Even Jove G’nows

With the recent opening of the movie Jupiter Ascending, we are treated to a futuristic science fiction thriller by the Wachowskis, in some ways akin to their famous Matrix Trilogy. Unlike The Matrix, this film has failed to achieve either critical acclaim or commercial success: no doubt, because the uninitiated (typical) movie critic or fan sees only a boring film with poor character development and an annoying overabundance of excessively loud explosions.

However, those with ‘eyes to see and ears to hear’ can confidently assert that the film is an especially heavy-handed example of the genre of typological science fiction, and thus it becomes a fascinating target for literary and historical analysis. What is this film trying to say, what goals is it trying to achieve, and who is behind it?

Demonic propaganda, or progressive artistry?

Among those reviews that take the (appropriate) symbolic view of this film, the most typical reaction is to see it as demonically inspired Illuminati propaganda. ‘Vigilant Christians’ and ‘citizens’ are advised to stay clear, lest they be corrupted by this attempt at Satanic mind control. These fundamentalist Christians (or rather, Flavian mind control victims) are, of course, correct that this is not an orthodox Christian movie, at least not in any sense that a 1st century Roman or Jew could recognize. Nevertheless, the ‘Jupiter’ who is ascending, like Somni-451 in Cloud Atlas, is clearly an allegory of historical Jesus: a truly human, allegedly divine Savior Messiah figure. (Fundamentalist Christians are also outraged at the box office blockbuster “Fifty Shades of Grey”, perhaps rightly so, because the heroine Anastasia Steele is put in a symbolic bird cage as a victim of a mind control scheme. Nevertheless, this resistance is ironic, because the film so accurately depicts traditional Biblical values of masculine dominance and female submission within a monogamous relationship. The male protagonist is not called “Christian” for nothing.)

Regardless of all this, we believe that it isn’t necessarily true that “Illuminati Symbolism” is used only by evil oligarchs and Satan-worshippers. This symbolism permeates our culture, and there’s no reason to believe that psychopathic oligarchs or Luciferian ‘devils’ have a monopoly on the genre. We, on the contrary, believe the movie contains messages which are certainly intriguing, and perhaps even edifying, uplifting or hopeful. Psychopathic oligarchs may indeed have a hammerlock on the studios and distribution system, but perhaps individual mavericks like the Wachowski siblings can still manage to smuggle in commentary that deserves to be called Postflavian, or at least progressive.

And perhaps it might be even more edifying, if not illuminating, that we consider that a pastor’s (in Postflavian terms – one form of metaphoric sheepdog) role, after all, is to keep his flock in the pasture where they can best be fleeced and their reality frame manicured. Many consider however, that it is part of the real oligarchic shepherd’s code to explain the system in one fashion or another, and like the literal fine print in a contract that you neglect to read, then …

Moreover, we have detected a possible astrological connection whose implications are certainly troubling, although not particularly easy to interpret — at least if one avoids jumping to unwarranted conclusions. As usual, we leave it to the reader to evaluate our evidence and consider our arguments. (Warning: for those who would like to see the movie without pre-conceptions, this review contains many spoilers.)

Alien astronauts, panspermia and transhumanism

Like Biblical typology, the film has both a surface-level interpretation and an occulted symbolic interpretation. On the surface, a casual viewer can see that the movie depicts a strange, powerful and very advanced alien civilization that has seeded the earth (and untold thousands of other planets in the universe) with the human species, at a time 100,000 years ago. It is said that in Earth’s case, the aliens wiped out the dinosaurs in preparation for the implantation of this crop of humans. In the fullness of time, it has been planned that civilization on Earth will reach a state of over-population, at which point its eight billion humans will be ripe for harvesting.

The elite beings of this alien civilization are human as well, but they have gained a god-like ability to vastly extend their lifespan via some technological genetic legerdemain. They do this by harvesting innumerable humans from their many inhabitable planetary properties distributed throughout their respective regions of the Milky Way, and then extracting the DNA so as to obtain perfect matches for their own DNA. This DNA is then stockpiled and when needed this harvested DNA is transplanted into each and every cell of their bodies while they repose in a special bath. This is apparently repeatable indefinitely as each successive set of DNA eventually wears out its end cap ‘telomeres’, which is one manner in how we all genetically age.

The alien civilization is ruled by a family of three siblings named Balem, Calique and Titus, the heirs of the Abrasax dynasty. As the Earth is nearing ripeness for harvest, Balem is eager to get on with the harvest, expecting windfall profits. But, a problem has surfaced: a certain toilet cleaning lady (an illegal alien to boot?) on Earth has been discovered to have identical DNA with the mother of the three ruling siblings. Accordingly, she is the rightful heir of the Abrasax fortune, and accordingly she is the true owner of not just Earth, but the Abrasax’ galactic empire. Drama ensues as each of the three siblings attempts to control this woman, Jupiter Jones (played by the very delicious Mila Kunis). Balem’s strategy is to kill Jupiter and absorb her DNA; Titus wants to marry her; and Calique just wants to be her friend. Jupiter Jones, who seems to be a completely normal and ordinary young woman, has been thrust into this bizarre situation by pure random chance, and wants nothing of the Abrasax’ gruesome DNA harvesting plans. Her goal, throughout, is to escape from the clutches of the Abrasax and allow the Earth to continue in peace.

Fortunately for Jupiter, she is befriended by the handsome Caine Wise (Channing Tatum), a genetically engineered superhero (part human, part canine) equipped with brightly blinking anti-gravity flying shoes that leave a trail of fairy dust behind them. Caine is a member of Aegis, an ‘intergalactic police force’. Following Caine’s lead, the Aegis police force unites to acknowledge Jupiter’s claim to the rightful throne, and then bursts into a full-fledged rebellion against the Abrasax siblings. After a great many very confusing galactic dogfights, brawls and explosions engulfing entire planets: Jupiter’s Team Aegis emerges victorious, the plot to harvest Earth is terminated, and earthly human civilization resumes as if nothing ever happened. Caine gets his artificial, ‘angelic’ wings back (leaving us to wonder why he ever had them in the first place, as dogs don’t normally have wings), and Caine and Jupiter fly off together, romantically onward and upward.

The film obviously appears to be paying homage to futuristic but at least moderately reputable scientific topics such as panspermia, transhumanism, and genetic repair & replacement, as well as more wildly speculative notions such as Zecharia Sitchin’s ancient astronauts, David Icke’s reptilian alien elites, and maybe even Mormon astral theology. However, the movie makes no discernible effort to move these theories forward as respectable science, instead using them mainly as fantastic pretexts for spectacular CGI effects. While some critics go little farther than to warn their readers that these ideas are not “Christ centered”, we believe that these non sequiturs should be viewed as signals that the story should be interpreted allegorically and typologically.

On the other hand, if the oligarchs are intending that the next world order will be based on a mythology that the elite are aliens from outer space, or battling aliens from outer space, then the surface message of the movie is aligned with this plan, and corporate and imperial support for this movie may be explained on that grounds.

Apocalyptic allegory and ritual cannibalism

The movie is deeply rooted in the modern zeitgeist of apocalyptic fiction. As mankind is facing the all too well-known problems of overpopulation, global climate change, pollution, resource depletion, economic collapse and catastrophically destructive warfare, the idea that we are facing some sort of apocalyptic regression to a dark age seems unavoidable. In the face of these catastrophes, our ruling elite seems only concerned with profitably exploiting both the planet and the people. The obliviously self-important and arrogant Abrasax siblings seem to be a personification of whatever is wrong with our corporate industrial civilization, and one can only rejoice at their comeuppance at the hands of the charming and humble Jupiter Jones and her friends of the intergalactic police.

Terry Gilliam appears in a scene evocative of his classic film Brazil, in which Jupiter Jones is forced to wait in line in a bureaucratic Steampunk nightmare office on Abrasax’s home planet Ores to claim her “inheritance”, and Gilliam’s character ultimately gives his stamp of approval. This episode solidifies the typological link between the underpinnings of the Abrasax dynasty, and the overgrown bureaucracies that serve the interests of the modern oligarchy.

As a theory of social change, the idea that a rebellion driven from the professional (petit bourgeois) or police / military sector, in an alliance with populist goals & ideals, leaves much to be desired. At the end of the day, how can it be assured that the new boss (Jupiter Jones and the Aegis team) is any different from the old boss (Balem Abrasax and his cronies)? The young Jupiter might easily turn out to be just a chip off the old block. But on the other hand, up until now this is arguably the only type of revolution that has ever accomplished much if anything at all. The Aegis team and their equipment are in various ways visually evocative of the Star Wars Rebel Alliance who defeated the Galactic Empire in that far-away universe, and Caine Wise’s otherwise inexplicable canine wings may be a representation of Pygar, the hero of the sexual revolution in the cult classic Barbarella.

Going beyond any likely real-world apocalypse, the gruesome DNA “harvesting” technology is an updated version of cannibalism. What else but food is “harvested” and then “absorbed” into the body, giving life? Regular readers of this website will know that we recognize cannibalistic genocide as a persistent theme in symbolic literature, dating back to the brutal suppression of the Jewish rebellion in 70 AD, and its veiled representation in the Gospels and the Eucharist, as explained in Caesar’s Messiah. Also, an upcoming post will discuss the sources of the legend of the famous vampire, Count Dracula; and to what extent the legend represents a real elite taste for blood: past or present, metaphorical or actual.

Gnostic theology and cynical imperialist politics

Moving on to the names and iconographies of the various entities in the film, we find that the Abrasax dynasty (and, particularly, Balem) is particularly affiliated with the god Jupiter. This is shown by Balem’s ownership of the planet Jupiter, where he maintains a giant factory for human DNA processing, as well as the protagonist Jupiter Jones’ name, and also by the relation of the god Abrasax with Jupiter by means of the number 365. While it is typically denied for a most profitable reason — Jove, also known as Jupiter by the Romans, and Zeus by the Greeks, may very well be one and the same as the Judaic god YHWH, Jehovah. In fact, all the primal attributes of these gods are the same, although the latter more lately glossed over with a cynically warm and loving veneer, while also being generically neutered to just … ‘G_d’. The motive to keep the Greco-Roman and Judaic identities separate is parallel and for the same reason as in the creating and maintaining of the human dialectic identity scam introduced in Peoples of the Flavian Book. This is also directly related to the discussion in Sheepdogs in Wolves’ Clothing, in that one cannot be a ‘gentile’ if one is not of the ‘gentry’, or the junior nobility; and neither can one be a Jew in the classic sense if one is an Ashkenazi.

The ancient god Abrasax (or Abraxas), however, is also associated with gnostic concepts of the Demiurge, or Yaldabaoth. This identification, problematic in the most ancient texts and artifacts, has become arguably clearer in modern references by Aleister Crowley and Carl Jung. Any differences between Yaldabaoth and Abrasax are beyond our Postflavian abilities to discern. In the Gnostic scheme, there is a purely good, purely spiritual, and supreme God whose name is unknowable (or perhaps is named Sophia), but this benevolent deity is so remote as to be inaccessible except perhaps through the intercession of Jesus Christ, or some other Jesus perhaps. Meanwhile, Yaldabaoth (and perhaps his underling Yahweh) were responsible for botching the creation of Earth, in its corrupt and evil form as we know it.

By associating the Abrasax dynasty with Jupiter (or Yahweh), the film affirms the Gnostic view of this deity, and also confirms the mundane, fallen (indeed, psychopathic) human nature of the oligarchic powers who serve as Abrasax’s worldly vicars. The character ‘Balem Abrasax’ reinforces this association further, not only by his name (taken from Balaam, the ancient Phoenician / Palestinian object of pre-Judean idolatry) but also by statements such as “I Give Life, and I Take It”, and “Life is an act of consumption.”

In 1899, the Encyclopædia Biblica article Baal by W. Robertson Smith and George F. Moore states:

    That Baal was primarily a sun-god was for a long time almost a dogma among scholars, and is still often repeated. This doctrine is connected with theories of the origin of religion which are now almost universally abandoned. The worship of the heavenly bodies is not the beginning of religion. Moreover, there was not, as this theory assumes, one god Baal, worshipped under different forms and names by the Semitic peoples, but a multitude of local Baals, each the inhabitant of his own place, the protector and benefactor of those who worshipped him there. Even in the astro-theology of the Babylonians the star of Bēl was not the sun: it was the planet Jupiter.
Address : <https://en.wikipedia.org/wiki/Baal>

Furthermore, as mentioned in the above link, Ba’al was generally a rain god critical for agriculture, and just like his bloody rival brother Yahweh, the names were early on honorific titles for the local community leader, or lord – as the Brits say. It is perhaps in these attributes that Balem Abrasax can best be equated rather than with other similar Biblical character names like Balaam and his ass. For here we can see the nascent existence of the system we still have today of veiled terrestrial lords or ‘shepherds’ in our Postflavian parlance. This was also noted and further explained by Neil Hague of the “Through Ancient Eyes” blog:

The Bee and the serpent was a symbol associated with the Hyksos priest-kings (or Shepard Kings) of Egypt and their connection to what later became the aristocratic families of Europe, not least the Rothschild banking elite. Could the Abrasax who rule from Jupiter (in the movie) be a mirror of the rule over the Earths resources by these elite families on behalf of their off planet ancestors? Of course they could?

The staff held by the shepherd, wise men, the Moses figures, druids and other religious figures, is a symbol for the ancient cults associated with the planets and stars. The ‘good shepherd’, for example, was the name used for the ancient astrologers that watched their ‘flocks of stars’. Shepherd symbolism in religious text relates to the already mentioned Hyksos Priest Kings of Egypt that would later appear in the Old Testament as the Israelite father figures, such as David, Solomon and Moses. Both King Alexandra [sic] the Great was depicted with horns just like Moses and of course both are symbols of Ammon (Jupiter) a horned god-man who ‘rises up’ from his ‘royal heritage’ to lead the worker bees out of captivity.  Solomon was said to be the son of David, who was King in Jerusalem, one who mastered and controlled ‘all spirits of the air, on the earth, and under the earth. In simple speak, he was not of this world. A Lord who conversed with off-world demons and the Abrasax.

Jupiter Jones: fully human, accidentally divine

The entire population of the planet Earth is slated to be cannibalized, and is spared from this fate by the intervention of Jupiter Jones. This in itself is more than sufficient to mark her as a Messiah figure. She is not the child of a virgin, but rather a single mother; arguably, a modern saintly equivalent. Her amateur astronomer father, Maximilian Jones, perished in a Russian robbery before she was born, and she was raised in completely humble circumstances in Chicago. Her name, Jupiter, represents her connection with the Abrasax dynasty; but in other respects, Jupiter is more readily associated with Venus, as stated by “Through Ancient Eyes”:

Jupiter Jones is clearly depicted as the ‘double goddess’ in the film. She is both mother of the Abrasax (Archons) and the ascending queen of the Earth. She is therefore Sophia, Isis, Demeter, Venus (the Maleficent as her dark side) and the star that rises (ascends) in the sky. The Wachowskis couldn’t have made it any plainer.

The identification of Jupiter Jones as the reincarnation of an ancient earth goddess, is further reinforced by her role in the film as a putative supplier of fertile eggs, as well as by her strange, queen-like ability to compel swarms of bees.

Venus, of course, is another name for Lucifer, which in turn is another name for Jesus Christ, the metaphorical rising star. Christians are often zombatically confused about this, seeing Lucifer as a fallen angel or a synonym for Satan, but this is biblically not the case. See: Jesus Christ is the True Lucifer by ‘Sanctus Visalia‘:

Origins of the word Lucifer

… Before we begin let us figure out Lucifer means. In Latin Lucifer means “Light Bringer” and is the name of the Morning Star. The word Lucifer appears only once in the Bible and only in the KJV. Isaiah 14:12: “How art thou fallen from heaven, O Lucifer, son of the morning! How art thou cut down to the ground, which didst weaken the nations!”

But did the word Lucifer always exist? NO! In the Hebrew language, the word Lucifer is derived from the Hebrew word הילל (Hêlēl). In fact, the term Lucifer didn’t even exist in the Biblical ages! Put thought to it; Lucifer is a Latin word. (Lux = light/fire Ferre = to bear/to bring). The Old Testament was written primarily in Hebrew, so the word Lucifer could not have been in their language….

Jesus the Morning Star the Lucifer

Titus Abrasax, Bride of Christ?

The role of Titus Abrasax is clarified by his interaction with Jupiter: he desperately seeks to marry her. With genders reversed, of course, the bride of Christ is the Church. Titus and Jupiter are slated to be married in a gigantic Gothic cathedral; Titus wears a red vestment, symbolic of funerals and death, and perhaps his cannibalistic plans for Earth; Jupiter wears a white dress with red floral highlights (for attracting bees?), and a strange headdress vaguely reminiscent of a Medusa, again festooned with red roses. Could the choice of the name Titus as the husband-to-be of this Messianic figure indicate that the Wachowskis are aware of the role of Titus Flavius in the creation of the Gospels, or perhaps the equivalence in Shakespeare’s Titus Andronicus, as discovered by Joe Atwill? We will watch for more clues when the movie is out on video.

In the same vein, Kalique Abrasax (whose name is reminiscent of Kali, the Hindu goddess of the underworld) is Jupiter’s friend, confidant and tutor. She is also a really nice (for being psychopathic) type of person, who is happy with the knowledge (or belief) that the victims of “harvesting” hardly feel any pain. Allegorically, this all feels evocative of the mass media, and politicians, and all other purveyors of smooth pleasure and pacification.

Fallen Angels

As mentioned above: along with Jupiter Jones, the main protagonists of the film are Jupiter’s true romantic interest, Caine Wise, and his sidekick Stinger Apini (Sean Bean). They are identified as fallen angels or nephilim, because they are products of hybridization; they have lost their wings; and also, of course, because they have become enemies of the Abrasax. (Aegis, the name of their intergalactic police company, was the shield of Jupiter in ancient mythology.) Caine seems possibly a representation of the god Mercury, because of his winged feet, and also because of his affiliation with Jupiter (as her child; this is a confused mish-mash, if this typological link was even intentional.) As a canine, Caine might represent Sirius the dog star, or Seth the killer of Osiris, who was also represented as a sort of dog or wolf. (The home planet of the Abrasax, Ores, sounds like a blend of Osirus and Horus. The planet was attacked and severely damaged by Caine.) Stinger Apini gets his wings as a fanciful hybrid of man and bee, but he seems to exist in the movie mainly to engage in a strange male bonding ritual with Caine Wise, and to give worshipful respect to Her Highness, Jupiter Jones.

All this so far provides an excellent allegory for our Postflavian worldview of elite shepherds, with perhaps the sole exception that in the movie the various planetary communities of humans have no idea about the others’ existence and thus have no basis to conduct interplanetary wars, at least, and such as Earthly human communities are otherwise urged on to do by the shepherds’ agents provocateurs. But as we at Postflaviana and elsewhere know, our elite human shepherds pit their Earthly flocks against each other for their never-ending profit. And if anyone will be able to take advantage of life extending technologies, being worked on now or having already been developed, it will be they who can afford it from their ill gotten gains as our hidden virtual gods behind the veil of Jesus their ancestors cynically bequeathed to us.

Cleverly included in the movie are a metaphorical mashup of subservient dragons and various other minions that employ common alien (UFO) motifs, such as performing human abductions and performing DNA tests on the terrestrial human herds. The movie’s dragon motif, ubiquitous in various cultures over time, and similar others have been granted a vastly different interpretational context than we have traditionally framed them, and which may be useful in helping to understand our relationship to our putative lords, which we’ll expand on in the near future.

The movie’s ending lends itself to further interpretation as to whether humanity will awaken, or continue to repose in ignorant bliss, confidant that we will be taken well care of — by Jove.

Links:

Jupiter Ascending at IMDB

Christian symbolic analyses:

http://beginningandend.com/jupiter-ascending-or-lucifer-rising-a-film-promoting-the-illuminati-false-gospel/

http://vigilantcitizen.com/vc-community/jupiter-ascending-olympians-2-0/

http://sitsshow.blogspot.com/2015/02/abraxas-mythos-in-jupiter-ascending.html

http://illuminatiwatcher.com/channing-tatum-illumi-naughty/

http://illuminatiwatcher.com/mkultra-mind-control-symbolism-fifty-shades-grey-film/