who are fundamentally different, even inhuman. Such fear has fueled atrocities throughout human history, from the Crusades and witch hunts in the Middle Ages to modern-day terrorism and political oppression.

What makes The Thing even more terrifying is its depiction of how suspicion not only divides nations or ethnic and religious groups but also infiltrates smaller circles, including close-knit communities. In the film, we watch as a group of researchers who've spent months together swiftly unite and spring into action to defend themselves against their invader. The alien evolves from possessing sled dogs to dominating human bodies. Soon, the researchers' line of defense crumbles. Suddenly, the enemy isn't some external force—it could be anyone among them.

One of the film's most riveting scenes involves the survivors conducting blood tests to identify the alien. R.J. MacReady (played by Kurt Russell), the group's most vigilant member, leads this desperate experiment. When a man MacReady had killed turns out to be human after passing the blood test, doubt creeps in among the researchers (and the audience)—until another blood sample starts showing unusual results. The test subject undergoes a terrifying transformation and launches into a brutal slaughter, exposing the true monster. MacReady eventually emerges victorious in the fiery tussle after searing the alien to death with his flamethrower. This scene brilliantly captures the classic hero's journey—characterized by three stages: challenge, setback, and ultimate triumph—a formula that never fails to captivate audiences.

As the blood test saga draws to a close, it sends a clear signal—that we may be capable of eradicating the infiltrators among us and achieving the goal of expelling foreign beings through intellectual means. In reality, we adopt similar methods to authenticate the identities of others, so much so that our focus has been completely shifted to verifying our own identities and mandating others do the same, instead of confronting evil and injustice.

However, The Thing wouldn't have been a classic if it had just told a typical hero's journey. Its brilliance lies in its nihilistic conclusion. In the final scene, MacReady and Childs (played by Keith David) are left as the only survivors, staring each other down as flames engulf their base. Both understand that mutual suspicion could lead to mutual destruction. The calmness of this ending forces us to confront not just the lingering question of whether they've been infected by the alien, but the far more profound challenge of whether they both can overcome their deeply ingrained mistrust for each other.

The Thing
The Thing

This powerful conclusion elevates The Thing beyond standard sci-fi fare regarding alien invasion. It tackles a more profound fundamental theme—the far-reaching consequences of pervasive suspicion—and challenges us to consider what we truly gain from this mindset. More importantly, what irreplaceable aspects of our humanity do we risk losing?

As an unremarkably ordinary being, while I'm not inclined to believe in the utopian ideals of John Lennon's Imagine, which paints the hopeful picture that "the world will live as one," The Thing offers a chilling vision of a society consumed by mistrust, serving as a wake-up call. It pushes us to focus not on what divides us, but on what we have in common. What fundamental needs unite us? What common struggles do we all face? Until extraterrestrial invaders actually arrive on Earth, the faster path to a better world lies in rebuilding trust and recognizing our shared identity as members of the human race.

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Nuria Fraga Chaves
Excelente elección de palabras.
09:59 27 October, 2024
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Tica Y Tico
El desarrollo del tema está muy bien trabajado.
11:08 27 October, 2024
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Pablo Miranda Malave
Es un honor leer algo tan lleno de imaginación y creatividad
19:49 30 October, 2024
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Valentin Arroyo Pernia
Tu capacidad para imaginar detalles es realmente impresionante
19:28 30 October, 2024
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3
marvelousmars
This is a great article! I hadn't thought of The Thing through this lens before, but it really does apply to the American political situation, especially its ending.
07:30 21 October, 2024
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Aucoin Ink Screenwriting
I love how you used the election to show how relevant The Thing is.
05:09 16 October, 2024
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Alejandro Franco "Arlequin"
Did you know that there is a 1951 version with Howard Hawks? It is more linear, the monster is James Arness in disguise and is a kind of mutant plant being. Yes, it can be inferred that from the blood test in the 1982 version, there is some symbolism about AIDS, but Carpenter's version is more faithful to the original story than the 1951 Christian Nyby/Howard Hawks version. It is much more terrifying and graphic. I don't know if there's so much subtext to it other than just paranoia. A great analysis. I invite you to read my article and like it if you like it: https://www.peliplat.com/en/article/10025606/Amelia-(Trilogy-of-Terror,-1975):-20-minutes-to-traumatize-an-entire-generation.
21:47 15 October, 2024
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Sah

Sah

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Fascinating, congratulations!
00:49 09 November, 2024
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Stephanmurawski
Very good article, I leave you my support with a like. I invite you to visit my profile and leave me a like on my last three articles, I would appreciate it very much. And if you have more articles I will also support you :)
03:04 23 October, 2024
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Oswaldo Ferrer

I liked your article, it is well deserved, I invite you to visit and like mine -
https://www.peliplat.com/es/article/10039803/rocket-raccoon-el-corazon-roto-de-guardianes-de-la-galaxia-vol-3

04:35 22 January, 2025
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