This post contains some spoilers For "Mickey 17."

In Bong Oonun-ho's new scientific film "Mickey 17", Robert Pattinson played the title of Mickey, a low -paid flu on a distant spaceship. As the reviews appeared explicit, Mickey is "spent", that is: when he dies, he can easily clone - or "printed" - and replaced within a day. Needless to say, Mickey was chosen as the most dangerous missions of the ship. By the time the audience grabs him, he is on his 17th print.

Mickey lives on a ship of conservative cultists who adore television vessels like Trump, named Kenneth Marshall (Mark Rufalo). Marshall is so hateful on Earth that it has left on a spacecraft over long distances to find an interplanetary shelter that Niflheim plans to call. During "Mickey 17", he and his terrible wife Ilfa (Tony Collette) talk about how they are looking for a genetically pure fund, which is abundant that they are evangelical eugenics. They are pretty spoiled people and were clearly written as wide-but-real-real-that metaphor on the road to modern American right wing.

When the ship descends to a potential planet Niflheim - a world of frozen tundra - Mickey reveals that it is inhabited by only one kind of Arctic picnic. The mistakes are nasty for Marshall, so he nicknamed them. He is happy to eradicate the lattices if that means he can colonize Niflheim.

While on a mission, Mickey falls into the raises and encountered a nest of creep, terrified of many legs and plants. But maybe unexpectedly, latens do not eat Mickey (something he takes personally; is he bad?), And he saved him by depositing him on the surface. Iousubopitic. As the film progresses, Mickey realizes that the latels are intelligent. Indeed, they have language, names, families and culture all theirs.

A story of self-esteem-traveling Christians traveling in a distant world, occupied by "nasty" natives they aim to eradicate them. Creepers are a clear scientific metaphor for victims of European and American colonialism.

Without giving too far, the audience eventually learned the depths of Lai's intelligence. They are capable of communicating, and even seem to have a sense of humor. Kenneth Marshall, D-Torra with eugenics ideas, sees them as nothing more than Vermin to be killed to make room for his "glorious" new colony of white, pseuda-Christians. Creepers, can be seen, can stand for all people who have been attacked, eradicated or deceived by any number of oppressive colonialists throughout the human history. They are the "savages" that should be "tamed". Bong Oonun-Ho is hard to be subtle for it.

Since "Mickey 17" has made a US studio, it is easy to see creep as a metaphor for the people of this people on this continent, and Marshall as a stand-off to insert American colonies. Marshall is constantly told that what he does is noble, mythical, grandiose. Mickey sees this about what it is: meaningless slaughter, based only on Marshall's disgust from their physical appearance.

Using foreigners as a metaphor for oppressed people is nothing new, of course. There are numerous films and TV shows that throw people as oppressive colonizers and aliens like their targeted "inferior". It was the Neil Blomkamp blinking premise in 2009 "District 9", smart film It saw that bug -like foreigners were forced to live in a landfill as a ghetto area of ​​nearby people. That same year, Jameseims Cameron's "avatar", an ultra-blockbuster for Navi, gentle, low-technologically, tribal species of blue giants who faced military eradication in the hands of violence, obsessed with high-tech visitors.

The closest to "Mickey 17" could be the movie "Arsenal Soldiers" by Paul Verhoven in 1998, a film about how futuristic fascist human regime waged a war against giant intelligent extraterrestrial insects ... for no reason we can not say.

Impersonal and/or monstrous foreigners are also often used in scientific stories as a challenge for our humanity. For example, in the 2013 film version of Ender, children are trained for military tactics, intended for use in war against species outside the screen called formulas. That film ends with a shocking reversal that reveals how far humanity has fallen in willingness to commit military violence. Ultimately, there is a condolence and pray with people to understand all people, rather than using their "otherness" as an excuse to kill them. The author of the original novel "Ender Game" should sit down and read "Ender's game" one day.

However, sometimes the metaphor becomes a little foggy. Ams Cameron clearly wanted the audience to sympathize with Navi at Avatar, but we have less compassion for the Xenomorphs in his 1986 film "Aliens". That film was for human colonialist marines sent to dangerous territory to exterminate the creatures that came to leave. However, they are overcome, and everyone is dying. Cameron saw his film as a metaphor for the Vietnam war, though it is certainly not flattering to compare the Vietnamese Congress with monsters, cockroach monsters. In the "aliens", the meaning of the film breaks down under the scrutiny.

When he looked at the lazens in "Mickey 17", one trick may immediately think of Horta, aliens similar to Abalone from the episode "The Avol in the Dark" (March 9, 1967. Both lazels and horts of scourse along the ground and have the construction of siding-insects. Also, both are initially considered animals, easy to extinguish as Vermin from human interlocutors. In both cases, foreigners appear not only intelligent and capable of communication, but also motivated by a strong sense of family preservation. It's a great episode, They only lack female characters.

So, "Mickey 17" joins a prestigious company with its creep. They are not just "nasty strangers". They are part of the Chinese tradition.