Monday, March 19, 2018
Pathetic Reappearance of Luke Skywalker in THE LAST JEDI Could Be a Sad Commentary on What Became of George Lucas
George Lucas was one of the Movie Brats greatly influenced by Westerns, esp John Ford’s THE SEARCHERS.
Of course, his big success was STAR WARS, and it is in the news again. The latest installment LAST JEDI has been lambasted in many quarters. Not just the Alt Right but from the fanbase.
Mark Hamill himself wasn’t happy about what was made of Luke Skywalker. I haven’t seen it and don’t want to, but maybe the latest installment is really a commentary on George Lucas’ betrayal of his own destiny.
Not for nothing was the hero named Luke Skywalker. Luke was the alter ego of Lucas.
Like Luke, George Lucas was divided between his destiny as an artist and the temptation of business and money. He began as an experimental film-maker, and Coppola prized him as his favorite protege. His first feature film was THX 1138, one of the boldest sci-fi films ever. And he continued in the personal vein with AMERICAN GRAFFITI. And even the first STAR WARS was quite an imaginative leap and derring-do as science fantasy spectacle. With the success of STAR WARS and INDIANA JONES, Lucas had the money to make more personal films. He could fulfill the destiny of his hopes and dreams in the heady days of New American Cinema of the 1970s. After all, the original plan had been for Lucas to direct APOCALYPSE NOW with John Milius.
Lucas was supposed to succeed in business ONLY TO accumulate the necessary funds to serve his true calling as a great American auteur of personal film-making. He would be the new Welles-Kurosawa-Kubrick-New-Wave. He would go even further than Coppola, his Obi-Wan.
One day, with enough money, he would do what he was meant to do and become a great auteur.
Alas, he just went for the Empire of Greed. He just stuck to STAR WARS franchise and made them ever more infantile to rake in the bucks from young ones. He squandered adventure for advertisement.
I mean, after all those blockbusters, did he not have enough money to FINALLY fulfill his destiny as a great personal film-maker? So, what did he do with his power and means?
He sold STAR WARS to Disney for billions and trashed his Destiny for good. He financed junk like RED TAILS.
So, maybe the broken-down and apathetic Luke Skywalker in LAST JEDI is supposed to be a commentary on George Lucas. Lucas’ myth as a personal artist who took on Hollywood and did his own thing proved to be empty and hollow. He just became a greedy mogul who turned Force into Formula, and when he got through with the whole thing, he just sold it to Disney. It was like the pigs in ANIMAL FARM deciding finally to turn the Horse into Glue.
He threw away his baby just like Luke Skywalker tosses away the light saber and burns the sacred texts in the new movie. When Lucas gave up his vision(however already compromised) to Disney, he might as well have burned the myth. It's like a politician who'd gained a reputation of being a maverick just selling his prestige to the Neocons. And when Yoda tells Luke to go ahead and burn the text, it’s as if even Yoda lost faith in the myth. Why not burn it when Lucas sold his lifework to Disney for more money than he could possibly spend? When the creator no longer believes in his creation, the creation no longer believes in itself and the creator. With STAR WARS having been sold to Disney, Yoda is right to advise Luke-Lucas to just burn the whole thing.
So, Lucas’ selling his mythology to Disney was like Luke in LAST JEDI burning the Jedi Canon and destroying the remnants of the Jedi order. He is conceding futility and failure as a true believer in art and mythos. And it is fitting that another empire is menacing the galaxy in the new series. It's the way of power.
Ultimately, the empire will always win. And this ‘empire’ is useful as a metaphor of universal and eternal lust for power. The ‘empire’ is not some great Other Evil. It is the powerlust within oneself, even among the 'good guys' who just become the New Boss to replace the Old Boss. The logic of power continues regardless of which side wins.
So, even though the Rebels won in RETURN OF THE JEDI, the victory only led to the rise of a new power that birthed a new empire. So, even if the Resistance wins, it will lead to yet another empire. It’s like the US won WWII and defeated Nazi empire and Japanese empire. And the US even defeated the Soviet Empire. But the US became another empire with insatiable power lust. And the boomers who opposed Nixon and war just grew up to take power and run the empire themselves. So, even if the empire is defeated, the winners just create a new empire. Consider how Jews, who were victimized by WWII, became the ‘new nazis’ of globalism fomenting wars and crushing Palestinians.
Once upon a time, long long ago, Lucas was one of the young turks of Hollywood. They were the rebels and upstarts. They challenged the Studio and the old way of doing things. But as they gained success and power, they became the New Empire, indeed bigger and brasher than any empire before. And if they’d begun with energy and idealism, they eventually grew cynical & corrupt and came to favor money and power as the only metrics that mattered.
So, the fact that Luke Skywalker is presented as a has-been phony who no faith left in Jedi mythology in the new movie reflects what happened to George Lucas. Lucas became a tired cynical man who just milked his mythology for shekels and then sold it to the Jews for more shekels. His talk of realizing his true destiny as a personal filmmaker just became self-serving nonsense. He became the empire that settled for 'been there, done that' formula peppered with better special effects but worse inspiration. He betrayed all the Jedi principles of 70s cinema. He gave up on daring auteurism and became a comfy mogul. He went over to the dark side while pretending to be on the side of light.
George Lucas grew stale, cynical, and bored.
And Luke Skywalker in the latest movie, as if to channel the corrupted and faded Lucas, is presented as a tired soul who no longer believes in anything. His cynicism has arrived at only one conclusion. No matter who wins, good guys or bad guys, the empire will always win since the new boss will eventually become like the old boss. It's only a matter of time. Power has its own logic. Eventually, it purges naive and utopian ideals and becomes a naked power-grab. The new empire is just an outgrowth of the Rebellion that became the Republic that became the Empire.
And the fact that Luke beams himself as a hologram? It goes to show that Lucas has become a phony myth. The real Lucas is a greedy cynical old man who believes in nothing. The Lucas myth is a hologram beamed to the world. Lucas has become a hype than hero.
Being a faded and corrupted soul in reality, the only trick left is the manipulation of his 'virtual image' in the electronic media. Because Lucas' legend is now so undeserving, it requires ever more strain to keep it going... until of course, it collapses from sheer exhaustion... like Luke in the new movie who dies from the strain of projecting his ego onto another world.
The fact is Lucas failed even to fully realize his STAR WARS universe. And worse, he even sold his baby to Disney to make billions when he already had billions. He gave up and just turned it into vehicle for merchandising and special effects.
So, it’s fitting that the Luke in the latest movie is as tired and cynical as Jabba the Hutt.
This is actually a fitting commentary on what has become of boomers, counter-culture, Lucas, and the dream of New American Cinema of the 70s that was supposed to be about the rise of the auteurs. But the auteurs just became the tired and cynical moguls of a new empire more soulless than previous ones.
The original STAR WARS just became sure profits and greed. Those who bitch about how Disney ruined are being somewhat disingenuous. Lucas had already given up on the vision and just pursued it as a business venture. A part of Lucas always felt a certain shame since he betrayed his destiny of following the footsteps of Ford, Kurosawa, and Coppola. So, after awhile, he didn’t even try to hide the fact that STAR WARS became STAR WALMART to keep him relevant in box office competition. What else was he to do when he'd given up on his personal projects, whatever they may have been.
So, even prior to the sales to Disney, STAR WARS had essentially become franchising. Disney paid big bucks for one reason only. MORE MONEY. It was driven only by greed. But lest Disney be accused of shameless Greed, its globo-corporate capitalists wrapped the franchise with ‘progressive’ tropes of Girl Power, Diversity, Jungle Fever, Purple-Haired Lesbian Narcissism, and etc.
Of course, this supposed Space Socialism cost $200 million for one reason and one reason only. To rake in billions of bucks from around the world. For noble & idealistic young souls to watch this ‘progressive’ manifesto of ‘resistance’, they gotta fork out $20, big bucks for kids without jobs these days. Some socialism. To see Space Socialism, get in line folks, and hand over your hard-earned cash to see Social Justice long long time ago in a galaxy far far away.
Just like Wall Street wraps itself in ‘progressive’ homo colors to evade proper scrutiny, Disney squeezes the cash cow of STAR WARS for milky way galaxy amount of dough, and it easily suckers ‘progressive’ critics with the pretense of spreading a message of Hope against Literally Hitler Trump. Corporate Disney, a force of ‘progress’. LOL. What a clown world we live in.
Also, the media are owned by Jews, and they are kinder to STAR WARS since The Tribe at Disney now own it. It now belongs to the Jawas.
Jews in the media were hostile to Old STAR WARS because it was owned by gentile Lucas who admired the aesthetics of Leni Riefenstahl. But now that it is firmly in Jewish hands, Jewish media and critics praise it to the sky. Jews now own Space Nazism and can remold into into Safe Space Fantasy to rake in billions from around the world.
No wonder cynicism keeps growing.
Ultimately, blame George Lucas. He created his own vision, and good or bad, it was his baby. He had control over it and was indelibly associated with it. Lucas = Luke. It was like a fantasy autobiography, about being torn between fulfilling his destiny as a true artist and the temptation to just go for the money.
In a big way, Lucas betrayed himself and just went for the money. Still, he remained true to himself at least in the sense that he maintained absolute control over his biggest success, STAR WARS, as personal property. And his Industrial Light and Magic did revolutionize cinema that is the most technological of the arts.
So, even though failed to become a Kubrick or Kurosawa(not even a Coppola), he made his own movies in his way and owned all the rights; he had personal control over his empire. He remained independent of Hollywood even as he made movies for the mainstream.
But he totally betrayed himself by selling STAR WARS to Disney, an unscrupulous whore factory. He was as foolish and deluded as the Lord in Kuroswa’s RAN who believes his domain and his prestige shall remain intact even after relinquishing power to his shady sons. He soon realizes that his sons, the first and second, are sharks who will even betray their father to further their own naked ambitions.
Lucas was surely assured by Disney that his original vision won't be tarnished or compromised: The new sequels would carry on with the original thrust of the story and the meaning of the Force.
But once Disney got a hold of the material, it showed its true colors. Disney trampled all over the original vision and made it into a total freakshow closer in look to STAR TREK. Disney went for STAR WEIMARS.
Thus, Lucas gained the world but lost his soul. It’s all the more ludicrous because he already had more money than he could possibly spend. If he were strapped for cash, it would have been understandable. He just got so addicted to money as the only sign of success because he failed as an artist. He became not so much Darth as Jabba. Darth, evil as he may be, still have some vision of the world. Jabba has nothing but appetite.
Lucas is a rich man in business but a poor man in art. He has no integrity left. He has no respect from any quarter. He’s a total joke, like the lord in RAN after ceding authority.
The old man Luke in the new movie seems as lost and disoriented as the fallen Lord in RAN.
It is so fitting that Luke makes himself into a hologram in LAST JEDI because that’s what Lucas is in the New STAR WARS. With the original hexalogy, Lucas’s spirit was all over the movies. He made them with his own mind, heart, and hands. His body and soul were directly connected to those works.
But, Lucas’s presence in the new series is totally an illusion. He sold the rights, and Disney can do whatever it wants to. And Lucas’ presence is merely ‘virtual’, a projection. It maintains the mirage of life of something that is dead.
Just like Disney is no longer what it used to be — a gentile oasis in an industry dominated by Jewish moguls — and only exists as a brand controlled by Jews who have no respect for its founder, the STAR WARS franchise is now associated with Lucas in name only. Lucas is used a hologram in the new series, like the fake CGI Leia in the end of ending of ROGUE ONE.
Just like Clu takes over from the real Flynn in TRON LEGACY, hologram faux-Lucas has replaced the real Lucas in the new STAR WARS. Without ownership of the franchise, Lucas’ power over the material is purely illusory. It’s like the fallen lord in RAN is weaker than the jester. And in LAST JEDI, the old Luke is pushed around by some silly girl.
It’s either the director sadistically rubbing it in or lamenting Lucas' betrayal of personal vision by selling and ceding the rights to Disney. In that sense, the new movie could be as subversive as Paul Verhoeven’s sci-fi epics. It may be straight on the outside but mocking on the inside. The director could be sending telepathic messages to Lucas, "You dummy, how could you have done this to yourself?"
George Lucas had the Force as long as he held onto the rights of the original. But once he sold the rights and gave up authority, his Force was gone. It was now owned by others, and his role in the New STAR WARS was purely titular and ceremonial. It’s the Farce.
Worse, the new series proved to be regicidal because Disney did to Lucas’ vision what the Bolsheviks did to the Tsar and his family.
Lucas helped Kurosawa realize the project of KAGEMUSHA where the original lord is replaced by a shadow. Lucas made himself into a shadow in the New STAR WARS.
In a way, the New STAR WARS Makes Perfect Sense Given the Change in Ownership from George Lucas to Disney. Force reflects real power.
Richard Spencer in the video above complains about how the New STAR WARS doesn't respect or conform to the original vision created by George Lucas. And many others have lodged similar complaints. Across the political spectrum, many are not pleased with the new series and especially the new movie because it deviates from the original vision that they grew up with. Many adult audience members spent their formative yrs watching the original series, the first three released from 1977 to 1983 and the second trilogy from 1999 to 2005. So, they have a fixed idea of what STAR WARS universe and the Force are about. Therefore, when confronted with the revisions and narrative-thematic purging of the New Series, they are bewildered and even exasperated by Disney's lack of 'respect' for Lucas' original vision. (But do they ever ask why Lucas still deserves respect when he sold his baby to Disney for billions of shekels?)
Now, the complainers have a point. The new series may well indeed violate the core principles of Lucas' original vision. It may go against the spirit of the original incarnation under Lucas' command. But they are overlooking certain key facts about the Way of Power in culture. What goes for Power goes for the Force. The Force in STAR WARS is whatever those with the possession of copyright say it is. The Force was what it was as long as Lucas had control over it. But with Jews at Disney now owning STAR WARS, the Force is whatever THEY make it out to be. It's as Carl Schmitt said of the nature of law and power. No law exists outside the reality of power. Basic laws are vaguely worded, and it is the Power that decides the meaning and force of those words. So, when Jews gained control of US culture and jurisprudence, the Constitution came to mean Open Borders, Diversity, Anti-White Hatred, and 'Gay Marriage'. Americanism and Constitutionalism were always shaped and determined by the Power. After all, what is Free Speech? Jews once used to say Free Speech means all speech, from far right to far left, should be free.Back then, Jews feared censorship of Jewish radicalism and pornography(big profits for Jews) by traditional Christian power. But once Jews gained supreme power in the US, they came to fear Free Speech as criticism of Jewish Power. Therefore, Jews redefined Free Speech as excluding 'hate speech'. Since Jewish Power controls the meaning of 'hate speech', Zionist speech(that demeans Palestinians) is not 'hate speech', but BDS speech that calls for justice for Palestinians must be criminalized as 'hate'. The Power decides what is 'hate', and that means Jewish elites with supreme power in the US get to denounce and suppress certain speech as 'hateful'.
What goes for Reality goes for Fantasy. The rules of fantasy will always be controlled by those with power over the fantasy. So, it doesn't matter what Lucas did with the original STAR WARS. It doesn't matter how the Force was manifested in the first six movies. The fact is the power of the Force has gone over to Jews at Disney, and that means Jews will alter the Force to suit their agendas and biases. It's simple as that. So, when Richard Spencer and others talk of STAR WARS as a universe existing independent of copyright ownership and moneyed control, they are being naive. They are presuming that there really is a Core Canonical Principles of the STAR WARS and the dynamics of the Force. No, such was all make-believe and can easily be altered based on whomever is now in control.
Spencer has emphasized over and over how it's foolish to believe in Constitutionalism as a principle independent of power. He has castigated the so-called True Conservatives who claim to stand for abstract American Values of Liberty and Individualism. His point is that American Constitutionalism will always be determined by those with real power. The Constitution can be molded to mean just about anything. At one time, it even justified slavery and the ethnic cleansing of American Indians. And the 'internment' of the Japanese. And censorship of obscene material offensive to Christians. The Constitution allowed all such censorship and restrictions in the past because the White Christian Majority could will the Constitution to support and defend certain values and interests. But once Jews gained control of the Constitution, the US came to be all about ISRAEL FIRST, favoring Zionists over all other peoples(esp the Palestinians), Open Borders Immigration to turn whites into a minority, and etc. The Constitution now serves the interests of Jewish-Zionist-Supremacism. And since Jews have chosen Homomania as the proxy agent of Jewish Globlaism, the Worship of Homos and Trannies has become the new christianity or Queertianity. The Christian Church is like the Constitution. In the end, it will be what those in power say it's about. The Power decides and molds & twists the presumed core principles to its will.
If Spencer is so perceptive about the relation between Power and Laws, why is he so naive and earnest in his assessment of the new STAR WARS movie? He seems baffled as to why the new series violated and betrayed what STAR WARS is really supposed to be about. But his idea of 'real Star Wars' only applies to the franchise that was owned by Lucas. As long as Lucas had power over his baby, he could do as he pleased. But when he sold the Force to Disney, Jews had the power over the Force, and they could bend it to serve their own biases and agendas. It's like if you give your kid up for adoption, the adoptive parents can do whatever they want to with it. Jews can adopt a non-Jew and raise it as a Jew. And of course, the new STAR WARS reflects this reality. What are the agendas of Jewish globalists? It is white feminism. Jews use feminism or man-hate to drive a wedge between white men and white women. By thus setting white women against white men, white race is weakened, and it is easier for Jews to maintain control over white goyim. Jews also push race-mixing to destroy racial and ethnic identities. A people with confused identities are less likely to unite and rise up against the ruling elites. It is also a way to demoralize white males and destroy their pride. By especially promoting interracism between black males and white females, Jews send a message that black males are superior studs while white males are either dorky cucks or wussy homos. And the new STAR WARS is geared to turning its white heroine into a race-mixer. We see this all around in TV commercials, TV shows, and movies. Jews want to make the next James Bond black. Jews want to put the black male on the pedestal as the top alpha male who deserves to take white women. As for white males, they are either old farts who should die or dorky cucks who should delight in their own defeat and humiliation.
Jews also push for massive 'immigration' to increase Diversity. Why do Jews do this? Jewish elites fear a homogeneous population that might unite against Jewish power. So, Jews seek to increase Diversity and set various goyim against one another. That way, the goyim won't be able to unite as one people against Jewish elites. And of course, the new STAR WARS is all about Diversity, a weapon of Jews against native populations of any nation. Meanwhile, virtually all the villains are white, especially white males.
In the end, the Power decides the meaning of anything. This was true of how Christianity got started. It developed as a branch or heresy of Judaism. Jews denounced Christianity as a violation of the true meaning of God in the Torah and Jewish tradition. How dare these gentiles take something from Jews and change the meanings to make God serve gentiles than Jews? According to the original spirit of the Torah, God cannot be manifest in human form. And God's Covenant is with Jews, not with all of humanity. But Christianity had Jesus as Son of God, a human figure walking among mankind. And Christianity said the new covenant is with all of humanity. In the end, it didn't matter how much Jews protested. The fact is when the idea of God passed over to Christian and later Muslim gentiles, they changed or twisted the principles to serve their own interests and agendas. Jewish concept of God was limited only to spaces in which Jews had the power. In gentile spaces where Christians and Muslims had control over the idea of God, His meaning and design could be altered, even drastically, to serve interests inimical to Jews.
So, what happened to STAR WARS isn't much different from what happened to the concept of the Jewish God once its ownership passed over to gentiles. Via Christian conversion, many gentiles became believers in God, and this belief gave them ownership of the meaning of God. And in their self-interest, they altered and violated many principles so dear to Jews who had once held sole ownership of their God.
Likewise, STAR WARS owned by Lucas and beloved by so many people had canonical value only as long as its ownership remained with those who remained loyal to the original vision. But once the ownership changed hands, the New Masters were bound to make the franchise serve their own biases and interests.
This happens with every newspaper or magazine. It doesn't matter what its original masthead declaration of principles was. The new owners will bend the purpose to their own will. This is why The New Republic changed drastically when it was taken over by Neocons under the tutelage of Martin Peretz. And then, once ownership changed once more, it turned into just some homo-globalist hipster rag. Or consider Huffington Post. Despite its name, Ariana Huffington has nothing to do with the new incarnation, and it's changed considerably from what it had been under her control.
If Alt Right has gained ownership of STARS WARS franchise, they would have made it serve its vision and interests. Richard Spencer as producer-director of STAR WARS would have made the Empire the good guys, and of course, many fans would have screamed Bloody Murder in protest. It's like Stanley Kubrick did his OWN thing with THE SHINING to the never-ending ire of Stephen King who felt Kubrick betrayed his core concept and meaning. But as King had sold movie rights to Kubrick, he was helpless to stop it.
Indeed, if there is such a thing as Alt Right STAR WARS fanfiction, the narratives likely serve the biases of White Nationalism. But since Jews of Disney own STAR WARS, the franchise is now used to further the Jewish Supremacist agenda of globalism.
Same thing happened with dialectical communism. The original theory by Karl Marx prophesied that conditions would worsen to the point where the working class would rise up to overthrow the bourgeoisie. Since the Proletariat was essential to this revolution, only an industrialized nation with a majority prole population could undergo the great tranformation. But when Lenin and Stalin took control of the theory, it was altered so that even a backward semi-industrial nation like Russia could have a communist revolution. Spontaneous uprising by the working class was no longer necessary. A radical vanguard with the support of secret police apparatus could pull it off. Later, Mao altered the meaning of Marxism even more by arguing that a communist revolution could happen with a peasant army. So, despite the original canonical meaning of Marxist theory, in the real world of actual practice, Marxism could be molded to be anything by the powers-that-be. If Maoism said Marxism could prevail in an agricultural society, that was the official lore of the land.And later, when reformers took control of China, communism could mean market economics. So, even as the Chinese Communist Party maintained the symbolism of Mao, the Red Flag, and revolutionary pageantry, the New Way was about buying-and-selling, trade with capitalist powers, and getting rich. Indeed, consider how Che Guevara became linked with capitalist pop culture and hedonism even though he hated Rock music, hippies, and materialism.
So, if we apply Carl-Schmitt-ian analysis to the new STAR WARS, no one should be surprised that the new owners of the Force changed the meaning to suit their ethno-socio-economic purposes. No school of laws, no work of culture, and no set of principles exist in some pure form in a vacuum. They always exist in a world of people with competing interests and agendas. Indeed, even among Christians, different sects disagree on the meaning of Jesus. In many denominations today, homomaniacs have taken over and insist that the faith is about worshiping homos and trannies. And warmongering patriots believe that Christianity is about the flag and guns. So, expecting the STAR WARS universe to remain pristine or resist heretical ideas is wishful thinking. STAR WARS will be whatever those with ownership of it make it to be.
It's like the Hagia Sophia Mosque in Istanbul. It was originally built as a Christian Cathedral, but Muslims altered the meaning. At one time, Ottoman Turks even altered the Parthenon to serve as a place of prayer for Muslims. But then, Christians had done the same to Pagan Temples. While Christians destroyed some pagan temples, they altered some to serve Jesus than the pagan gods. If we see STAR WARS as a kind of pop mythology or fanboy church, its core meaning will change to the tune of whoever has control over it. Consider the evolution of the Parthenon depending on who held power over Athens.
Another complaint oft-heard from the detractors of the new series is that the nature of the Force has change considerably from the original series. They object to how the Force has become so easy with the young heroine. And Spencer wonders how someone with such humble background could have the Force. But, they are forgetting that George Lucas himself kept changing the nature of the Force. In PHANTOM MENACE, he altered the Force from some mysterious essence to something that can be medically detected in blood. And for those who have problems with the young heroine's humble background in the new series, the old series would have us believe that some slave woman could give a miracle virgin birth to some kid who, at the tender age of 7, can win a hyper-drive chariot race and man spaceships and blow up seasoned enemy pilots. So, if a 7 yr old squirt can do all that, is it really so strange to see a young heroine do 'badass' things?
Also, if a female slave non-entity(in PHANTOM MENACE) could give a miracle birth to some kid with the Force, why is it so surprising that the heroine in the new series could have super-Force despite being born to humble parents? Besides, if the 20th century taught us anything, it was that those from the humblest backgrounds could become giants of history: Stalin, Hitler, Mao, etc.
As for the heroine's ease with mastering the Force, we need to understand that pop culture reflects the times. When Lucas made STAR WARS, power was still institutionalized. One had to go through the proper institutions/channels or gain access to big industries to be somebody. To be an influential journalist, one had to gain position at CBS or New York Times. To be an influential thinker, one had to have a position at Harvard or be promoted by top publishing companies and the media. To be a famous cultural celebrity, one had to be hired by TV, Hollywood, radio, or music industry. Even though there were alternative venues and underground artists, it was a tough climb to gain any kind of success, at least immediately. And Lucas struggled in this world. For him to gain access to film technology, he had to work hard and long and make the climb. To gain the Force, one had to go through the institutions controlled by high priests.
But we now live in the internet age. Even a young person in a small town now has access to more news and information than New York Times did in the pre-internet age. When Lucas grew up, it was difficult to see foreign films. Only college towns and big cities showed them, and one had to wait long time to see certain movies. It was nearly impossible for anyone to see something when he wanted.
Today, even someone living in the boonies can watch all sorts of movies from all parts of the world on the internet. Even a kid has more access to World Cinema than top film scholars did prior to the internet age.
Also, even kids carry around smartphones that serve not only as phones but as internet screens, cameras, recording devices, and etc. It's like their light sabers.
Thus, the Force has gone from institutional to individual in our world. Before the internet, someone like PewDiePie and Stefan Molyneux didn't have a chance at celebrity-hood. Institutions would not have given them the platform to express their views or pull their antics. But internet has been the great equalizer. Anyone can reach the world from inside their bedrooms. Some of these 'amateurs' have more fans and viewership than mainstream media do.
So, the revision of the Force in the new series could very well reflect social change. Young people with interesting ideas, music, opinions, personalities, or shtick no longer have to make the Long March through the Institutions to say their say, gain a fanbase, develop a cult, and even become fabulously rich. Even demented Andrew Anglin has gained legendary anti-hero status because of the internet. Even with the attempts to shut down Daily Stormer, Anglin still has enough Troll Force to mess with the Narrative.
Alt Right should know this since its rise owes so much to the internet, the great equalizer that has made it possible for oddballs like Mark Dice and Styxhexenhammer666 to get huge followings. This is why Facebook, Youtube, Twitter, and Google-Search are working in tandem with ADL to rig the game and ban certain voices deemed 'hateful', but the nature of the internet favors individuals over institutions. It has democratized the Force, for good or for ill.
So, given all these changes and developments in society, is it any wonder that the nature of the Force has changed in the new series? Whereas Luke had to go through the institutions to gain his power, Rey doesn't. The Force has been digitalized and democratized.
Internet and gadgets like smartphones have empowered individuals in ways that were unforeseeable when Lucas conceived STAR WARS. Just consider how the rise of high-tech allowed young ones to become overnight moguls and billionaires. Prior to the internet, could someone like Mark Zuckerberg become so rich so fast?
Now, I'm not saying LAST JEDI is a good movie. I haven't seen it. I did see FORCE AWAKENS, and it was terrible. But, we should not be surprised that Force will change along with the change in ownership and will reflect social transformations all around us. In the end, most pop culture, even when set in the distant past or fantasy world, are more reflections of prevailing fashions and trends of the moment than works of purity remaining faithful to a set of core principles inside a bubble.
Internet made even this young woman a celebrity and a known factor in culture:
HAIL CAESAR(by Coen Brothers) and MOTHER(by Darren Aronofsky)
The world spins around the axis of Jewish neurosis. And it’s not just about power. We all know the rich and powerful have more pull. But most rich people are just happy with their toys and good times. Look at Russian oligarchs, at least the goy ones. They are content with their ‘bling’.
But Jews are not only big on money but on ideas and ego, the vision thing. And this causes problems.
Matthew Yglesias is one of the less interesting Jews, but he too is wound up with all this neurosis. People with the same neurosis rule the world, and the whole world revolve around it.
Because pundits and partisans must play the game, we get the same-old-same-old from them. So, Jewish artists are more interesting than Jewish pundits. Artists must at least try to empathize, delve into the issues and problems. Pundits just hit the ball to the other side of the court. They don’t really ponder the origins or the nature of the game.
When did the world begin to revolve around the Jewish Neurosis? Coens offered an explanation in HAIL CAESAR. They lay out the creation, consecration, and the continuation of the Template. It began with the clash of Romans and Jews. Romans were great warriors and conquerors. They wanted to physically dominate the world. They expanded in all directions: north, east, south, west. And for awhile, they were unstoppable. They were supreme engineers, managers, and fighters. But they lacked the prophetic vision. They weren’t even very serious about their own gods and cults which turned into empty rituals and superstition. Romans militarily conquered others but didn’t try to conquer them spiritually. They tolerated the cultures and beliefs of other nations. They were about military power, taxation, and managerial control.
In contrast, Jews hadn’t the means to conquer much militarily. They had enough trouble keeping the little territory around Jerusalem. But they sought to spiritually conquer the entire universe. They conceived of their God as the only God, and all other gods were either wiped out or their existence was denied. In their cosmology, Jews conquered all the universe and believe there was one God, their God, and God had a special covenant with them. Jews had the prophetic vision that went beyond the here-and-now.
Jews clashed with Romans. Romans easily conquered the Jews like other peoples. Militarily, Jews were no match for the Romans, the master military empire builders and a managerial class. But the Jewish spiritual vision was greater than that of the Romans.
Both sides had advantages and disadvantages. As Romans lacked the Prophetic vision, their power rested on military domination and the big stick. Like Alexander the Great and the Mongols, Roman power lasted only as long as Romans held the bigger stick. But minus the stick, they were finished.
In contrast, Jews had the great vision of faith in God, the ruler of all things. This concept could not be defeated by any sword or hammer. But a people cannot gain power by vision, faith, and imagination alone. So, in the short run, Jews got beaten badly by Romans. Also, even as the Jewish vision helped Jews to survive as a people against all odds, the Covenant prevented it from being used as a weapon to convert and conquer other souls.
So, how did the Jewish vision come to conquer the Romans who conquered the Jewish land? A heresy developed with the arrival of Jesus and His messengers. To this day, Jesus is both the Jew that Jews are most proud of and the Jew they most loathe. Jesus came up with a vision that could conquer countless gentile souls, even those who were oppressing the Jews. But by passing the faith to the gentiles, Jesus was the ultimate traitor. Thus, the Jesus Neurosis.
The combination of Roman military-managerial might and (heretical)Jewish prophecy led to the creation of the Template that came to rule the world and continues to this day. This was the ultimate formula for power in human history.
Prior to its emergence, there had been great empires, but they all rose and fell and never recovered. Some even faded and disappeared. But the idea of the Holy Roman empire came to define just about all great Western powers, and their power just kept growing bigger and bigger over the centuries.
France, Spain, Britain, Germany, Russia, the US were all variations or continuations of the Holy Roman Template.
Why has it been so resilient, so powerful, so long-lasting in glory?
Because an empire without holy vision eventually grows decadent and tired of itself. Pagan Romans lacked strong faith in anything. They were about power and glory. But a people need something more powerful than mere might. This is especially true in an empire. Lots of people can be kept in peace with sticks and carrots, but when the sticks/carrots run out, they are restless again. In contrast, a people of united profound faith share and feel something in common with vast swaths of humanity within the empire.
Pagan Romans, like other pagan empires, were bound to go through their cycle of rise and fall because they lacked a powerful faith that held all the people together.
In contrast to Romans, Jews came up with a great deep faith and vision. But no matter how much Jews worshiped God as the greatest force in the universe, a people without sufficient numbers and arms aren’t going to rule the world. So, even as Jews had the formula to survive forever with faith and vision, they could never get anywhere in terms of real power.
But then, the two modes clashed and then, through Jesus and Paul and later Constantine, formed into the Iron Template. It combined Worldly Imperial Ambition with Cosmic Hegemonic Vision. The will to conquer the material world and the will to conquer the spiritual world came together and forged into a power like the world had never seen before. And even though the Western Roman empire fell to the barbarians, the Prophetic Vision of the Holy Roman template would culturally and spiritually conquer the barbarians in time, and they would carry on with the Template and eventually come to conquer the world in terms of both sticks and souls.
HAIL CAESAR features the Cold War as the clash between two version of the Holy Roman Template.
Soviet Union is a neo-Holy-Roman empire. Its founders are prophetic Jews like Marx. And there are more prophets like Marcuse. Soviet Union was founded on the prophetic vision of Jews. But lacking the numbers, Jews couldn’t do it alone. They supplied the vision but the might of Soviet factories and armies depended on gentile managers and soldiers.
The US is the other version of the Holy Roman Template. One might say the US is more about Jewish profits than prophets, but Hollywood, though a capitalist enterprise for profits, also became a kind of pop-prophetic factory that manufactures and markets New Myths for the entire world. Also, money has a quasi-spiritual power. Unlike houses, cars, clothes, and swimming pools, money is mercurial and move around the world at light speed. To control money is to have the power of god in America. And the unseen godlike figure in HAIL CAESAR is the Jewish mogul behind the gentile executive who manages day to day things. This gentile Catholic has great respect for the Jewish mogul. When tempted to work for the Military Industrial Complex, he finally decides to stick with Hollywood.
Just like the Roman soldier(Clooney) is humbled before Jesus in the movie being made, there is something about the great Jewish mogul that Josh Brolin’s character is bound to. Gentiles may have the ‘game’ and the moves but it’s like Jews got the Depth or the Aura. It’s like all those people who were awed in the presence of Ayn Rand.
HAIL CAESAR is like a movie adaptation of Yuri Slezkine’s THE JEWISH CENTURY.
Of course, ‘hail’ reminds of us something that happened in the 40s. Heil Hitler. There is no mention of Hitler or Nazis in the movie, but there’s a sense of the fear of the gentile with a prophetic vision of his own. Hitler, evil as he was, had a prophetic vision, and this was what was so frightening about him. He was not just about bluster, like Mussolini. Or content with mere order and tradition, as Franco was. He had the will to expand and manage a powerful empire(like the Romans did) on the basis of a grand vision of the world. Not just a Reich but a 1000 yr Reich. This is why John Lukacs called Hitler “a great exception, rising from near-nothing, the sole maker of the Second World War, a planetary genius who had no precedent in German history”.
Hitler was truly evil, but he had something the Jews had. The power of prophecy. Indeed, among Europeans, Germans had it for some reason. In music, they gave the world Beethoven and Wagner, the greatest musical prophets of all time. And in philosophy, Germany gave the world Nietzsche. And even the most prophetic Jews of the 19th and 2oth century were Germanic Jews: Freud, Marx, Kafka, the whole Frankfurt School.
Anglos were a great people, but their way was about self-control and restraint, like men in DUNKIRK. They don’t step in front of the line. It’s about form and order. Germans had form and order too but their souls developed this audacity to be prophetic. Power of prophecy goes beyond reason and logic. Why did so well-educated and cultured Germans like Albert Speer fall under the spell of Hitler, in many ways a loathsome character. Hitler had the prophetic power. Some have it through grand intellectual vision, like Marx and Freud. Some have it through charisma and audacity…. which is why many whites are now under the black spell of MLK as black moses-jesus and rappers as pop-prophetics.
Anglos were great, but their culture stressed order, duty, and place. Thus, Anglos needed some other people to supply the Prophecy, and this is where Jews found their mark. Jews had greater will and vision than the Anglos. Even in rough and rowdy America of the West, the cowboy and gunslinger needed to serve something bigger than themselves. Guns are loud but don’t make sense unless the Law and Destiny are offered by Other people. In the Current Year, the greatest American prophet, even greater than MLK, is Emma Lazarus. Dream is now less about ‘I have a dream’ than illegl ‘dreamers’.
Anyway Heil Hitler was truly frightening because the Nazis changed the rules of the Holy Roman Template. Even as Christians were oppressive toward Jews over the years, there was a certain moral restraint within Christianity that called for guilt, confession, atonement, redemption. And so, there was some degree of safe space for the Jews.
Such brakes were gone from the Nietzschean neo-pagan prophecy of Hitler. But this was a paganism with a difference. It wasn’t just about military might or great leaders. Romans had great emperors, but none were prophets, the great seers of the future. There was no one like Muhammad. Also, when Romans came under Christianity, there was no more need for prophets since the Messiah had come and blessed mankind. There was the promise of further prophecy in the Second Coming, but that was about Jesus too, and He would decide when and where.
In contrast, German Romanticism that exploded with Beethoven & Wagner and German philosophy(which, unlike cautious empiricism of Anglo-philosophy) that thought in grand terms from Hegel to Schopenhauer to Nietzsche(to Heidegger) unleashed a pagan propheticism that was so unlike the Judeo-Christo kind. Jews long believed that, whatever advantages pagans had as warriors and leaders, the latter didn’t have the prophetic power of Jews. There was Muhammad to be sure, but he too appropriated the Judeo-Christo tradition; besides he was a fellow Semite. But the Germans, energized by a radical re-reading of Classical Greek civilization and fired up by nationalism of roots and Kultur(going back to Germanic mythology), gained prophetic power in the late 19th century. Unlike French nationalism that was based on Reason and Enlightenment principles of ‘civilization’, the Germanic nationalism rooted itself in dark ancient roots even as they moved into modernity. Just like Jews were modern but rooted in the deep past, Germanic consciousness became likewise. Modern and futuristic but also rooted in dark ancient past of their own blood-and-soil consciousness.
But there was bound to be a problem with blood-and-soil consciousness and propheticism. Blood-and-soil consciousness is content with one’s own land. But propheticism is ambitious and aggressive. It seeks to conquer the future. We have this problem with Israel. Zionism is both blood-and-soil(limited in ambition) and prophetic, with a grand vision of how Jews should dominate all the Near East and even beyond. So, it isn’t content to co-exist with rival neighbors. They must be destroyed or made subservient. But unlike universalism(of Christianity, Islam, Enlightenment, communism, etc), Jews don’t want to convert others into Jews and fellow brethren bound by creed. They want to keep a wall between Jews and non-Jews. Jews are unwilling to go the Jesus-Paul route that dissolved the wall between Jews and Christians on the basis that Jews should welcome gentiles as fellow brethren and gentiles should accept Jesus and God. Jews want great power around the world but stringently guard their particularism. This is a serious contradiction.
And this was also the problem of Germanic Prophetism. It was so strongly blood-and-soil yet so ambitious in gaining control over others. It’s like Carl Jung was both a blood-and-soiler and world-consciousness visionary. It turned into the most dangerous and diabolical form in Nazism. It was founded on idea of Aryans as the Chosen people of destiny. So, should Aryans liberate the world and bring justice and light to the world? No, as the master race, they would rule the world with fellow ‘Aryans’, the Anglos if the Anglos were so willing.
The future of the Jewish power really hung in the balance of what the Anglos would decide to do. If the British Empire and Anglo-dominant US had decided to throw their lot in with their closest racial brethren, the Germans, it would have been game over. The combined might of US, UK, and Germany could have defeated and dominated the world, even the USSR. And this is why the idea of America First is so terrifying to Jews. Even though Nazism is no more, and there are no more Hitlers, Jews are still stuck in WWII mindset. So, the idea of white Americans and white Russians being friendly is like Anglos and Nazis getting together in the paranoid Jewish imagination.
Now, if Jews were a humble people just seeking survival and security, their fears would be more understandable. But as it turns out, they are the other great and indeed the greatest prophetic force in history. China had Confucius but he was a sage and teacher. Sages have value but they are not aggressive and visionary. Lao Tzu was a mystic. He may have found wisdom, but it was recessive and passive stuff about yin/yang. China had first emperor Chin, but his power was all about political and military power. It rested on fear and terror. Once the fear factor was gone, it crumbled overnight.
In contrast, consider the prophetic power of Islam. Once Muslim invaders spread Islam, the power of Islam remains even after the conquers recede or fall. Mughals faded long ago, but Pakistan and huge part of India are still Muslim.
If Jews were humble, they would have been grateful for the end of WWII, defeat of evil Nazism, and restoration of order. But because of their prophetic energies, they simply cannot leave the world alone and feel this incessant need to reorder all of society to suit their vision. But the bigger problem is the rise of Zionism. Prior to creation of Israel, Jews had to subsume their prophetic energies into universal movements like communism and liberalism. Even if one argues that Jews were using those ideologies for their own ethnic interests, they had to serve something bigger than their own identity. But with the rise of Zionism, we have a strange problem that is somewhat similar to Nazi madness. Nazis were both intensely particularist and radically ambitious in their global design. And we have something similar now with Jews whose global power keeps growing exponentially but try to steer all the world energies into serving Israel and Jews as Holy Holocaust people. The contradictions and frictions are too maddening, and the Middle East since the Gulf War has been heating up with all sorts of dangers.
Anyway, Jews surely know that they are now the only people with prophetic power. Germans are so defeated after WWII. Putin is an ‘emperor’ type. Cautious and pragmatic. Russia has Dugin, but in the end, he’s more strategist than prophet. In contrast, Soros is an evil prophet, the master of chaos. Who knows what his ultimate vision is.
Anglos and Anglo-Americans rarely, if ever, had prophetic power. Among the Brits, a man trying to tower over other men would have been seen as bad form… like cutting the line in DUNKIRK. Or, he would have been mocked with wit and sarcasm, an art that reached its peak among the Brits. There was Shakespeare but there was too much irony and themes of doubt for his works to be prophetic. Hamlet can barely make up his mind. Macbeth is fearful of his own heart, and when he finally embarks on his ambition, he is doomed.
The prophetic mode(in a sordid form) entered the Brits only with the fall of social order and rise of black-influenced music. The Anglo fixation with blackness may have something to do with this. Black jungle music and energy had the power to finally break down the inhibitions that kept the Brits orderly, neat, and tidy: repressed and hard & boring.
Traditionally, Anglos and Anglo-Americans were content with Protestant Christianity with its grace, modesty,and piety. It’s like the guy in CHARIOTS OF FIRE is happy to serve God. King and country too, but God first. He would rather be a good Christian than win the gold in the Olympics. His sense of duty pushes ego and ambition to the backseat.
And so, the rise of Germanic prophetism was bound to make the Anglos nervous. Not just because German industry and military might pose a threat to the Brits. It was the nature of the German Soul. If Germans had been more like the Brits and saying stuff like heighty-ho and acting like good chaps, Brits might have been less nervous. But these were the people of Wagner and Nietzsche, coming up with big passionate music and grandiose ideas. They just felt ‘wrong’ to the Brits.
And yet, people secretly long for what they don’t have. A people, even rich and successful one, seek meaning in the deliverer, the savior, the prophet. It’s hardly surprising that some of the first key converts to Christianity were rich Roman women. They had it all materially, but something was missing in their lives. And this Jesus myth touched a part of them.
The prophet has the stronger vision and the stronger will/personality. We see this even on the trashiest or the most crassly materialistic level. Why did so many losers sit around Howard Stern as their leader? Howard has super-chutzpah. Through his brashness and pushiness, they also felt empowered as his acolytes. And why did all those geeks gravitate around Steve Jobs. Jobs was smart but not that smart, and he didn’t know much about computers. But he had the will, stronger personality, and big ego. Granted, most people with big egos and strong personality are not prophets. Trump is a big personality who does things bigly, but he’s not much of an idea man. He uses other people’s ideas to his own advantage. If anyone around him has anything like a vision, it is Stephen Miller who wants to reverse the myth of Emma Lizardess.
Anyway, Anglos and gentiles have long craved the prophet because such was denied them for so long. They had Jesus as the Messiah, but that tradition grew ever weaker in the 20th century. Christianity has run its course in Europe. It’s over. And American Christianity, though bigger, is pretty dumb or totally cucked out among Mainliners. Most Americans are into idols and icons. Celebrities and stars. But such people cannot be prophets because they are vapid and faddish. Big today, gone tomorrow, replaced by new idols. There are some exceptions, like Dylan and Kubrick, but they weren’t mere stars or celebs but genuine artists.
Idols are here today, gone tomorrow. So, people do long for prophets, especially as Jesus no longer speaks for many people. For many, MLK is the great prophet, the real founding father. But in a way, he’s more icon than prophet. He was a made-up figure. He didn’t have much brains or vision. He was a hype orchestrated by Jewish controllers and communists. He could give a rousing speech and act the role of saint-seer, but it was an act. He was not a Marx, not even a Gandhi, a savvy and insightful character. Same goes for Mandela. Icon than Prophet. Che Guevara too.
Because Jews got the brainy thing, they have the prophetic vision. They have the means to take their ideas and thoughts and conceptualize them into a Grand Vision. So, gentiles tend to gravitate to Jews for the answer. It can be comical at times, like when fat boy Chris Christie spoke of Shimon Perez like some figure out of the Bible. It’s all the funnier because he shared these sentiments in Las Vegas of all places, but then, it was Hollywood Tinsel Town that made all those Biblical Epics and Jesus movies in the 1950s. And then, there’s the weird attraction that John McCain feels toward Joe Lieberman. McCain the warrior is so grateful to be a friend of Joe, the holy wise Jew. It can’t just be about money. There are plenty of American lobbyists who take money from Chinese and Saudis and do their bidding, but they don’t go all gaga over them like so many people go gaga over Jews.
I can see why HAIL CAESAR didn’t do so well at the box office. People like big characters. But HAIL CAESAR is about archetypes and systems. It’s the closest thing to Kubrick that the Coens attempted. It has big ideas and concepts. It’s about the social and ethnic archetypes that came to control much of the world in the 20th century. There’s the Anglos who are so capable with order, duty, management, and leadership. There are the Jews who are masters of money(the ‘spirit’ power of the economy) and Big Ideas. Soviet Communism had Jewish intellectual roots. And even though Anglo-Saxons founded America, the narrative that stressed moderation and pragmatism got replaced by Jewish propheticism of Emma Lazarus and Ayn Rand that were far more radical and ambitious. It was Americanism loaded with quaaludes. Not just land of the free but land of the free for EVERYONE. Not just individualism but individualism as egomania as the center of everything. Lazarusism and Randism have led to a mega-contradiction. On the one hand, the US is supposed to care about EVERYONE around the world, BUT everyone in America is supposed to be about me, me, me. Obama embodied this contradiction perfectly, always yammering about being a ‘global citizen’ but giving speeches that are all about ‘me’. And his life after presidency is more me, me, me. It’s telling that Hillary grew up on on Rand and later ran on Lazarusism. She said she outgrew Rand, but she never really did. It was all about HER, or me, me, me.
Another powerful archetype featured in HAIL CAESAR is the homo. Anglos are great managers, leaders, warriors. Jews are great visionaries, organizers, and prophets. Homos got the creativity and the beatific vision. As they say ‘art is forever’. And people want fun here and now. From the Greeks to the Renaissance to British literature to French design to etc, homos cannot be left out of the equation. To be sure, they were under the radar since both Jews and Christians(and just about all cultures, even the Greeks for the most part) found homos to be either weird or sinful. But they were always there in hiding or behind masks. And when a civilization grows powerful, it has all these riches, and the rich want to have nice pretty things. And then, homos enter the scene and become indispensable. It is amazing that so many holy Church paintings were done by homos whose creativity was fueled by freako lusts. But homos became even more crucial in the 20th century. Prior to mass culture, only the elites could enjoy fine things. But with mass culture and esp rise of electronic media, pretty-fun-cool-hip-and-fashio
Homos got creativity. But even during most of 20th century, they had to keep their orientation in the closet, like the homo in HAIL CAESAR keeps his ‘sexual’ predilections secret. Jews didn’t have to be in the closet, but many Jews did try to hide or at least dilute their Jewishness for being too ‘ethnic’ or ‘outsider’. So, Jews and homos understood one another. Also, Jewish money and homo creativity fit together like hand in a velvet glove. In the period setting of HAIL CAESAR, it’s still not okay to be homo in public. And Zionism wasn’t a big thing, even among Jews, many of whom were still skeptical of the idea. So, both groups were trying to ‘pass’ as Good Americans or Good Comrades. And it’s interesting how the homo musical dancer becomes the conduit between the Jewish communist subversives in the US and the Soviet Union. He really wants to dance and prance like a homo, but homo identity, like Zionism, isn’t really a thing yet. So, he latches onto something else. Mayday than Gayday.
So, homos must ‘pass’ as something other or serve something bigger than themselves. Of course, things changed over the yrs. With rising power of Israel and triumph of Six Day War, Zionism and Israel became central to Jewish identity and pride. And with normalization of homosexuality, homos lost interest in other ideologies and came to indulge in self-celebration and then demanded celebration by others and then all the world. And this came with the blessing of Jews who finally decided it’s time Christianity must be replaced by a new faith, one totally owned by Jews. But if homomania is a new prophecy, propheticism has finally turned into a farce.
In some ways, an even more interesting exploration of Jewish Neurosis is MOTHER by Darren Aronofsky whose swing finally knocked the skin off the ball. A home run. Aronofsky was always ambitious, but his films were uneven. WRESTLER has a great ending but much of the movie is conventional about over-the-hill fighter. BLACK SWAN reaches for meaning but is a total strike. NOAH is an interesting twist on the Bible Story but a mess. REQUIEM FOR A DREAM is probably his most consistent and successful film before MOTHER. MOTHER is like the mother of all Jewish Neurosis movies. It is a case of shiiite. His first film had some Jewish guy seeking the truth in Pi and getting nutty. With MOTHER, Aronofsky plunges deep into the heart of the matter, and it is a total tour-de-force. A real jaw-dropper. CHILDREN OF MEN is kidstuff by comparison.
Now, Aronofsky surely didn’t intend this movie as a statement on the immigration issue, but some of the themes apply to the universal problem of invasion and preservation. Much of the movie is like a grim prolonged version of the stateroom scene in NIGHT AT THE OPERA where people keep pouring into the room. That was just one scene and done for laughs. Half of MOTHER is about the invasion, and it is harrowing. And as the ‘guests’ represent diversity of all races, it’s like Europe or US being flooded with the entire world. It’s a frightening vision. Initially, the invasion happens gradually(and recedes), and people act half-way like proper guests, but things progressively get wilder. It’s like reverse Kafka. In THE CASTLE, K can’t find anyway into the center. No matter where he turns, he’s on the outside. In MOTHER, it’s like the Jennifer Lawrence character can’t keep people out. They keep coming and doing things that upset the order, and she can’t do anything about it, as her husband welcomes these ‘guests’ as his fans and admirers. Like Zhivago, he is a poet. Like the writer in THE SHINING, he craves recognition.
Aronofsky seems to be exploring the two modes of Jewishness in history. The theme of blood and family. The woman wants to have the man’s baby. She wants him for herself. She wants herself, her husband, and their children to own and guard their home. It is theirs and theirs alone. And possession of the home is based on blood: man, wife, and children. It’s the biological basis of Jewishness, and it is what Israel is about. Make Jewish women have more kids. Let only Jews in, and keep out the ‘infiltrators’.
Biology is possessive and limiting. A woman can only have one child at a time with one man. And when she has the child, she has to devote her energies to the kid and her husband, and she wishes the husband to be with her and the kid. All in the family.
But there is another side to Jewishness that is so intellectual, conceptual, and ambitious. If women are about creation of life, men are about creativity of ideas, art, poetry, music, philosophy, and etc. And if a woman wants to share her child only with the family, the man of ideas or art wants to share his work with the whole world. So, one side of Jewishness is motherish, exclusive, and shuts out the world. It tries to keep home for the family only. But the other side of Jewishness is fatherish, and the father-as-man isn’t content with family alone. For one thing, he can only pass the seed. He himself doesn’t become pregnant. So, his fuller work is the product of creativity. And when a man writes a poem or a novel, it’s not just for his wife or kid. It’s for the whole world.
So, the blood side of Jewishness is exclusive and fearful of others. But the credo-creative side of Jewishness is ‘inclusive’ and expansive and wants the adulation of all the world. And this Jewish tension exists at the core of America itself. There are those who want to limit the notion of Americanness by blood. If not entirely, essentially, i.e. America must mostly be a nation of people of European blood. This is the mother-ish side of America. And conservatives are more prone to favor this. They see America as a home that isn’t open to everyone.
But the intellectual class and business class are far more ambitious. America as motherland is boring to them. It’s same old same old of bland white breadness. They are into Big Ideas, Big Trends, and Big Business, and they want to share their ideas and goods with All the world. So, like the man in MOTHER lets in all these guests, the credo-centric elites and intellectuals of America say LET THEM IN AND ADMIRE WHAT WE GOT AND BECOME PART OF US.
The mother side of Jewishness sought to limit the Covenant to those born of Jewish wombs. It was biological and conservative. But the male side of Jewishness got more and more ambitious in the breadth and reach of their ideas. They got bored with sharing the Truth only with fellow Jews. Heretical Jews like Paul wanted to share the idea with all the world and shouted COME ON IN and partake of the faith in God via the love of Jesus. Core Jews freaked out. They thought, “what the hell are you doing? This God thing is Ours. But you’re giving it it away to the goyim and letting them into the house of God meant only for us, you dummy.” To be a mother, you don’t need or want the whole world. You just want a home as safe space for your, husband,and children. But to a man with big ideas or big things to sell, being limited to one’s own home or one’s small community isn’t enough. Ideas are inherently germ-like and wants to spread all over. Thus, the man wants to both conquer the world or convert the world. He can go to them or they can come to him. It doesn’t matter. As long as his ideas spread, that’s what matters. While his sperm can only move up one pooter, his ideas can spread like dandelion seeds to countless folks and enter millions of ears and eyes and hearts.
The mother side of Jewishness has been important, but there was a problem. As a monotheism, Judaism couldn’t allow two gods. Most pagan religions have father and mother gods. And if we look back far enough, proto-Judaism was also a pagan cult with a father god and mother god. Both mattered. But the mother god had to be erased to make the father god the sole god. And since God is the sole God, Jewish religion says this Father God created the world all on His own without the need of some mother god. If anything, the female is created by God in the Genesis. And yet, the mother force has always been there hidden somewhere in Judaism. Though the Covenant is between God and the Jewish pud, Core Traditional Jewishness is defined by birth via the Jewish womb.
Also, any ethnic religion or organizing principle has to be very mindful of the mother. After all, It is the unity of Jewish puds and Jewish poons that keep creating Jews for the future survival of the Jewish community.
And yet, because Judaism only had a Father God as an abstraction, the mother figure wasn’t sufficiently honored or recognized. Jewish women couldn’t feel fully appreciated as women. At least pagan women had goddess of fertility to pray to. For Jewish women, there was only one God, the male Father God who created the world without the help of a female god. But look back deep enough, and proto-Jews most likely believed as did the pagans: the world was created by union of male god and female god.
In MOTHER, Jennifer Lawrence so longs to be recognized and loved by her husband, but he usually ignores her. He feels more alive with guests than with her. Some might see her as a feminist icon, but no. She doesn’t want to be like her husband, a person of ideas or ambition. She wants to be a mother and be recognized as such. But the guy, like Guido in 8 1/2, finds domestic life too small and limiting. He wants to be with the world. And when he finally does impregnate her and she thinks the house is finally gonna be filled with joy and happiness with husband and child, all hell breaks loose. It's like Mary(Donna Reed) wants to keep the Home while George(James Stewart) wants to conquer the World.
If guests in earlier scenes were intrusive but still somewhat recognizably normal, the second round of invasions is total pandemonium. The invasion turns so hyper and the house turns into a microcosm of human history of slavery, war, terror, genocide, and horrors of all sorts. And when she finally has the kid, the husband shares it with the guests who celebrate the kid but mishandle him, break his neck, and then devour him like bread and wine. It’s like Jesus, Son of God, was offered as sacrifice to the world. The husband says the people must be forgiven, but the mother says No.
It’s as if paganism affected Judaism under Roman rule, and the mother goddess concept slipped into a heresy of Judaism in the creation of Christianity. Because Judaism and Christianity are monotheist, they cannot have a second god, the mother goddess. So, the mother of Jesus is not recognized as a goddess. And yet, the idea of God creating a Son via the womb of a woman is so different from the story of Creation where Father God, the lone God, does it all by Himself. But even if the Madonna isn’t acknowledged as a goddess, she is a variation of the mother goddess trope that is prohibited in monotheism. But just when a semi-goddess was recognized as the ‘mother’ of Jesus, the Son had to be offered to the crazy mankind as sacrifice.
So, Jews may be appalled by Christianity for two reasons. On the one hand, there is the blasphemous hubris of a Man who would claim to be the Son of God. So, Jews demanded He be killed. And He was killed. And Jews thought that was that. But then, the heretical Jews, the early Christians, cooked up an even crazier story about how Jesus died for the sins of all those filthy goyim who aren’t worthy to lick the sandals of Jews. Imagine that. Jewish God has a Son, and His plan was to offer this holy Son to save the souls of moron goyim who aren’t worth saving.
And yet, because Judaism is so male-centric and so intellectual, there is this bursting desire to break out of the tribe and reach all the world. Even after Jews killed Jesus, they still kept producing other Jews who went into prophetic mode and tried to reach out to rest of humanity.
And this bug now exists in all people, especially as Judeo-Christo-Western culture has infected all the world. Anglos also wanted to preserve their motherland for Anglos only but also wanted to conquer all the world. Today, UK is torn between Brexit and Bremain. The motherists want a biological and humble role for the British. Keep it white, keep it traditional, keep it in the blood and family. But the Bremainers find little UK so boring and dull. They want to travel overseas and have the world come to Britain. An endless house party than than a home. Globalists want nations as house parties. Nationalists want nations as homes.
I don’t know where Aronofsky got this idea for his movie. In a dream? A nightmare? Or is it generational? In SERIOUS MAN, some Jewish kid gets stoned and experiences Judaism in a dreamlike hallucinogenic way. Coens grew up in the 60s and Aronofsky in the 80s when drug culture was a big thing, so maybe their view of Jewishness is more warped. In contrast, Woody Allen and Mel Brooks could be weird and funny, but they had their wits about themselves. They didn’t grow up with drug culture. Woody Allen’s vision of hell in DECONSTRUCTING HARRY and vision of sexual biology in EVERYTHING YOU WANTED TO KNOW ABOUT SEX were on the level of skit, comedy sketch. Dry and cerebral even if zany. It was all about props and laughs. In contrast, Aronofsky and Coens have something Lynchian about them in really delving deep into the nether areas of the mind, soul, body.
Things may be getting weirder with Jewish neurosis because of the disconnection of the Jewish pud and Jewish pooter. Even until the 60s, most Jews married other Jews. And most Jews didn’t act like Portnoy. So, even with secularization, there was at least the unity of Jewish pud and Jewish poon. And from the union, new Jewish kids were created. But then, a sudden shift happened. With Emancipation 2.0, America became a more permissive and libertine place, the big theme of Jewish men became WE LOVE SHIKSES. Portnoy’s Complaint was the bible on that. Woody Allen’s movies were all about him chasing after shikses. Mel Brooks was grabbing all the shikes in HISTORY OF THE WORLD. Jews made DEBBIE DOES DALLAS where some Jew chases shikse women for boning. So, the sexual covenant of Jewish puds and Jewish poons was broken. And Jewish men had the advantage over Jewish women. Many more Jewish men had succeeded in careers and business and had more money to do as they pleased. So, what had been a sexual dialogue between the Jewish pud and Jewish pooter turned into a monologue among Jewish women. Thus, the Vagina Monologue. Even though it was supposed to be about all women, it was really Jewish females projecting their neurosis on all womenfolk.
Also, Jewish women felt they had catching up to do. In Jewish culture, pud-talk was a big thing. Jews probably have more names for penis than any other people. So, the Schwarz was a major force in Jewish expression, humor, ideas, and etc.
Freud talked of phallic symbols, and said women got penis envy. Moses held a phallic staff and divided the ocean like a vagina. So, the penis was king. It could turn even the sea into an obedient pussy.
Now, if at least the Jewish pooters were appreciated by Jewish puds, they would have been nicer. But because so many Jewish puds abandoned Jewish pooters for shikse pooters, the Jewish pooters got angry. This could be the origin of what came to be the Pussy Riot and Pussy March. Jewish neurosis projected on a massive scale on unwitting gentiles. But then, it goes to show that Jewish women have far more prophetic power than shikse women. Pussy Power theory arose among Jewesses and spread to the shikse bimbos.
Perhaps, the rise of homomania is also partly due to the growing rift between Jewish puds and Jewish pooters. If most Jewish puds were in Jewish pooters, both would be happy with real sex and real family. But when they go separate ways, there are too many lost or lonely puds and pooters, and nothing is certain anymore. Sexuality becomes neurotic, and this creates a space for theories of 50 genders.
Another problem with Jewish womanhood is Jewish women are more likely to think like men because Judaism made no room for female goddess, the mother figure. In traditional Catholic tradition, women could pray to the Madonna, an ersatz goddess figure. In many pagan cultures, there were female goddess icons for women to beg favors for. But in Judaism, there was only the male God, the only God. So, the only honorable way was to be a Man of Ideas. Having grown up in such a culture, Jewish women would have felt that only the male mode of success and power is honorable. And we see this in YENTL(called MENTL by some kids in school) where Streisand plays this Jewish woman who seeks recognition as a ‘man’.
Anyway, Coens and Aronofsky got some powerful visions of Jewish neurosis that haunts the world.
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The new STAR WARS or STAR SCHWARZ made things much worse, but Lucas ruined it long long ago. He came up with a great vision but emotionally grew backward and made the Saga about nothing but toys, special effects, and pandering to kids. Despite their faults, STAR WARS and EMPIRE worked as storytelling and set up a great finale. Luke vs Darth. But RETURN OF JEDI was filled with fish-headed generals and jungle teddy bears. Also, Lucas had the tendency to combine naive infantilism with quasi-tendentious sermonizing. So, he said that Ewoks were like the Viet Cong because US, the great industrial power, was defeated by jungle warriors of Vietnam. But this is silly. The battle takes place in a single afternoon in RETURN and just a handful of Ewoks die. In contrast, Vietnam War lasted for 8 yrs(officially and unofficially even longer), and at least 2 million Viets died and many got wounded. Also, the viets were not a hunter-gatherer tribe with stone age weapons but armed and supplied by the OTHER GREAT INDUSTRIAL Power, the Soviets. But Lucas gave us teddy bears in space and then made some bogus pompous political statements, like he is Colonel Kurtz in APOCALYPSE NOW or something. It was funny seeing a man getting sillier and more serious at the same time. And the whole STAR WARS is like that. In some ways, it gets darker and more ‘complicated’. We discover Darth is really pa of Luke, and Luke is tempted to the Dark Side. And the prequels say something about how democracy can turn into tyranny. And yet, at the center of the narrative is just a lot of hokum and kiddie stuff. STAR WARS could have been EXCALIBUR IN SPACE but it just became a big pinball machine.
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The reason anti-Catholicism is “dead as doornail” is first off, the over decline in religious adherence/observance. But even more importantly that white Catholics seem to be integrated into the American mainstream…
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