Science fiction and horror are two genres that often find themselves intersecting where some form of power reduces humans to mere cogs in the machine. Technology, the future, aliens, and the like, it seems, can be terribly frightening.
George Orwell's Nineteen Eighty-Four stands as one of the most comprehensive and enduring examinations of when that power abuse is in the hands of a totalitarian government. Dystopian SF that explores the dangers of "big government" resonates with the Libertarian thread running through the American public, but SF also aims its detailed satire and allegory at the nuances of just how governments become totalitarian.
Ridley Scotts' Alien and more recent Prometheus share more than a director and some sort of lineage in their narratives: Both SF films are horrifying tales of oppressive corporations. [Scott's Blade Runner can be included here are these films also include the dangers of megalomaniacs, especially corporatists and industrialists who use their ill-got billions for something other than the common good.]
While the mid-1950s spawned SF/horror films as thinly disguised propaganda matching the public hysteria about the Red Scare—the immediate and insidious threat of Communism (see Invasion of the Body Snatchers for a tour de force of such)—the Cold War eventually proved that the creeping cancer of Communism wasn't as powerful as political leadership and pop culture claimed.
What, then, does SF say about more credible fears facing humanity?
In Cat's Cradle, Kurt Vonnegut (1963) introduces into his fictional world Bokononism, a religion in which its messiah through the sacred text, The Books of Bokonon, confesses: "'All of the true things I am about to tell you are shameless lies'" (p. 5).
The government of San Lorenzo finds its stability built on a fabricated conflict between General McCabe and the founder of Bokononism, Bokonon:
"'Well, when it became evident that no governmental or economic reform was going to make the people much less miserable, the religion became the one real instrument of hope. Truth was the enemy of the people, because the truth was so terrible, so Bokonon made it his business to provide the people with better and better lies.'" (p. 172)
The charade driven by McCabe outlawing Bokononism and declaring Bokonon a fugitive continues at the expense of McCabe and Bokonon as men until their manufactured war between the righteous McCabe and renegade holy man Bokonon becomes essential itself:
"'McCabe was always sane enough to realize that without the holy man to war against, he himself would become meaningless.'" (p. 175)
Cat's Cradle examines the power of creating a demon for the public in order to keep that public distracted while the privileged remain privileged. Yet, Vonnegut's often slapstick and always raucous narrative could just as easily be about the U.S. at almost any point in the past century.
What should be feared about the U.S. government and society is better captured, in fact, by Cat's Cradle, Alien, and Prometheus than Invasion of the Body Snatchers. In other words, Communism and Socialism remain much invoked demons, but the dangers lie somewhere else entirely.
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