Friday, December 19, 2014

Hunger of the Pine

To see everything upside-down and backwards to attain to the Truth is the proper position of Hanged Men nailing a snake to a tree



Lindt is a linden Hanging Tree for Isis' Greater Jihadists Cuckoo for Cocoa Puffs forcing hands-up Submission next to a burning Parliament Down Underworld (if you hang this Lesser pastiche upside-down and backwards) 

Lindt is a tree sacred to Freya and associated with Justice; "Merry Christmas" = Attis on the pine

+ Barry Lyndon as a masked O'Neal with his bullish Sonny saying "I Can't Get No Satisfaction"

#illridewithyou = just RIDE (Isis and Mad Max in Oz apokalypsis



MADMAN / MAN MONIS / MM



The Woman in Red scene was shot there? Score another point for Lana and Andy (Watchoutsky) 


Adam in the Garden-as-Matrix thinks himself a Nice Guy; a Supreme Gentleman; a Feminist with a dutiful Stepford Wife and Democratic voter registration. Adam takes the Red Pill as Gnostic Forbidden Fruit and finds himself cast out into the desert below Binah, with no Understanding to call his own -- only red dust to till in his lonely rage and an Eve that Ialdabaoth has commanded him to rule or rue . . .


M&M, milk chocolate (held hostage) in a red kelipot shell for hungry girls in the driver's seat


The Monomyth Monolith Theater of the Absurd is the Hierophant's great passion-play in Plato's Cave of the Cosmos

Cosmic Cosby as low-vibrational Mem and Mem as Water above and below is smashing Black Beauty -- "Heh Heh Heh" as Fat Al says being a fractal iteration of the Joker's Cosmic cut-up method of making two girls from one girl in a bit of Dahlia black comedy

Joker tells his child slaves to shape up and get a job, play the game and maybe Daddy won't rage


Isis' scorpions are the Sophia-Judas mystery (Queen Jackie in exile on Skorpios)



As Beetlejuicy Jihad John rolls the Sun through the Underground Silk Road, the Taliban tally-man calls to collect the sin tax on Bennu birds packed in boxes on Nile river boats





 777


Phoenixes of Stone (must burn)



Note Obama logo as demon est deus inversus (for Fire trapped under Water) 

The two Koreas are "Water-Water" (Heh and Heh) as two Kores (Maidens), reflekted as two Pepsi girls (the North Kore's pussy is off-limits to the profane) 

Room 238 and the two Pepsi Girl Koreas as being ass-to-ass or face-to-face cognition of the Shekinah in Malkuth and Binah (respectively) are all nicely summarized here

The Gangnam Style is 2012's apocalyptic Dark Horses from Malkuth saying "sexy lady" while the British Empire that Never Ended bans female ejaculation


PATH OF VICE (an entry into the Forbidden City)



Seth, Horus & Osiris (Knowledge and Conversation)


James and Seth's interview for Interview turned upon a predictable Point in the center -- that invisible Colacunt of Upper Waters is off-limits to mortals like James, unless he Kills the King (in Mortal Kombat) and sprouts angel wings


Girl on Fire's Peyote (mind expansion) shirt as the upper half of the Pepsi-Cola logo -- red as Noetic Fire in distinction from the blue Dark Water (Shin and Mem) -- Burning Desire, or: "Paradise is a hell-colored flame sky" in a field of Rilke's hydrangeas


CIA = Seeing Eye = "Big Eyes" as eidolon quantum wave collapse of beastly boys seeing falling singing stones in the lies of Lesser Jihad

Torture in Cuba = "I Can Fly" as eternal imprisonment of Rheays in Prism boxes in Greater Jihad Gitmo


Cuba down by Florida Kilo West is Cybele's Kaaba cube overseen by los Castro castration hermanos -- the crazy Cubano being the cuckoo frenzy of the Galli wielding cigar cutters on America's florid phallus

This is under the doctrine that all places are truly the same place (wherever you go, there you are)







Attis & Cybele



ISIS fucking its slaves = Cybele-Isis fucking her slaves = Diana Nemorensis and the freed slave as Priest-King

Or "I Would Be Your Slave" as Dame Bowie the Heathen says




More cut-up girls trapped in the Minotaur's labyrinth swooning over an impressive package of European Cannonballs

Or, Eve's "Hello? Can you hear me, Major Tom?" to Adam lost in blank space

Depending on which way the Wizard sways with China Girls under Sirius moonlight




PINES OF ROME (CYBELE'S SON Y)






Nazi rapist Attis under the pine tree will be the perennial holiday favorite once again for good and naughty boys alike, all boxed up and waiting for the Taurobolium that never comes (a double entente)



Beware of Greeks bearing gifts for the Trojans

Wednesday, December 10, 2014

Interstellar

Of course this will not be a typical movie review of Interstellar.  This is the synchromystic version.


The Good:  Overall it was a solid film with an interesting take on Love as a force of nature and Time as a physical construct.  The depiction of a 5-D world was pretty awesome. Jessica Chastain's performance as the adult Murphy was heartwrenchingly believable and utterly relatable (I think she's really the one who brought the movie home, not Matt McConaughey).

The Bad:  It wasn't strikingly original in that it borrowed heavily from a huge number of movies other than 2001:ASO (most notably Signs, Contact, and Event Horizon, but also Field of Dreams and Titanic...yes, Titanic).  The first hour was slow and there were tons of plot holes, The audio was weird (sometimes it was hard to hear the dialogue over the background noise). Anne Hathaway's acting...insert frowny face symbol here.

Instellar's cool depiction of 5D time and space.
With that said, this film can not be properly analyzed without gleaning the underlying meanings woven into its script.

First, let's go ahead and get the mythology out of the way, starting with the corn.  Corn abounds in Interstellar. Dystopian farmers work acres upon acres of corn fields and NASA is housed in an underground corn bunker.

Cooper and daughter Murphy standing in front of their corn field. 
And, since it's the only plentiful food source left on Earth, we see the Cooper family eating meals consisting of all-corn dishes—corn casserole with a side of corn fritters to be exact. Yuk, if you have to eat that everyday.

1. The Mythology of Corn


Corn growing out of the body of Osiris
The ancient Egyptians regarded their god Osiris as a corn god.  For them, the death and rebirth of the god was personified in the annual growth cycle of the corn crops.

2. The Mythology of Okra

Shango  is the Yoruba African god of storms. One of his favorite ritual feast foods is okra. Quentin Tarantino drew on the myth of Shango for his movie Django Unchained.

At one point in Interstellar a farmer burns the last okra crop, then towards the end of the film Cooper's daughter Murphy burns down the corn fields. This could be interpreted as a rebellious act of rejecting ancient spiritual wisdom in favor of technology.

An adult Murphy setting the corn fields on fire in Interstellar
Honestly, I think Interstellar may have been Nolan's answer to Tarrantino's Django Unchained (note: that movie ends with Django burning down the Candyland plantation).

Murphy after burning the corn fields (left); Django after burning down Candyland (right).
3. The Mythology of Osiris and Isis


Osiris and Isis
We've already discussed how Osiris was a corn god.  This brings us to the famous Egyptian myth of Osiris, Set, and Isis. In short, Osiris' brother Set seals him in a coffin until he suffocates (note: he can't breathe) then throws the coffin in the Nile River. Osiris' wife Isis eventually finds the coffin where it landed in a tree and resurrects him, but then Set kills him again by chopping him up into pieces.

Isis is often equated with the goddess Hathor. Thus, actress Anne Hathaway (Hathor-way) plays Dr. Amelia Brand who is the Isis character in the movie.

Anne Hathaway as Dr. Amelia Brand
I suppose Hathaway's archetypal resonance somewhat makes up for her dull acting in this role. According to the myth, Isis impregnates herself with Osiris' sperm post-mortem to continue their bloodline which explains why Brand/Isis is in charge of the artificially inseminated eggs on the ship. 

The character Romilly (played by David Gyasi) represents the original Osiris. He was also clearly meant to embody the memory of Ronald McNair, the African American astronaut who died in the 1986 Space Shuttle Challenger explosion.

Romilly (David Gyasi), left; Astronaut Ronald McNair, right.
But it's kinda hard to feel warm and fuzzy about that since Nolan blows him up...again...in the movie. Holding true to the myth, I guess that's one way to portray Osiris getting divided up into bits. Before that though, there's a scene where Cooper and Brand/Isis stand over Romilly/Osiris as he gets sealed into the ship's casket-like cryogenic sleep chamber.


The myth remains intact until the point when Brand/Isis ends up turning the valve to release, not Romilly, but Dr. Mann (played by Matt Damon) from the same kind of coffin/sleep chamber.

Brand and Cooper preparing to open Dr. Mann's cryogenic sleep chamber.
Therefore we are shown Brand/Isis "resurrecting" a new Osiris in Mann while the "old" Osiris, Romilly, stands by watching helplessly and is killed by Mann in an explosion shortly thereafter (Note: Romilly is also literally old in appearance and balding since he aged 23 years waiting for Cooper and Brand to return from their expedition.)

I was left feeling some kind of way about the ambiguous relationship between Romilly and Brand since before he died she sprung on him that she was in love with one of the original 12 astronauts from the previous mission named Edmunds. The myth veers off course here with Isis, supposedly the faithful wife and widow of Osiris, looking more like a trifling cheater.

Brand having an intimate moment with Romilly.
Dr. Mann represents mankind stuck and frozen in the fourth dimension longing to evolve to the fifth (note the label on his cryo-chamber reads "MANN-4").  However, he quickly proves unworthy to be the new Osiris due to his lying and treachery.

Mann tries to kill Cooper by cracking open his space helmet and leaving him to suffocate (note: he can't breathe).  But Brand flies to the rescue and resurrects the dying Cooper to become the newest new Osiris (just as Isis turns herself into a bird and copulates with the dead Osiris to save his seed in myth).

Isis in her bird form "raising" the dead Osiris
Sync Fact: Matthew McConaughey (who plays the role of Cooper) is no stranger to Osirian mythos. In case you haven't seen it, the entire 2012 film Mud is a retelling of the Egyptian saga.


McConaughey stars as a guy hiding out in a boat (read: coffin) that floated down a river and landed in the top of a tree (sound familar?). Furthermore, Nolan said he chose to cast McConaughey after seeing him in an early cut of Mud.

The boat stuck in the tree symbolizes Osiris' coffin in a scene from the movie Mud.
So there you have it.  The film Interstellar is less about reigniting an interest in space exploration and more a reworking of the mythological trope of ancient gods and goddesses battling for control of the universe.

As such, there is almost something sacrilegious in the burning of the corn fields at the end of the movie.  It's as if to say, we don't need to honor the indigenous people of the Earth, their knowledge, or traditions because, hey, we sling-shotted ourselves uninvited into sacred darkness and solved the problem through technology and true grit GRRRRR!


To which I simply ask, how is the hubris of that train of thought any different than Dr. Mann's selfish folly?  It isn't. Plus there's the way the men overrode Brand's feminine spiritual love instinct to follow faulty human logic instead. And that's why I believe mankind on Earth in Interstellar failed to get inducted into the Galactic Federation for the fourth time. Bummer.

There has been a bit of controversy over the lack of minority roles in the movie, particularly black females. However, I posit that may be because, in a sense, there is one gigantic black female eclipsing the entire film...the black hole itself.

The beautiful black hole in Interstellar, or as I like to call her, The She.
The black hole serves as a symbol of the divine feminine, the Dark Mother. Case and point, the ejaculating noises Cooper makes as he "enters" the black hole.  If you're still in doubt see the movie Event Horizon where there are also no black female roles, but the black hole gushes blood like it's giving birth after the phallic ship enters it.

An interesting theory is floating around that Cooper actually died after he ejected into space without ever reaching the black hole, and the events that transpire afterward are nothing but manifestations of a death dream.


I'm going to take it one step further and say Cooper actually suffocated to death on Dr. Mann's planet and everything occurring after that were manifestations of a death dream.

As proof, I submit the scene where Cooper is ushered into his 93 year-old daughter Murphy's hospital room. A nurse tells Coop his whole family has been waiting for him. When he enters the room the family has their backs to him before turning to face him.

That scene was ripped straight out of elderly Rose's death dream scene at the end of Titanic where she reunites with Jack who hasn't aged just like elderly Murphy reunites with her father Cooper who hasn't aged.


Nolan famously used a similar plot device in Inception by hiding the faces of Cobb's kids until the end of the movie to indicate they may have been dead and/or that Cobb may have still been dreaming.  Note: Cobb's kids were also a boy and girl the same as Cooper's kids. (corn on the) Cobb=Cooper. 

---Read Boston Mag's cool comparison of Interstellar vs. Inception
---Read how Inception's Dom Cobb also represented the corn god Osiris

The takeaway:  The Universe as personified by the Triple-Black Hole (whole) Mother Goddess doesn't give a shit about material and physical things nor the blasé human concept of death.  Love is all there is, was, and ever will be. Love is the strongest force imaginable. As the movie's title suggests, this is an INTERnal struggle for us. Until mankind learns to accept, hone, and use our inner love instinct as our sole motivating guide for everything in life we will never evolve and may even become extinct...or worse...be forced to eat corn products in perpetuity.

--Sibyl

. . . . .

& Eleleth adds:

Rex Nemorensis (Nazi blonde and Baphomet brunette)

Helen and Penelope

Babalon and the Beast only meet in the central space of love-rage as Ultra-violence --- in another life when they are both Cat People. Tarantino's Inglourious Basterds = the blonde destroying the Tower filled with Nazis hooked on the silver Monolith screen in Plato's Cave (also starring Diane Kruger, Helen of Troy). Django Unchained = Rite of Nemi in which the runaway slave kills Leo DiCaprio the King of the World and reclaims his wife. Christoph Waltz is the star of both movies as the Thin White Duke returning from Helen and Troy to Penelope and Ithaca, with the mark of the swastika on his forehead.



STATION TO STATION



Interstellar depicts the phenomenon of Crossing the Abyss: Matthew McConaughey is MM (Mem-Mem) as a man of Mud caught between two Waters as two girls. The Waters Below the Abyss as Malkuth (Earth) are choked with Dust as all-consuming artifice. Corn in the husk becomes light in the kelipot.


Dr. Mann is Osiris as Lazarus (as Gerald Massey said). I.e., Osiris is a black god, and the riddle of God is Man. He cannot let go of his ego, and thus is turned to dust in Anne Hathaway's grail when crossing the airlock-Abyss. There was a 50/50 chance that Mann would've shattered his own helmet instead of Cooper's. Evil Twin syndrome -- but which is which?


SUBJECT / OBJECT

SUBJECT / OBJECT

This confirms what has been said about 2001 previously -- but Kubrick, as the Great Deceiver, veiled his Dark Girl to baffle the profane. To cross through the Monolith screen (the Black Mirror of Black Beauty) is to unite Subject and Object as Man perceiving Woman. This is exiting the movie theater as Platonic Cave of the Cosmos to perceive the timeless Forms beyond it. Saturn is Binah as Isis, Beyond the Infinite.

Kubrick's work mimics the universe. As Hierophant, he mimics the Great Hierophant as cosmic Demiurge. The question becomes whether there is an Ultimate Meaning behind that as well, and smarter people than me have Seen that there is. Those who are nearest to perceiving the Real are able to bring more of the infinite into the temporal, which is why Kubrick's films seem to possess such supernatural power. But this comes with a curse of deceiving those who cannot perceive that truth and are led astray by the shadows he projects on the wall.

As has been seen throughout history, the words of the genuine Hierophant and Seer will be twisted by the ignorant to support whatever hateful and/or paranoid sectarian worldview they gravitate towards. This is a microcosm of the mechanism of the greater Universe, wherein that which is Beastly (as the Hierophant must be, to be seen) is a Black Mirror of that which is invisible, as depicted in the Cave allegory--subject to many conflicting Opinions by those who have not ventured beyond it to see the Real.



Above the Abyss, on the other side of the Black Hole, is the New World and New Life promised by the Dark-Haired Girl Anne Hathaway (a Cat Woman) as New Mother, with genetic material in her Ark-womb. At the center as the Spark of infinite potential is the Pearl of Great Price. The mission of the man who occupies the Central Space is to transcend time and bring the Infinite into the Temporal to save those still trapped Below, as it is for the man who must re-enter the Cave. The question becomes, is the Old World worth saving?

(Tamar Frankiel)

Man will continue to push Outward, looking for his Final Frontier; but this New World can only be found elsewhere.
Essence that really exists is of two kinds: Pure Being, or God, and Being joined to not-being, i.e., the world of created things. The essence of God is unknowable per se; we must seek knowledge of it through its names and attributes. It is a substance with two accidents, eternity and everlastingness; with two qualities, creativeness and creatureliness; with two descriptions, uncreatedness and origination in time; with two names, Lord and slave (God and man); with two aspects, the outward or visible, which is the present world, and the inward or invisible, which is the world to come; both necessity and contingency are predicated of it, and it may be regarded either as non-existent for itself but existent for other, or as non-existent for other but existent for itself. (Reynold A. Nicholson, Studies in Islamic Mysticism)


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