Alita: Battle Angel Is a Right Wing Trad Morality Play

By Kyle B. Stiff

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It’s no wonder the corporate overlords who dearly wanted us to accept Captain Marvel hated Alita so much! The story, an adaptation of a manga birthed in 1990 (practically the Reagan 80s!), shows us the dystopian hell we currently live in from the perspective of a good old-fashioned hero’s journey narrative which must be considered right wing – at least, from the modern perspective of far left extremism which has become the norm.

This one’s going to be a D*O*O*Z*I*E so please prepare yourself.

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As soon as she wakes up, it’s obvious that Alita isn’t an angry “don’t need no man” feminazi. She accepts Doctor Ido’s direction and she enjoys learning about the world she’s in. Ido, her adoptive father, represents the Patriarchy. He creates strict rules of conduct for Alita, including what she can eat and when she can leave the house. Sounds awful, right? The thing is, Doctor Ido knows the brutal truth about the world. He’s seen so many Scrapyard denizens get their heads beaten in and their limbs sold on the black market that he’s practically blackpilled and can no longer entertain any notions about the inherent goodness of humanity. But since he’s a good man with a strong spirit, knowing the truth about the world doesn’t make him bitter, it makes him generous and sympathetic to people with hard luck stories. That’s why he treats a laborer’s cyborg arm for nothing but a bag of oranges. He’s like a country doctor from the Norman Rockwell era. Of course, from the modern liberal perspective, he’s problematic (if not a Nazi) for not letting Alita live life on her terms. (Remember, from the left’s perspective, old is bad and stale, young is fresh and progressive.)

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But Alita is a strong-willed lady, and eventually she’s no longer satisfied with being Ido’s “precious little girl”. The conflict between them is interesting because Ido doesn’t understand that Alita has the sort of warrior spirit that can handle the harsh truth about the world. In fact, she was made to fight. Ido could keep chipping away at the evil that lurks in the shadows, but in the end, he’s never going to get anywhere. Why is that?

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It’s because – and write this down if you don’t know it already – men are capable of existing on the fringes, but women are the gatekeepers of the mainstream. Men can spin their wheels perfecting arguments for whatever they’re into, but without women, no movement will ever go anywhere. In terms of the contemporary culture warfare, conservative men can shitpost about liberal meltdowns and diversity malfunctions all day long, but until women start posting trad selfies on Instagram and writing blog posts about church picnics and advice for keeping anal fisting vids off of a child’s smartphone, you’re never going to hold your civilization together against endless hordes of indoctrinated diversity cultists and professors who hate their own nation. So even though it seems like a bad idea to let Alita see the truth, Ido has to trust that he’s not alone in his fight against lawlessness.

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There’s a plot point that could almost be its own story arc within an anti-feminist narrative that begins when Alita finds out women are being targeted by a serial killer. This is her bluepill moment – “Never trust men.” Then she finds out Doctor Ido goes out late at night, and comes home wounded – “Don’t even trust your own father!” Alita follows Ido and sees him stalking a woman – “A helpless victim!” Alita stops Ido from killing her – then Alita nearly chokes to death on a melon-sized redpill when she finds out the “helpless victim” is actually a member of a gang of murderers targeting Ido because they’re sick of him taking down criminals. Alita ends up in a vicious battle against a sickle-wielding, man-hating fembot, and even defends her own father. The analogy of zoomer ladies waking up to the feminist narrative kind of writes itself, it’s so obvious. It’s also worth noting that the fembot’s sickle echoes the sickle of the angel of death, the grim reaper, and the dark god Saturn worshipped by the elites, as well as the hammer and sickle of Communism, as well as the crescent of Islam. Hmm… that’s weird, it’s almost like symbols reveal truth, and our arch-nemesis always carries a sickle.

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Alita demolishes her opponents and saves Ido. So while Alita is a strong female, and it might seem weird that this movie wasn’t pushed by the left, just remember that it isn’t really “strong females” that feminists or lefties want to see in film. They want to see women beating the shit out of men (who are all rapists) while wearing sunglasses and showing no emotion except cold fury. Alita is far too warm-hearted to exist within a feminist framework. She likes her neighborhood and her dad and eating food for the first time. She’s emotionally stable rather than broken or dead inside. When compared to Captain Marvel’s “Karen who wants to speak to the manager” personality, it’s night and day. This story comes from a bygone era, continuing sci-fi’s long tradition of showing strong females, but without the gender studies course in victimization.

In fact, near the end of the film when Alita’s problems are piling on top of her, Ido tells her, “Never feel sorry for yourself.”

Talk about anti-feminist! Um, isn’t, like, figuring out how you’re a victim kind of the whole point?!

 

THE SAD TALE OF HUGO

Now we’ve got to talk about Hugo. Hugo may seem like a Chad who’s smooth with the ladies and knows all the cool joints, but the key to understanding him is knowing that he has ingested a toxic dose of bluepills. His sad fate is imminent and unavoidable. His character is perfectly laid out in the scene in which he takes Alita on top of a building. “Look at that view,” he says. Alita looks out over the entire Scrapyard, which is a total dump, really, but she says, “Wow! Really cool!” Hugo then corrects her by saying, “No, look. THAT view,” then points out Zalem (I think that’s what it was called in the film version). Zalem is a floating city where the unseen rulers of the Scrapyard dwell. It’s assumed that they live lives of ease and plenty, far above the petty squabbles of the earth. Hugo desperately wants a new life in the floating city, whereas Alita is capable of seeing the mess of the real world and accepting it as it is.

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Hugo wants a better life, but one of life’s most important lessons is that there is no such thing as a “better life”. Accepting the world as it is, even though it’s imperfect, is the essence of what is called the redpill. History has shown us time and again that you can never “immanentize the eschaton” or create heaven on earth, as it always ends in misery and death. Historical examples include every Communist revolution.

Hugo’s state of mind is the unfortunate result of liberal indoctrination. “You going to live by his rules, or yours?” he asks Alita, challenging her to throw off Ido’s shackles and live in a state of absolute (and unrealistic) freedom. Also look at his scrimmage sportsball game in which men and women play together. His game results in men constantly dunking on women, yet he is somehow oblivious to this frequent occurrence. Perhaps he believes that all men and women are interchangeable athletic units that can be mixed and matched without limit?

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Hugo is the ubiquitous lefty “useful idiot” you see so often defending the very people who want to enslave or even kill him – which would be Vector in this story. Vector is the liberal elite handing out dreams of a better world as he works toward monopolizing all wealth under his control. Vector is the reason “useful idiots” ends up scratching their head when every Communist revolution results in brutal dictatorships where wealth is controlled by those at the very top while those at the middle and bottom get to live in a police state or in death camps that will later be hidden by mainstream media and lefty academia.

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However – Hugo is not a bad person! This is very, very important to understand. Conservatives spend way too much time arguing with liberals who are notorious for being unable to defend their views outside of the academic bubble. Twitter and YouTube are great examples of mainstream liberals backed by corporate powers pushing goofball opinions, only to be mocked ruthlessly by right-wingers and even just unindoctrinated moderates, who then have to be censored or de-platformed in order to stop any counterargument. It’s easy to get angry with the powers-that-be, but in some sense it’s intensely cruel to argue with liberals who actually need to be protected, not beaten. They’re not the enemy. In fact, like Hugo, they never had a chance!

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It’s interesting to note that when Hugo is being hunted, he runs to a church. Hugo runs to the thing that represents shelter, sanctuary… actually the pillar of civilization (sorry atheists, it’s true, even if the turbodweebs in lab coats disagree). Once Hugo is in church, he’s no longer the strutting “ehhhh who makin da rules aroun here” tough guy, but a remorseful, lost soul who finally realizes he is imperfect – that is, sinful. He stops telling himself a bullshit story about how great everything is going to be (at least for now) and is finally honest about what he really is. And since Alita doesn’t live inside a manufactured bubble, but is in touch with the harsh nature of reality, she is able to accept him as he is.

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Now, this may be a stretch (as if the rest of this piece isn’t a stretch), but when Zapan puts Alita in a situation in which she has to kill Hugo, it’s a perfect example of conservatives letting themselves be controlled by corporate interests. Zapan fools her into doing the equivalent of directing her anger at indoctrinated liberals rather than globalist corporations and international players who hate independent nations (especially America). Of course nobody except the people at the very top give a damn about the GDP, but modern American conservatives have found themselves in the odd situation in which they support giant corporations – and guess what, those giant corporations support open borders, importing cheap foreign labor, even abortions on a mass scale for the selling of organs and tissue. It’s always odd to see conservatives fighting for corporate rights, but then again, maybe it’s not that odd because I guess I used to be one of those guys. In this scene, Zapan is nothing but a corporate whore. He’s a narcissist (“My face!”) who doesn’t give a damn about anyone’s life, but he has Alita in a moral bind; he perverts her natural aggression, which should be directed at true evil, by directing it at poor dumb Hugo.

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But once they get Hugo under control (sort of), Doctor Ido once again writes a prescription for redpills. He says, “Vector was running a scam. If you’re born on the ground, you stay on the ground.” Turns out there’s no way out of the Scrapyard (the real world). In terms of our world, Doctor Ido is saying that instead of dreaming of a world in which you kill the rich and plunder their money, and whooooops also destroy your own nation in the process, it’s better to live a good life, take care of your family, stay connected to your people, and protect your borders. Be careful of stupid ideologies that make you hate yourself or your nation, no matter who is selling the ideology.

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I don’t want to dwell on Hugo’s fate, but he definitely experiences a post-Presidential election meltdown when he’s walking along the supply tube. It’s important to note that he was given a robot body because his head was disconnected from his body – meaning he was too much in his own head, and was fatally disconnected from reality. Such a shame! It’s really a grim reminder that instead of sitting back and laughing at these people on social media, we actually need to save them from the mind virus that makes them worship Zalem rather than connect with the Scrapyard of reality.

Ah, before I end my rant on Hugo, I have to point out the funniest part of the movie. One of the girls in Hugo’s crew asks her friend why he doesn’t like Alita. He says that she was a member of URM, a wielder of the deadly Panzer Kunst… basically a Martian space Nazi! In fact, wasn’t she sent to kill them?!? The girl’s redpilled response?

“Yeah, like three hundred years ago. Get over it!”

Imagine… a Hollywood film actually ridiculing the left’s eternal boogeyman, which they think is still out there, just waiting for the opportunity to get them!

 

THE HUNTER-WARRIORS

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“Before the Fall, there were police to stop criminals. Now the Factory pays us to do the dirty work.” Ido reveals the truth about the lawlessness thriving in the Scrapyard. This is the logical conclusion of the anti-police narrative that we are bombarded with daily: Mercenary thugs without any moral compunction are brought in and paid to stomp anything that doesn’t benefit the corporate overlords. Remember, the anti-police narrative doesn’t come out of a vacuum; it’s packaged for your consumption with an end goal in mind. Eventually a powerful corporation will step in with its own solution, and a population of bugmen will support it because they don’t understand the brutal reality of the streets and the necessity of violence.

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Note that in the Scrapyard, guns are illegal. In a lefty sci-fi story, making guns illegal would result in a utopian Star Trek future. In our right wing Alita tale, firearm monopolization creates an environment in which the strong prey on the weak with impunity. This is of course common sense to anyone who hasn’t been indoctrinated. Guns aren’t targeted by the elite because they want to reduce crime, they’re targeted because a corrupt ruling class always fears an uprising. In Alita’s world, Zapan and the other super-powered cyborgs who serve corporate interests use hand-to-hand weapons. Remember, only the strong can use hand-to-hand weapons. They aren’t for people like you – peasants and common laborers. Guns are divine tools of holy empowerment that even the weak can use to defend themselves. From that perspective, why in the world would bad guys want you to have them?

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There’s an interesting and sad scene where Alita tries to unite the hunter-warriors against a common foe. In the past, hunter-warrior types would have been drawn into the military and turned into team-players fighting on behalf of their nation, but in the dystopian Scrapyard, these rough guardians have become corporate whores who won’t do anything unless there’s money involved. There’s no unity, as they’ve been atomized. They are essentially “rugged individualists” disconnected from their own people. One could make the argument that they’re analogous to modern Republicans – they’re tough and their genes are functional, they’re natural survivors, but at the end of the day they serve Israel rather than their own community.

 

DOCTOR NOVA AND THE CULT OF THE WATCHERS

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For anyone who isn’t completely oblivious, there’s a blackmail cult running the human farm we live in, and one of its main symbols is an eye inside a pyramid. You see it all the time in movies and music videos, and it pops up more frequently every day. The arrest of Epstein, the fall of NXIVM, and all the “pizza” enthusiasts cleaning up their Twitter profiles and pushing the big tech left to squash pizza-related conversations on YouTube only makes it more and more obvious, but still, I guess at this point you either see it or you don’t. There’s a chunk of our Alita story that focuses on this, so if this next segment stretches your credulity, let’s just say that *some people* believe in this conspiracy, therefore, it has at least some symbolic merit.

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The villain behind all villains is Doctor Nova. Ido calls Nova “the watcher behind the eyes.” This is of course a direct reference to the all-seeing eye of the ancient death cult that has the world in its grip, and no, I’m not referring to the movie. Only conservatives tend to see this stuff, so it’s appropriate that our right-leaning tale has the all-seeing Eye omnipresent in the background. (The same goes for Lord of the Rings, another right wing tale which features the Eye of Sauron.) Note that Doctor Nova is capable of “possessing” those who have submitted to him, which is a direct reference to demonic or spiritual possession.

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Did you notice that even Alita wears a t-shirt with a triangle that has another tiny, off-center triangle inside of it? This could be a reference to the swirl or hypnotic spiral inside of a triangle, used by pedophiles and pizza enthusiasts to signal to one another (according to the FBI), or the shape could be construed as an eye within a pyramid, or it could be both. It may seem strange that our good-hearted hero Alita would wear a shirt like this, but note that she wears it when she’s listening to Hugo talk about his delusional dreams of getting into a better world. Hugo is effectively hypnotizing Alita and, since our story is right wing, that means it operates from the perspective that *no one is without sin*. This scene shows that anyone can be fooled by the ancient death cult before they wake up – even a hero!

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Vector, a figurehead of both the Factory and the black market, serves Doctor Nova, but Chiren, Ido’s ex-wife and former citizen of Zalem, also serves him. She has an interesting story arc. Vector tempts Chiren with a vision of a perfect world, and all she has to do in return is create monsters. She’s desperate to return to Zalem, so she submits. She later grows a conscience and lets Alita live, and when Vector (or Nova) asks her why, she says, “Because I’m a doctor (meaning: she preserves life), and a mother. Somehow I forgot that.” Remembering is the key to unraveling the lies of greedy psychopaths like Vector who serve Doctor Nova, because they always want you to forget who you are. Vector tries one more time to draw her into the dream of a better world, and she says, “What I want… it isn’t up there.” BAM! Just like that, she gives up on the foolish dream of a world without pain and struggle. This is the thing that all Commies struggle with. They just can’t seem to wrap their heads around the fact that you can’t make heaven on earth without hurting a lot of people. You can only try your best to live a good and moral life within the confines of reality (which is the Scrapyard in our tale).

 

ALITA’S STRENGTH COMES FROM THE PAST, NOT THE FUTURE

Alita has a special heart enhanced by technology from a bygone era, making it strong enough to power an entire city, according to Doctor Ido. Such technology can no longer be duplicated. Alita’s heart is strong because it was made before the Fall, that is, before corporate powers and the cult of diversity took over and turned civilization into a third-world shithole. What this means is that Alita’s strength comes from the past, from her history, which is the thing that right-wingers are so obsessed with discovering, and that left-wing types hate.

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It’s the difference between trying to remember or preserve history versus constructing history as you want it. Not only does Alita discover the Berserker body (the weapon of her people) inside a forgotten ship, but eventually she even retrieves her true self from the past. That is, of course, the only way to discover your true self: Not by daydreaming about a perfect self fit for a utopian future, but by taking an honest look at the path that formed you, warts and all. Culturally, understanding doesn’t come from tearing down statues and historical landmarks, but from studying why and how those landmarks were made – and not necessarily from the judgmental perspective of assumed superiority.

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But, back to Alita’s heart, and Ido’s assertion that it could provide power for the entire city. This means that as long as a person’s emotional center is in the right place, then they can uphold the foundation of civilization. Just as culture is made up of symbols, civilization is made up of its people’s emotional balance. If that emotional center is destroyed, then your people are fragmented, and you’re left with bugmen who can be manipulated, made to hate themselves, and made to hate their nation or even civilization in general. Just think back to how many indoctrinated people you’ve heard say they wish civilization would fall so that “something better can come out of it.” I’ve heard this from many people, which is odd, because when you take a look at history, “something better” doesn’t come out of the ruins of fallen civilizations.

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Also note how head-oriented Doctor Nova is. After Doctor Ido points out the remarkable power of Alita’s heart, the scene is immediately followed by one in which Doctor Nova says that Alita’s power is in her mind. Of course it’s a common position to stand in awe of the human mind, and this comes from both the right and the left, but ultimately I think Ido is right. A mind can be tricked, deluded, even indoctrinated. Emotions simply are, and nations rise or fall depending on their emotional centers. Also note the pride liberals feel regarding their academic degrees – it’s all head-oriented.

Regarding history, the basic left/right split is: Either turn the world into what you want it to be (the left) versus seeing the bitter truths about the world and accepting things as they are (the right). The left’s focus on turning the world into what they want it to be is why they talk about “progress” and frequently mention the “current year” as if they are on a timetable, and they expect cultural changes to stay on schedule. The right’s focus on seeing things as they are, including the flaws in human nature, is why they often mention taking the “redpill” and calling people “sheeple” for not waking up to reality, and why they obsess over untangling the threads of history to understand the modern era. 

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CONCLUSION

Alita: Battle Angel is a breath of fresh air after the past few years of Hollywood force-feeding us a lefty stew of Things We Must Believe, including superhuman Karens who will curb stomp any man who dares stand between her and the manager. But this film isn’t perfect. Other than the main characters, the costume design is freaking awful. There are people dressed up like you or me walking around in the Scrapyard five hundred years from now. How is that possible? Unfortunately we may see more “budget” costume design as Hollywood is forced to tighten its belt. People aren’t going to the movies anymore, so the trend of making movies bigger and bolder with each passing year may be at an end. Of course, Hollywood could turn the money-printing machine back on any time they want, but they would have to give up on the weird lefty shit that they’re obsessed with. And that’s not going to happen!

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And keep in mind, all of the right-leaning stuff in this film is completely accidental. I guarantee you that everyone on set considered suicide on the fateful night of the presidential election. Even though the Scrapyard is a dump of violent diversity, where people would inevitably form ethnic enclaves that don’t communicate with one another except through force, the Alita movie tries to show people smiling and enjoying themselves. Even though the story is inherently right wing, it was still made within the milieu of left wing Hollywood where forced diversity is worshipped and entire civilizations are gleefully sacrificed on the altar of progress *just because*.

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Even though Alita: Battle Angel has taken heat because it has actual fans (rather than the fans and reviews manufactured for the benefit of Captain Marvel), it’s interesting to note that Blade Runner 2049 was way more right-leaning (again, most likely by accident) and yet it hasn’t been targeted by the thoughtpolice. Rather than a multicultural dump filled with smiling faces, Blade Runner 2049 (jokingly referred to as Pol: The Movie) depicted a world in which a social outcast straight white male was heckled as he made his way through a gauntlet of diversity. He worked to uphold civilization and was hated for it. His wife was so trad, she wasn’t even real. He obsessively pieced together his past, often looking like a complete conspiracy nut. He even got into a testosterone-fueled fist-fight with his “dad”!

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Still, mainstream media hasn’t done any hit pieces on Blade Runner 2049’s right-leaning narrative because it wasn’t released at the same time as Captain Marvel, thus it did not challenge the diversity narrative by getting in the way of its revenue.

 

BONUS MATERIAL: ONE LAST WILD IDEA

Actually, I’ve remained level-headed throughout this piece (right?), but I just had a wild idea that may or may not be true. I want to throw it out there just to see if I can get a reaction. The idea is: All stories about time travel are inherently left-leaning (because you’re editing the past in order to control the future), and all stories about amnesia are inherently right-leaning (because you’re piecing together historical truth, identity, and even the threads of a conspiracy theory).

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Star Trek and Harry Potter, both extremely lefty, contain plenty of time travel. I wouldn’t have thought that Back to the Future was lefty until recently, when I went back to watch the second one, and was shocked to see Biff Tannen as a stand-in for President Trump turning America into some kind of gun-slinging warzone where a teacher is hunted like an animal – a liberal fever dream based on histrionic fear of authority.

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As for conservative stories of amnesia, other than Alita, off the top of my head there’s Memento, about a man’s quest for revenge against the person who destroyed his family (which includes crime, family, conspiracy, and bloody justice – all right-leaning themes), and he has to face the awful truth about himself (he is flawed, which is also a very conservative theme). There’s Silent Hill 2, a video game about a man trying to put his family back together and has to come to terms with the fact that he destroyed his own family (history, family, the bitter truth – all conservative themes). There’s also Robocop, about a family man and normal-cop who becomes a robo-cop after he is killed and resurrected (!!!) and puts together the pieces of his past by blowing away criminals. The story isn’t friendly to the free market, but then again, not every conservative is a corporate whore.

Am I completely crazy with this idea? I can’t think of any story that destroys the pattern!

A Mythological Breakdown of Panos Cosmatos’ Film MANDY

by Kyle B. Stiff

“Black Skulls, Jesus Freaks, and Weird Hippie-types, Man! Crazy Evil!”

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MANDY depicts a mythological “war in the heavens” as seen through the highly creative lense of a lurid, high-contrast revenge film. Specifically, I think it’s a continuation of the story of Saturn’s fall at the hands of Jupiter, and Saturn’s subsequent encounter with the Gnostic resurgence that sprang out of the relatively recent discovery of the Nag Hammadi codex. In short…

RED (Nicholas Cage) is SATURN and MANDY is URANIA, muse and daughter of JUPITER

In the original Saturn myth, Saturn was either a brutal tyrant or the god-king of a golden age of plenty, depending on who you ask. In any case, there was a prophecy that he would be overthrown by his own children. In order to prevent such a future, he made a habit of eating his newborn children. His wife Rhea had enough of this, so she switched out one of her newborn babies (Jupiter) with a rock, which Saturn ate. That may sound strange, but then again, the actual planet Saturn does a great job of consuming or redirecting stray meteoroids on a regular basis, which helps us out a great deal. Anyway, Jupiter grew up to be a real badass, raised an army, attacked his father, pulled his siblings out of Saturn’s belly, then they all took turns beating the crap out of him. Jupiter and his siblings divided the universe among themselves, and Saturn was cast out of the heavens.

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In MANDY, our story begins with Red, an avatar or incarnation of Saturn, now laboring like a common man after his fall from grace. Saturn is a god of harvest, but also a god of limitations, of “cutting things short”, so chopping down trees is an appropriate job for his human incarnation. We see him turn down an offer of booze. In fact, before he met Mandy, he was just another one of those drunk, broken men who seem so common these days. He has also given up politics entirely, a sign that he has given up hope of ever regaining his lost throne. This is evidenced by the fact that he turns off Reagan’s speech on the radio; any other normal person, upon hearing the voice of the Great One, would have slammed on the brakes, gotten out of their vehicle, and done backflips with tears in their eyes. But not Red. He is living a simple life full of simple joys.

What makes such a life possible? Why did he not drink himself to death?

I believe Jupiter felt sorry for his father, and gave him one of his own daughters in marriage. Mandy is undoubtedly an avatar or incarnation of Urania, the muse of astronomy. As a muse, her thoughts are always in the clouds, focusing on her artwork, her stories, her dreams, and her curiosity about the planets (of course Jupiter is her favorite, since he made her). Red is in awe of Mandy. Since his powers are destructive, he can hardly understand how she makes such wonderful pictures. He looks at her as if she is a wonderful and unknowable enigma, and who can fault him for that?

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Also note that when they discuss their favorite planets, Red claims that he likes Galactus the best – because Galactus eats planets, just as Red did back when he sat on the throne as Saturn!

Before we continue, you have to understand that I’m going to be indiscriminate with the spoilers. If you haven’t seen MANDY yet, then please stop reading this dumb blog and check it out. Otherwise, let’s continue.

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So Red and Mandy live in a happy bubble together, but Red’s intuition about a looming threat is ignored and Mandy is murdered. Red is even crucified (twice!), with a nail in one hand, a “crown of thorns” placed on his head (or barbed wire wrapped around his mouth, in this instance), and he is stabbed in the side by a hell-blade just as Christ was stabbed in the side by the Lance of Longinus.

Red survives, and he ends his self-imposed limitations. He opens up a bottle of booze while screaming in rage and drinks in his underwear like some kind of freak. He retrieves an old weapon, a crossbow named the Reaper – another name for the god Saturn – and then he even forges a hand-to-hand weapon. His Saturnian nature is back, because his new weapon looks like a sickle on steroids. The sickle, the scythe, and the crescent are all symbols of Saturn, for he is the Grim Reaper who knows the limit of life and marks the death of all living things. It’s interesting to note that the Book of Revelations (from the Christian Bible) has an angel who is given authority to harvest what are often referred to as the “grapes of wrath”. He sits and waits with his scythe, then when he gets the green light, he goes to work harvesting souls in an incredible bloodbath. It’s worth noting that Communism and Islam, two of the worst things that have ever happened to the human species, both use moon-shaped sickles or crescents as their symbols, which is appropriate given their unbelievable body count.

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But who is responsible for putting Red on this blood-soaked path of revenge? Who could have killed poor Mandy?!

The Children of the New Dawn are the culprits. Jesus freaks! Or… are they Jesus freaks? Actually, they are…

Gnostic Heretics!!!

It would make sense for a movie coming out of Hollywood to depict an innocent woman in a pentagram t-shirt being kidnapped and murdered by evil Christians. If that was the case, I might see this film being a revenge story in which pagan gods band together against Christianity. However, I don’t think the cult of Jeremiah Sands represents actual Christianity, based on a few key pieces of evidence.

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Jeremiah’s intense beta and right-hand man, Brother Swan, uses an infernal device known as the Horn of Abraxas to summon the Black Skull gang. Abraxas is a chicken-headed god revered by Gnostics. He is sort of a Prime Archon, the god-being behind the creation of all other worlds. I used to be really interested in Gnosticism; anyone with a brain wired for conspiracy theory and spotting patterns can’t help but put time into researching a religion supposedly made up of the unconventional books kept out of the “mainstream” Bible. But they are heretics, calling evil good and good evil, with a bizarre creation story and alternate versions of the Gospels. There was no evil conspiracy to keep Gnostic books out of the Bible, they just don’t fit. Deepak Chopra may as well get in if we’re going to allow the Gnostics into the Bible.

Another point that the Children of the New Dawn aren’t necessarily true Bible-thumping bogeymen: Jeremiah turns Red into a martyr, then gloats over him by explaining the “problem” with Jesus – that he didn’t get someone else to do his suffering for him. This is clear-cut blasphemy, even from the perspective of a Protestant!

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In fact, our Gnostics cultists sound like characters pulled straight out of the 80s “Satanic Panic”, when it seemed like children all over America were falling into the hands of demon-worshipping pedophiles. That whole era has been brushed off as a case of mass hysteria, but it is interesting to note that Teal Swan, the world’s most hated New Age guru, says that real Satanists always pretend to be Christians, and even have their own churches. But, speaking of New Age, there’s a little of that in Jeremiah’s cult, too. When he’s trying to psychologically break Mandy, he mentions that we are all one, which is pretty much the cornerstone of New Age philosophy (aliens are obsessed with drilling this idea into abductees). It even starts to work a little bit, as Jeremiah’s words and charisma work in tandem with the Chemist’s LSD and Mandy starts to see her own face superimposed on Jeremiah’s. If we are all one, then why not live as if life is a “beautiful dream” (a phrase used by the young female cultist, can’t remember her name) and live to take care of Jeremiah’s narcissistic desire for attention? He outlines his entire philosophy, how God told him that everything is all one, and thus, everything is his for the taking. A pretty convincing argument for a self-involved blowhard. But Mandy retains control over her sense of self (that pesky individual ego that all New Agers are constantly disparaging) and she laughs at Jeremiah. He’s not good enough to be anywhere near her. He can’t handle not being taken seriously, and like a true narcissist he runs to the only god he believes in – that beautiful face in the mirror! The unbelievably handsome man on the other side of the mirror tells him to never, ever doubt himself. Can you imagine the tortured sense of loneliness that must come from being a narcissist who thinks everything in the world exists only to amuse them? And the frustration they must feel when someone doesn’t perform the role the narcissist has assigned to them?

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It’s also worth noting that Jeremiah’s puffy white robe is reminiscent of the robe worn by the founder of the Raelians, a UFO cult known for gathering beautiful women who can “take care of” Rael, the leader of the cult. There’s even a pic of some of Rael’s “angels” licking cocksicles with him in the background, slobbering and looking like he can’t believe how lucky he is to be the leader of a cult. Jeremiah Sands is in a similar position, handing out religious platitudes to form a meaningful narrative around his own failed music career and the bottomless pit of horniness that makes up the life of a man.

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Jeremiah ends up forcing Mandy into a bag and executing her, just like in her story (her prophecy?) about the starlings. But he picked the wrong family to mess with. What happens next might seem like a clear case of Christians versus pagan gods, but again, I don’t think that’s the case. Despite Hollywood stories about Christians ruthlessly attacking pagans, in general the Church doesn’t compete with pagans. What do they do? Christians set up shop, they keep their hands off pagan holidays so nobody gets pissy, and then they create a cultural taboo around human sacrifice, which is a big deal in pagan religions that is never talked about. This creates a one-way pipeline into the Church. People often point to pagan roots of various Christian holy days and think it’s evidence of some kind of theft, but it’s actually proof that Christians were surprisingly *kind* to pagans; I say surprising because, given the string of violent encounters that make up historical accounts, and given Hollywood’s depiction of Christians as bullies, benign behavior is the last thing one would expect. There are, of course, exceptions. But the one-way pipeline into the Church is a real thing – until just a few years ago, nobody reverted back to paganism because nobody would willingly sacrifice a relative if there was a way out of it, and human sacrifice was a large part of pagan beliefs. It took me a long time and several history books to realize this, but that’s one of the big reasons why Christianity spread so quickly; not because “crusaders” fought every pagan they came across (get real), but because beating Uncle Jojo’s head in with a mallet is about the last thing anybody wants to do. If eating a piece of bread and saying it’s the body of a god-man who died for you so you don’t have to die for him means you can stop sacrificing dudes to invisible demons who like to ruin crops, people will do it.

Anyway, in order for the Children of the New Dawn to carry out their assault on Red and Mandy, they have to call in some muscle. They can’t do it themselves, as they mostly like laying around, watching tv, doing drugs, and having sex with each other. They’re hedonists, not fighters. That’s why they summon the infernal enforcers known as…

The Black Skulls

The Horn of Abraxas summons the Black Skulls. Just what in the hell are these weird, inhuman, demon-possessed bikers?!

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If we watch MANDY without the influence of Black Rainbow, we might imagine that the Chemist accidentally or purposefully gave the Black Skulls some bad LSD, fried their brains, and turned them into violent murder-junkies. The guy from Predator strongly implies that this is the case. However, I don’t think the Chemist had anything to do with their origin. If not the Chemist, then who created them? Or… who summoned them originally???

I believe these psycho bikers had their humanity erased by the same process that stripped Barry Nyles from Beyond the Black Rainbow of his humanity. It’s safe to assume that MANDY and Black Rainbow take place within the same universe. I believe the same drug used by Dr. Arboria – a black pool that sends one across the Abyss – transformed the Skulls into their current form. Remember, when Barry Nyles (from Rainbow) heard the words of his handler’s handler in a phone call that was not meant for him, and he decided to stop pretending to be human, he wore black leather and removed all the appendages that made him appear normal. The Black Skulls also wear leather and are only vaguely human. If Barry had been a simpler man, perhaps an uneducated biker, his unfortunate trip into the Abyss might have turned him into a goon prone to short-term gain and violence, rather than give him a case of slow-burning sadism and a narcissistic split personality.

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So the Black Skull bikers were probably experiments abandoned by either Dr. Arboria or Barry Nyles. Or perhaps they escaped. In fact, they may hate their own existence more than anything else, and so they are always on the lookout for entrances into Dr. Arboria’s facility so they can kill their maker. Did you notice that the house the Black Skulls were squatting in inexplicably had a concrete-lined “bottomless pit” in the basement? Was this an entrance to the facility where Elena was kept? What about the dead man and woman in the bedroom? Were they employees of the Arboria Institute, living above the facility until they were found by the Black Skulls? The Skulls’ hatred of their creators would certainly explain why the man had been bum-fuggled to death by Knife Dong (note the blood stains around his tail pipe if you don’t believe me).

When the Black Skulls first roll up, the lights from their bikes almost look like a UFO is landing. Even the language used to describe the Skulls makes it sound as if they come from another world, thus tapping into the same dynamic often seen with aliens, demons, or Lovecraftian beings who simply should not be in our world. Note that Red and Mandy are afflicted with sleep paralysis when the bikers attack; inducing paralysis is always the first weapon employed by aliens, “shadow people”, or whatever it is that haunts our sleep. That’s a strange detail to add, isn’t it? Why not just show the bikers breaking windows, kicking down doors, and manhandling Red before he becomes a hero? The reason is because the mind of Cosmatos is tuned into contemporary myths concerning aliens, conspiracy, strange psychic powers – basically, the realm of the modern divine.

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This could also explain why they look like high-testosterone versions of the creatures from Hellraiser, the Cenobites, who are also interdimensional beings obsessed with pain. Note that a Cenobite was (historically) a type of monk, and there is something monk-like about the Skulls’ mortification and their lack of a normal sexual existence. One of them even has a knife for a dong (a what!!!), which is why I called him Knife Dong earlier (genius over here). Normal human bikers might experience a lot of hangovers and wrecks, but ultimately, they want to feel good, whether they’re partying or riding fast. But the Black Skulls have been bled dry of their humanity, and all that’s left are screaming demons riding around in leather meat-suits. To paraphrase the black guy from Predator, “When I seen them things, they were in a world of pain. But you know what the freakiest part is? They fuckin’ loved it.”

One more thought, and this comes out of “left” field. When Red verbally confronts one of these creatures, he calls it a “vicious snowflake”. It might sound odd, but when you consider that “snowflake” is a term used by the right against the sensitive left, you could draw a parallel between the Black Skulls and Antifa. Both are enforcers, both seem to be demon-possessed, and many people have made the claim that Antifa (or their organizers) are paid. The Black Skulls definitely don’t work for free. Whether paid or not, they fill the role of “useful idiots”, tools to be used and discarded. Antifa also makes sense in our scenario because Red, being the avatar of Saturn, represents one of mythology’s greatests tyrants, a paragon of fascism, thus making him the natural enemy of our infernal version of Antifa.

OR: Far-Right Demonstration Met By Antifa Protesters

Whatever the case, after Red overcomes the Black Skulls and proves he has what it takes to hunt down the Children of the New Dawn, he finally earns the assistance of an oracle.

The Chemist

As stated, I don’t think the Chemist gave four bikers some “bad acid” and turned them into murder-junkies. Since the Chemist seems far too well-meaning and empathic to ruin the lives of four humans, even on accident, I think that Dr. Arboria is the “chemist” that the black guy from Predator is referring to; totally plausible, since we already know Dr. Arboria has access to a magical goo leading to the abyss beyond all human understanding. The Chemist from this story, on the other hand, is a very powerful psychic with hippie ideals, and he lives for the goal of enhancing human evolution through acid, which is kind of the dream of every burn-out who can’t even find their own car keys. But, of course, the Chemist is no common burn-out. He is probably more of a living force of nature like Elena, godlike but only partly connected to our world. Red does not even need to speak to the Chemist, as he can already see into Red’s mind and spirit. This brings to mind the substance “telepathine”, either a key ingredient or an alternate name for ayahuasca.

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Note that he calls Red a “Jovan warrior” – a warrior of Jupiter. Despite Red’s favorite planet being Saturn, despite his weapons being a scythe and a crossbow called Reaper, he has now fully devoted himself to another person, a daughter of Jupiter. Red has crossed over the threshold of living only for himself, which is a miserable existence, and now lives for the love of another, which gives meaning to existence. This idea is a nonsensical paradox to libertarians, but sorry, guys, it’s just the general trend of every individual’s spiritual journey. At any rate, Red’s love for Mandy, and his rage at her loss, has turned him into a blood-soaked hero who cannot be stopped.

The Chemist probably became a highly sensitive psychic empath just like Elena from Beyond the Black Rainbow. That is, he joined the Arboria Institute, went into the black goo, crossed the Abyss, saw the face of God, and returned both more and less than he was before. He came back a decent and relatively “good” person, like Elena, and unlike Barry Nyles (also from Rainbow) and the Black Skull biker gang, who lost everything that was good in them and became meat-vehicles driven by demons.

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Note that the Chemist doesn’t seem to have any problem with keeping a tiger in a cage until he sees the situation from Red’s perspective. Once he sees the noble beast from our hero’s eyes, he frees Red’s spirit animal to mark the coming of justice. In this way he acts as an oracle, in that he can become empty and see things from another’s perspective. It’s empathy taken to an extreme. As an oracle, he clears up any confusion felt by the hero and straightens out the crooked path leading to the goal.

END.

The Reaper comes as Mandy foretold and in the end Red drives through a hellish red-lit world where strange planets loom overhead. He has brought justice through violence but, like Barry Nyle in Beyond the Black Rainbow, he ends up utterly alone, riding alongside someone who is not even there. Red sees an image of Mandy and smiles, remembering a time when he was lost and alone and without his throne, but she found him and changed him. Red is lost and alone once again, but now he has weapons, he has reclaimed his mantle of godhood by snatching it from Jeremiah Sands (remember his strange insistence on his own godhood?), and he has a hopelessly fractured soul that will likely never be pieced back together again. MANDY’s ending is the bleakest I have seen in a long time.

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Beyond the Black Rainbow was set in synthetic corridors and ended in the wilderness, while Mandy begins in the wilderness and ends in an alien landscape echoing with the revving engine of a fallen god. I can’t help but wonder if Panos Cosmatos will revisit that strange world and pick up on that note of intense loneliness where Mandy dropped the viewer off without any real promise of return.

As I’ve often said on this blog, I don’t think that my Saturn-Urania-Gnostic narrative was consciously planned by director Panos Cosmatos. He’s said that story is the least important part of film. Then again, does any artist ever really understand the full picture of what their muses give them? Forces and beings beyond our understanding rampage through the collective human psyche. Atheism no longer carries any weight in its arguments, it simply asserts its own unobservant nature. The ancient gods are alive and well, and our age is the result of a war in the heavens spoken of in the Book of Revelation.

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What, you don’t think the gods are real? Panos Cosmatos gives us a glimpse into that timeless conflict, which with a little practice can be turned into They Live glasses that present our own age from an ancient perspective in realtime as it happens. I can’t help but remember when Obama was first elected, how the media blew him up, with magazine covers depicting him as a multi-armed Hindu god or as Superman. Then, during KEK’s rebellion, Trump bypassed the mainstream media, and grassroots memes flooded the internet village square like a Biblical plague of frogs. Trump promises a Jovian storm as the sickle of Islam rises over Europe just after ISIS (the same name as the Egyptian goddess) is crushed underfoot. China erects a giant statue of Guan Yu, their god of war, and the Pope’s audience chamber in Vatican City is constructed to look like a demonic serpent, complete with a background of Christ writhing in agony in hell. The magical cauldron of CERN has a symbol of three sixes intertwined and more than one conspiracy theorist has noticed that Israel’s symbol is a star with six points, six triangles, and a six-sided hexagon, indicative of the Beast of endtimes prophecy whose name is 666. It’s easy to make fun of Alex Jones ripping off his shirt and screaming about gay frogs, but without him, the idea that the leaders of the West actually dress in robes and worship a statue of Molloch in the woods would have seemed completely unbelievable. An unashamed Christian known as Q has pointed us to a mind-blowing number of sealed indictments that may one day be unsealed like the scrolls of Revelation, talking in all seriousness about an evil cult even as billionaire pedophile Jeffrey Epstein buries the tunnels leading to his bizarre temple on Little Saint James or “Pedophile Island”. I haven’t even mentioned the black Saturnian cubes, or maybe Metatron’s Cubes, that sit in front of a surprising number of public spaces all around the world, and not just the Kaaba of Mecca.

We live in a world where everything that we have made first came from our minds, and we only vaguely understand our own minds. Even if the gods only dwell there, they still have an inordinate amount of influence over everything we do. The presence of the gods is so obvious, their conflicts so apparent once the eyes are open, that you only have to look a little ways beneath the surface of things to see their subtle wars echoing throughout our lives.

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