Category Archives: space travel

Contact (1997)

Generally speaking, cinematic science fiction goes one of two ways. Either it goes after big ideas and weighty philosophical questions or it goes after CGI mayhem and hot chicks in body suits. Sometimes it succeeds at both, but more often than not, a science fiction film falls into one of these two camps. Robert Zemeckis’ 1997 adaptation of the famous Carl Sagan novel, Contact, is unequivocally a Big Ideas sci-fi film which manages to pack a lot of meaty content into a popcorn blockbuster presentation. Though it does boast its own spin on the legendary Stargate scene from 2001: A Space Odyssey in the final act, the film is propelled almost exclusively by solid performances and a fairly robust dramatic clash between the forces of scientific materialism and religious belief. No Hollywood sci-fi film comes without an agenda or esoteric symbolism and the various ways it smuggles in its messaging is especially sly. Contact is somewhat more charitable about theism and the entire realm of metaphysics than you’ll find in just about anything secular these days, but ultimately, it is itself a work of scientistic hermetic theology. More specifically, Contact is a very clever piece of propaganda which promotes the theosophical ideas of HP Blavatsky, Alice Bailey, UNESCO, and the Lucis Trust. Virtually every component of the NWO global agenda can be found in this movie.

Since the dawn of the Enlightenment, we’ve been taught that there is an irreconcilable schism between science and faith. In both the cinematic and literary form, the modern science fiction tradition is replete with stories which dramatize this conflict. With very few exceptions, the forces of scientific progress are in perpetual struggle against the forces of religious belief. The scientists are always portrayed as infinitely resourceful master technicians who are likeable, quick witted and can kick your ass if the story demands it. By contrast, the faithful are authoritarian dolts and mean spirited tight asses. Or as The Omega Man and The Chronicles of Riddick demonstrate, they are embodied as fanatical, vampiric cultists whose sole motivations are enslavement, conversion or conquest. In Contact’s case, the religious characters include a suicide bomber, a status seeking bureaucrat, a vacuous Catholic priest, and a cross between Jeff Spicoli and Joel Osteen. In other words, yet another mostly uncharitable Hollywood portrait of religious people. Since many of the prime movers of the sci-fi genre were themselves globalist technocrats, it makes sense that we’d eventually get a film which reconciles these seemingly opposing forces into an alchemical union to grease the wheels for the dystopian hellscape glorious global techno-utopia that awaits us.

On the surface, Contact presents itself as a sophisticated science fiction story which believably posits the possibility of contact with a higher extraterrestrial intelligence. Though Steven Spielberg has given us two different versions of the benign alien visitation in E.T. and Close Encounters of the Third Kind, Contact is following in the footsteps of the loftier speculations of Arthur C. Clarke. Instead of a kid friendly vision of Crowleyan entities you find in Spielberg, you get to watch the whole world build a dimensional portal which does real science-y shit like “folding spacetime” but is really just the most expensive VR machine ever built.

Every character represents an archetypal ideal, and the heroine of the film, Ellie Arroway, is modeled after Hypatia, the Alexandrian martyr for science. For those who remember Cosmos, Sagan lavished mountains of praise on Hypatia in the series despite having no substantial record of achievement in the history of scientific thought. This choice makes sense when viewed through a gnostic lens because she represents the illuminated Sophia. Eleanor is Greek for “shining light” and Arroway is a play on Voltaire’s last name, Arouet. Her nickname is “Sparks” to signify the fact that she possesses Luciferian flame. Right away, Sagan is signaling a connection to gnosticism, Freemasonry, and by extension, the Hermetic roots of modern science. Played with heartfelt vigor by Jodie Foster, Ellie is a paragon of determination, grit, tenderness and the passionate thirst for discovery. She is the fearless seeker who is willing to persist in her quest for extraterrestrial life despite constant rejection and doubt from all corners. She remains steadfast in her convictions when facing the ridicule of the vapid, self-aggrandizing and conniving David Drumlin. She is also the radical empiricist who demands proof of God’s existence when probing the faith of Matthew McConaughey’s Palmer Joss.

This brings us to one of the film’s clever sleights of hand. Ellie is essentially a female version of David Hume or John Locke. In the wake of her second greatest tragedy, all her Catholic priest could offer was a few perfunctory words about how it was “God’s plan”. Pfft. Piss off, religion! She doesn’t believe in God because she needs empirical proof! Not mealy mouthed platitudes! Checkmate, conservatards! Bet you never heard THAT ONE before! Of course, this is by now an insufferably tiresome cliché. Materialism and empiricism is the bread and butter of the entire New Atheist community. For them, there is no valid knowledge outside the peer reviewed science or what can be observed in the realm of sense perception. But what the film doesn’t want you to notice is that this premise is in and of itself an article of faith! To Zemeckis’ credit, he makes this point explicit when Ellie is called upon to provide evidence that she actually did traverse the galaxy. There is no empirical evidence for the claim that all knowledge claims must be subject to empirical evidence. Furthermore, Ellie embodies a set of virtues. She is a heroic archetype. She’s tough. She’s conscientious. She’s honest. She’s principled. She’s loyal. She spends the bulk of the film asking people to believe in her quest for extraterrestrial life. The natural world has nothing to say about prescriptive ethics, duty, honor, integrity or morality. To ground an entire worldview in nothing more than a posture of skepticism and an unquestioned belief in the scientific method leads to either to nihilism or the substitution of politics for religious faith. Humans build and strengthen the architecture of morality through storytelling. We must ultimately subordinate ourselves to a hierarchy of authority which starts with the family and reaches its pinnacle in the nation state. Because we’re imperfect, we crave stories which simultaneously speak to our flawed nature yet appeal to our highest aspirations. The progressive worldview mostly rejects metaphysics. Subsequently, virtue must be smuggled through occult archetypes and esoteric metaphysics and Sagan has very skillfully achieved that in Ellie.

It is also noteworthy that Ellie is initially presented as a child with a dead mother. She eventually loses her father too, and this marks her as yet another Hollywood portrait of a child without parents whose life choices are informed in part to fulfill a longing borne of a prematurely severed connection and in part to insulate herself from the emotional vacuum at the core of her being. It’s little surprise that when she has her encounter with the “alien” species, it appears to her in the form that she would find most comforting: her father. Her life quest is wrapped in the rhetoric of scientific inquiry, but it reads as a sort of spiritual calling. The liberal democratic imperium needs atomized individuals pursuing life ambitions that advance scientific or material progress in one way or another. Preferably, it’s a pursuit untethered from family ties and religious tradition. This is entirely consistent with the professed agenda behind the mythology of extraterrestrial life as Arthur C. Clarke is on record stating in Brenda Denzler’s book, The Lure of the Edge.

Her counterpart, Palmer Joss, presents a clever subversion of expectations. Just as we saw in the relationship between Mulder and Scully in the X-Files, Contact reverses standard male and female attributes. Despite the numerous studies which demonstrate a higher degree of empathy and social skills in women, Sagan wrote Ellie as the hard bitten scientific realist consumed with a need for evidence. By contrast, Matthew McConaughey’s Palmer Joss is the believer. Granted, he’s an earthy crunchy academic theologian who’s influential enough to be anointed the spiritual advisor to the POTUS. His real world analogues are establishment cucks like Rick Warren and Tony Campolo. He represents a form of toothless Christianity that’s been opportunistically coopted by the establishment to help politicize the churches and lend moral authority to political agendas. Once again to Zemeckis’ credit, Joss lands a solid blow against the edifice of Ellie’s scientific materialism when he asks for proof that she loved her father. It’s the only cinematic moment of which I’m aware when a secular rationalist is left speechless by a theist.

Contact isn’t just an apologia for scientific materialism, but a work of occult theology. When Ellie presents the decryption primer to the Security Council, she insists that the civilization who sent the message had benign intentions because it was presented in the language of science and mathematics. Unlike the dumb religious retards who follow divine revelation, the machine plans were proof of a species who had harnessed the power of science to evolve beyond their primitive tendencies toward self-destruction. Here, Sagan and Zemeckis presume that unchecked technological progress all by itself is a virtue that will elevate and unite humanity. It’s exactly the kind of belief that’s promoted by UNESCO, the UN and their theological subsidiary, the Lucis Trust. They are trafficking occult teleology. As Palmer Joss rightfully pointed out as she made her pitch, what she received was a message emanating from a “booming voice from the sky”. Sagan substitutes three dimensional engineering schematics embedded in a digital black cube of Saturn for the Ten Commandments. She wants people to believe that the construction of the machine will only edify the human race. What atheists like Sagan conveniently ignore is the simple fact that fetishizing the scientific method doesn’t capture the imagination. What does animate human spirit is the possibility that our man made ambitions might unite the world and eventually bring us into contact with a higher intelligence.

Of course, this also means that we must also deify the corporate aristocracy behind the democratic imperium. As industrial mogul, S.R. Hadden, John Hurt is the Randian übermensch who funds Ellie’s ambitions, decrypts the extraterrestrial blueprints, and subcontracts with Japanese company to build a second machine. Without rich industrialists to bankroll these moonshot ideas, we will never achieve our globalist utopia, proles. Though he is portrayed as a sympathetic character, he is another spin on a Nimrod archetype. Zemeckis wants you to see him as a benevolent old coot but as his name suggests, he is a representation of the Assyrian despot, Esarhaddon. He is more accurately seen as a David Rockefeller or George Soros. He is among the wealthy capitalists who fund NGOs, populate academia with cultural Marxists, finance every conceivable fifth column organization and function as a de facto shadow government. Throughout the film, Hadden communicates to Ellie using the most sophisticated technology and possesses more intelligence about her than you would think a private citizen can access. When James Woods’ hardass conservative proposes the possibility that Hadden has perpetrated a hoax on the entire globe, your sympathies are already with Ellie, and by extension, Hadden. Tough shit, you dumb Alex Jones loving conspiratards. George Soros did nothing wrong. So shut it.

What’s most stunning about Contact is the degree to which it blurs the line between fiction and reality. Actual footage of Bill Clinton commenting on the Mars meteorite discovery in which he stresses the importance of ascertaining “facts” has been seamlessly inserted. Actual CNN anchors are “acting” as CNN anchors throughout the film commenting on a fictitious machine which opens wormholes. A news highlight discusses a fake group of religious fanatics committing mass suicide, and it just happens to mirror the actual mass suicide of the Heaven’s Gate cult just a few months before the film’s release. I guess it’s just a lucky coincidence that all these things happened in time for Contact’s release. All of which begs a key question. If “real” news outlets like CNN and real politicians who present themselves as the arbiters of truth are willingly inserting themselves into a fake story about a contact with an extraterrestrial intelligence, why shouldn’t we assume that the “reality” they’re presenting isn’t every bit as synthetic as Contact itself?

While I disagree with his interpretation, Germain Lussier points out the ubiquity of telecommunications devices in the film. The fact that our contact with one another is now being heavily mediated, refracted and distorted through electronic media suggests this was subtle predictive programming. The internet may have brought the whole world together in ways that were unimaginable to previous generations, but the degree to which it has been a salutary force is debatable at best and detrimental at worst. I suggest that this film is tipping us to the possibility that the space program is ultimately about building and enhancing global panopticism.

Speaking of fictitious machines, Contact is basing its technological speculations on special relativity, but if we actually think about how the machine was supposed to work, it doesn’t add up. Resembling the classical model of the atom we learned in grade school, the machine was comprised of several interlocking steel rings. Presumably, with enough acceleration, the rings would convert to mass and tear the fabric of spacetime. Not to get all Neil deGrasse Tyson, but there is no known material that could withstand that kind of energy let alone an energy source to power it. But this came from the mind of Carl Sagan. A scientific mind, right? I don’t mind leaps of imagination, but when you’re presenting a speculative machine that’s linked to a very specific theoretical model that is itself unproven and unobserved, how is this different from theistic belief? Isn’t it interesting that the IMDB trivia page indicates that Carl Sagan wanted to ensure the “science” was correct and the word is bracketed in quotation marks? Isn’t it interesting that this very same visual idea was recycled in Event Horizon and instead of uniting us with benign entities, the machine in that film opened a portal to hell? Why should we presume that a dimensional portal will bring us into contact with benevolent beings as Ellie so fervently insists?

After recovering from her VR journey to the center of the galaxy, Ellie finds herself in the position of having to defend the veracity of her experience before an incredulous government oversight committee lead by a relentless James Woods. Without evidence, Ellie is forced to ask the country to believe that she traversed light years and encountered a simulacrum of her father. You should also believe that an Einstein-Rosen Bridge is legitimate science despite the complete absence of empirical evidence. Is it any wonder that Anita Sarkeesian and Christine Blasey Ford were able to weaponize #BelieveWomen so easily? The cool and dispassionate pursuit of the facts doesn’t hold when religious icons are being violated.

Ellie’s vision amounts to her burning bush moment. In that brief encounter, she was filled with a revelation of the preciousness of life that was so profound, she felt compelled to spread the Gospel of Intergalactic Gnosis with the world. As she descends the Capitol building stairs/Mt. Sinai, she passes through the pillars of Boaz and Jachin, and we behold the throngs of New World Israelites gathered together to pay homage to our gnostic savior. Having crossed the abyss on the Kabbalistic tree of life, she has reconciled the sky and the earth and attained Enlightenment. Joss’ profession of solidarity with Ellie doesn’t just signify a romantic happy ending, it’s the alchemical synthesis of science with divinity just as HP Blavatsky taught in her writings. No longer do we have to cling to the divisive notion that science is at war with faith. Scientism is an article of faith, but now, we can make common cause with religious people as long as they’re promoting a One World State God and don’t get carried away with any of that Jesus shit.

As shows like Netflix’s Maniac demonstrate, Hollywood is pushing the public closer to the idea that pharmacologically enhanced VR is going to provide people with the transcendent experience unavailable in our mundane existence. Even pop culture figures like Tom Delonge are going to great lengths to mainstream the existence of UFOs. Burning Man already has a cosmic temple to prep us for the new Cosmic AI God. Grimes has already written the first transhuman cyberpunk pop anthem. Science fiction films which posit the possibility of alien intelligence are a key component of this agenda. And Ellie Arroway was certainly among the most indelible characters of the modern era to illuminate the path.


2010: The Year We Make Contact (1984)

2001: A Space Odyssey has inspired numerous analyses over the years, but considerably less attention has been devoted to its successor, 2010: The Year We Make Contact. Following up Stanley Kubrick would be a difficult task for any director, and Peter Hyams deserves more credit than he’s been given. Written, directed and produced by Hyams, 2010 is completely worthy follow up to Kubrick’s 1968 landmark film. Set 9 years after the events of the first film, 2010 portrays the US and USSR simultaneously engaged in a race to recover the Discovery from Jupiter’s orbit and unlock the secrets of the monolith while trying to prevent Cold War geopolitical tensions from escalating.

Just as 2001 could be described as the first significant Masonic evolution allegory with transhumanist overtones, 2010 touches on all the same core ideas. It distinguishes itself by placing greater emphasis on the globalist and scientistic ideology through which these more esoteric ideas are transmitted. The Luciferian spiritual implications of the story are considerably more explicit in this film as well.

2010 features the incomparable artistry of Syd Mead.

I further contend that 2010 is an overt nod to Russian Cosmism; the ideology that appears to be the forerunner to transhumanism as it’s currently being promulgated. Aside from sci-fi films that were made in the USSR, 2010 is perhaps the only film I can recall which takes place on board an advanced Soviet spacecraft. The name of the spacecraft is itself a reference to Soviet spacewalker, Alexey Leonov. This serves two purposes. It portrays the socialist USSR as being technologically superior to the US despite the opposite being true. Second, it makes you sympathetic to the Soviet crew and their thirst for knowledge while eroding the stigma that was built up around communism throughout the the Cold War. Don’t listen to those dumb conservatards who bash communism, proles. They’re just aping the fearful, warmongering douchebags in the GOP who have no empathy for human progress! It lends credence to the possibility of the entire Cold War dialectic being at least partially engineered. In other words, communism and capitalism are just two sides of the same ideological coin which have been pitted against one another for the express purpose of creating manufactured global tensions. It could very well also suggest that these two national space programs were part of the same global psychological operation from the start.

Besides being the more technologically advanced society, the USSR are also portrayed as being more advanced on gender equality. As Captain Tanya Kirbuk, Helen Mirren plays the steely but vulnerable feminist archetype we continue to see portrayed in film and television ad infinitum. This is arguably the one time we’re seeing feminism so explicitly connected with its socialist roots. Kirbuk is also Kubrick in reverse, so it’s also one of two overt references found in the film.

Fake Time magazine cover featured in the film. Art imitates life.

The opening scene sets up a perfect visual metaphor for the entire film. Roy Scheider’s Heywood Floyd is working atop one of the radio telescopes located at the Karl G. Jansky Very Large Array. Dana Elcar plays Soviet scientist, Dimitri Moisevitch, and approaches him to discuss the US efforts to retrieve the Discovery. Floyd is symbolically sitting atop the lofty perch of presumed technological and political superiority of the US talking down to the dirty commie scientist from the USSR. Mirroring the US geopolitical stance of opposition, he is reluctant and initially refuses. Reminding him that they both have higher allegiances to scientific discovery, he offers to meet him halfway up the tower. Floyd assents to his overture and agrees to two minutes of truth telling. Moisevitch informs Floyd that USSR will reach the Discovery two months before the Discovery II. Subsequently, the Leonov crew will need the expertise of the Americans in order to make the journey worthwhile. After offering to allow an American team passage on the Leonov, they proceed to speculate about how they must sell the proposal to the politicians to whom they’re beholden. Complicating the entire mission is a Cuban Missile Crisis-type entanglement which carries the threat of total nuclear annihilation. Where politicians routinely engage in rhetoric veiled in dishonest platitudes, bellicose posturing and vacuous pronouncements, scientists must fearlessly seek truth wherever it may lead! Once again, we’re presented with space exploring scientists as the vanguard of discovery, bravery and enlightened, cosmopolitan virtue.

Like 2001, transhumanism plays a very significant role in 2010. As Dr. Chandra, Bob Balaban is the AI specialist who is conscripted for the mission to reactivate HAL and discover the reason for his apparent malfunction. Mirroring the plot device we saw in Ridley Scott’s Alien, we learn that HAL did not malfunction. He was assigned to hide the fact that the NSC programmed him to go after the monolith at the expense of the crew and simply had the AI equivalent of a mental breakdown trying to reconcile conflicting protocols. At a crucial turning point in the film, Chandra is himself emotionally distraught over the prospect of explaining to HAL that he and the Discovery may very well be destroyed in order to make their accelerated launch window. After all, AI’s have RIGHTS, you know. While the idea of according rights to an artificial intelligence is now somewhat commonplace in media and entertainment, this was certainly one of the early examples of this phenomenon in film. In Arthur C. Clarke’s book, we learn that HAL’s “soul” joins Dave Bowman in the presumed elevated realm of consciousness to which he has ascended.

The full title of the film is 2010: The Year We Make Contact. Since most major films contain pieces of predictive programming, with what exactly were Hyams and company predicting contact? One of the big moments in the film was the discovery of chlorophyll on the surface of Europa. Some unknown energy surge conveniently destroys the ship logs and, ironically, the crew are expected to take their observation as an article of faith. It oddly mirrors the recent revelation that the original moon landing tapes have been mysteriously “erased”. Obviously, we didn’t discover a monolith or travel to Jupiter, but lo and behold, there were claims of possible microbial life coming from NASA. I suppose the launch of the space shuttle Discovery was also another coincidence. Though it was launched in 2011, the Juno mission also seems to dovetail into this narrative.

Perhaps this quest for contact wasn’t limited to the possibility of alien life. Maybe it was an encoded reference to the search for the infamous God particle being carried out by CERN.

Other pieces of predictive programming include Roy Scheider’s Apple IIc home computer and the biometric scanner in Chandra’s corporate office. Another oddity is the inclusion of Floyd’s two pet dolphins. While this could be a reference to John C. Lilly’s LSD experiments or the militarization of dolphins, it could also be an early step in the normalization of interspecies “love”. It is also noteworthy that Scheider went on to act in the Spielberg produced SeaQuest 2032 which featured a genetically engineered dolphin.

The fact that this was released in 1984 shouldn’t be overlooked either. The film was extrapolating a mere 26 years into the future, but was speculating about astronomical leaps in technology and space travel. Like many early works of futuristic sci-fi, 2010 presents a future of unbounded scientific progress. In comparison to the neverending conveyor belt of dystopian hellscapes to which we’re routinely subjected, this film’s optimism does seem refreshing. That said, I also believe it was presaging the world of total information awareness in which we live. Just as feel good cinematic messages can mask nefarious agendas, feel good political legislation can be passed in order to advance the goal of full spectrum panopticism.

Above all else, 2010 is presenting another Luciferian spin on man’s origins and destiny. In 2001, humanity was raised up from primordial ignorance by the material manifestation of a higher intelligence. This allowed Dave Bowman the ability to achieve his transhuman gnosis. In 2010, Dave Bowman is both a reincarnated transhuman Jesus and Yahweh. Bowman appears to Floyd/Moses like a holographic burning bush and instructs him to leave Jupiter’s orbit and return to Earth in two days. Filled with gnostic revelation, he disregards the diplomatic sanctions placed between the crews and boards the Leonov. Once again, the hard bitten scientists are faced with knowledge that transcends the material and enters into the realm of the spirit. Should the Russians forego the political tensions in which their earthbound compatriots are embroiled and trust the Americans? As ascended beings who are engaged in their own communion with the cosmic infinite, they agree to heed this seemingly miraculous message from the Beyond.

As they blast off, Jupiter begins to implode. Just as they reach safety, Jupiter ignites into a new sun which bears the name Lucifer! As in, Lucifer the light bearer. As they witness this miracle, the instructions from Yahweh/Bowman appear on the monitor screens on the Leonov and everywhere else on Earth. The voice of Yahweh will come to you too through the television screen or the computer monitor, proles. We will learn to unite as One World just like the crews of the Discovery and Leonov.

Sounds like utopia, doesn’t it?

Mercury 13 (2018)

Regardless of whether you think NASA is a Masonic front agency that shields any number of black budget deep state projects, there can be little doubt that it serves as a very potent propaganda arm for at least three key pillars of progressive piety: environmentalism, scientism and social justice. Arriving a mere two years after the comparably themed and equally hamfisted agitprop known as Hidden Figures, Mercury 13 is a documentary chronicling the abortive attempt at a program aimed at preparing women for space flight. Though it is an interesting nugget of hidden history, it’s hard to imagine the information presented without the filmmakers leaning on so much communist, progressive and feminist preaching. What is revealed through interviews and archival footage is fascinating, but there are deeper questions behind the surface details that go unexamined. And in the case of John Glenn, a distinctly different and far less charitable picture is painted than the gender egalitarian we were given in Hidden Figures.

The documentary lays its cards on the table right out of the gate. It opens with a female voice intoning the feminist homily as we watch a female body float in the zero-g simulation tank. We’re given some very standard and tiresome twaddle about how fear is what motivates men to preserve their stature in society. If only the patriarchy wouldn’t be so fearful, we’d already have women on the moon, dammit! Mind numbingly stupid stuff. It’s also hard to avoid the water symbolism. Besides the water’s numerous associations with the moon and various goddesses, it also foreshadows the quasi-baptismal initiation rites to which these women were subjected.

The documentary offers up a mixture of archival news footage and interviews with the surviving members of the original Mercury 13 program. The backstories of the various women are compelling, but the Mercury 13 program was never officially part of NASA and received funding from the husband of world renowned aviator, Jacqueline Cochran. Jackie Cochran’s husband was industrialist and RKO media mogul, Floyd Bostwick Odlum. The interview footage pours on layers of sentimentality over the fact that these women were eminently qualified, but were ultimately denied by the horrible, sexist good old boys at NASA. More feminist pablum. It’s totally predictable, but the deeper story appears to be Odlum and his very Bruce Wayne-esque investment trust, Atlas. Funding the Mercury 13 was undoubtedly chump change for a high roller like Odlum, but one wonders what someone with so many industrial, utility, and media interests is up to by funding a group of women for space flight. Given his proximity to the Wall Street/Bolshevik funding network, his interest in the Mercury 13 project seems to make more sense. Nowadays, tech moguls like Jeff Bezos and Elon Musk are getting into the private space race in earnest. Even if it was a small investment, it’s hard to imagine someone as shrewd in business as Odlum throwing money at something without some larger payoff in mind.

The other unexplored story is the prime mover of the Mercury 13, William Randolph Lovelace II and his Lovelace Respiratory Research Institute. Lovelace’s daughter, Jackie, is a featured interview subject and dispenses some crucial backstory plus all the requisite feminist talking points. His involvement in the development of Project Oxcart is perhaps the real story beneath the surface. Oxcart was a code name given to the high speed surveillance aircraft program. Not only does the Oxcart project mostly explain the entire Project Blue Book disinformation campaign, but it also explains the mythology behind Area 51 since it has been revealed as a staging area for testing.

And then there’s Lovelace’s rather mysterious death. A small private plane crash is a story that’s occurred on more than a couple occasions involving people who were close to the military/intelligence complex. It seems more innocent than the numerous dark clouds which hover over Frank Olson’s mysterious death as we discover in Erroll Morris’ excellent Wormwood documentary. Given his involvement in such secretive military programs, the nature of his demise begs a few questions.

Where Hidden Figures plied the racial angle of identity politics, Mercury 13 is very explicitly a piece of feminist and communist propaganda. It appears most blatantly through the story of aviator, mother and militant political activist, Jane Hart. Wife of Senator Philip Hart and mother of eight children, Jane became deeply disillusioned with what she perceived as an unjust prejudice against the women of the Mercury 13 program. Subsequently, in the words of her own children, she became “more radicalized” and joined the National Organization for Women. While NOW may not have the distinction of being founded by a known CIA asset, it receives funding from known globalist organizations such as the Open Society Foundation and the Rockefeller Family Fund. But the major blow to the future of women in the space program comes from an unexpected source: the congressional testimony of Jacqueline Cochran. A crestfallen Jackie Lovelace reads her testimony as though feminist Jesus instantly became Judas. Disingenuously claiming that “feminism means you advocate for women”, Lovelace restrains her incredulity as she reads from the congressional record. Cochran insisted that allowing women into the space program would have a negative effect on birth rates. Ooh. The truth hurts. Naturally, Lovelace and the other subjects attribute her motivations to self-interest by not-so-subtly insinuating that the patriarchal pressures of NASA were too great to withstand. Right. That’s the explanation for every disparity and misfortune that befalls women. I look forward to the documentary which chronicles all of the women being shut out of sanitation, mining, construction, and armed combat.

Naturally, the subjects heap piles of praise over the USSR’s decision to send Valentina Tereshkova into space while venting their exasperation over America’s patriarchal backwardness. It’s the perennial rhetorical grift of feminism coupled with a tacit endorsement of communism. All disparities in outcome can be chalked up to sexism and discrimination, and if we just got #WOKE to communism, we might EVOLVE. Read some Catharine MacKinnon, bigots.

Lastly, there’s the question of esoteric symbolism and numerology embedded in the program. From an alchemical standpoint, Mercury is symbolized by a serpent. Exoterically speaking, the serpent symbolizes the deceiver who brought about fall of man. From an adept esoteric point of view, the serpent is the symbol of the divine spark of gnosis. From a numerology perspective, both 7 and 13 have significance in the hermetic and esoteric tradition. Why did they make these decisions?

The documentary brings us up to the present by offering the testimony of Eileen Collins who gushes about the inspiration she drew from the original Mercury 13. Naturally, we’re dutifully reminded that it was feminist extraordinaire, Bill Clinton, who named her the first female to command a space shuttle. Man, the Clintons are #WOKE. Juanita who?

History matters and there’s a lot to learn from history, but ideology shapes the filter through which history is perceived. Mercury 13 is an interesting piece of history, but it’s too cluttered by its editorializing. The final sequence actually uses CGI to paste in the image of a female astronaut over John Glenn’s image. They cut to the footage of the Apollo astronauts on the moon and overdub female voices in place of the voices of the original astronauts. It’s so seamlessly done, it’s very easy to imagine someone thinking that this was real footage. Or maybe reinforce the belief held by some that the moon landing was faked. Like Hidden Figures, it blurs the line between fact and fiction. You can have propaganda or historical integrity. Not both. Which film stretched the truth more in order to advance its ideological goals? Hard to say despite one being a “documentary”. Is the distinction between documentary and historical drama being blurred on purpose for the express purpose of dumbing down the population? I think yes. The line between the synthetic and real is becoming increasingly difficult to distinguish in the digital age and Mercury 13 is hastening this collapse. Perhaps this was the goal from the start. Maybe the Mercury 13 project was doomed from the outset, but was intended to be unearthed from the historical record and utilized as a propaganda tool for this moment in history. Call me a cynic, but given how carefully the architects of globalism tend to their designs, I wouldn’t rule it out.

Capricorn One (1977)

No matter how you slice it, Capricorn One stands alone in the cinematic sci-fi canon. Even if you aren’t among the moon landing conspiracy theory enthusiasts or don’t think that NASA is a front for some kind of nefarious black budget secret space program, Capricorn One is an outstanding sci-fi action/drama that, at minimum, asks you to question your assumptions about NASA’s goals and Hollywood’s role in amplifying them for the masses. Capricorn One touches on one of the greatest conspiracy theories of all time by telling a story about a faked NASA mission to Mars. Once the astronauts learn the truth, they must confront some big ethical questions over the consequences of revealing the truth to the world. And outrun some black helicopters in the process.

As the film opens, we see the sun rise behind the Capricorn One rocket as the various operators at mission control go through their pre-launch protocols. After sharing his heartfelt gratitude for fulfilling his life dream, a NASA technician gives his Bible to Astronaut Brubaker as a token of appreciation. Astronauts Brubaker, Willis and Watson board the command module and begin their system checks. As mission control begins the countdown, a government agent without a NASA uniform opens the command module hatch and instructs them to exit. Dumbstruck by this turn of events, they comply. The crew are shuttled off to a secure location while the nation watches the unmanned rocket launch with rapt pride.

Meanwhile, David Huddleston’s NASA Director Hollis Peaker has a conversation with Vice President Price over the importance of continued funding for the space program. It has the air of formality but Peaker’s words carry an aura of veiled threats. As Dr. James Kelloway, the brilliant Hal Holbrook has the thankless task of revealing to the crew that the Wizard of Oz behind NASA is in fact a phony and they were expected to play along with the charade.

Within the first fifteen minutes of the film, director Peter Hyams manages to accomplish things you simply won’t see in any contemporary Hollywood NASA portrait. Rather than portraying an intrepid band of mathematicians and scientists, we’re given a NASA that’s a massive front agency perpetrating a mass deception. Instead of bold idealists pushing back against a tidal wave of cynicism and pressure from above, we’re given government bureaucrats acting like extortionists and con artists. In place of a symphonic chorus of national pride, we’re being shown an elaborate matrix of noble lies that are swallowed with gusto. This isn’t the collection of rag tag scientific heroes feverishly scribbling out telemetry calculations that you’ll see in Apollo 13, The Martian, Interstellar or Hidden Figures. This is the film that asks you to consider the possibility that you drank the KoolAid.

While it may not make everyone a full blown moon landing truther, the film suggests that the space program, and the entire sci-fi genre by extension, serve as an all purpose secular teleology. The mythos of space travel carries both links to our past and the hopes for our future. Whether it’s Star Trek’s dreams of boundless scientific progress, post-scarcity plenitude and intergalactic multicultural cooperation or the possibility of the earth joining together in a grand scientific enterprise as portrayed in Contact. Between Independence Day’s global rallying cry to ward off alien invaders or the creation myth of panspermia found in Prometheus, there can be little doubt that the mythology of space in all its forms serves as a sort of de facto secular religion.

Was Capricorn One the film where Hollywood tipped its hand? I can’t say for sure, but when you consider all of the space themed films leading up to the first Apollo moon mission and Disney’s involvement in promoting the space program, it’s not completely unreasonable to ask a few questions. In contrast to the numerous films leading up to the Apollo 11 mission, was Capricorn One just a more honest piece of predictive programming? The film adaptation of The Martian came out in 2015, and both SpaceX and Trump have announced plans for a mission to Mars. Stories of UFO sightings and black budget programs have also ramped up in the media.

Then there’s the esoteric symbolism of Capricorn and Mars. Capricorn is associated with the planet Saturn and by extension, time, chaos and death. By contrast, Mars symbolizes war, strength and masculinity. Is Hyams revealing a long-term agenda by dramtizing the alchemical union of Capricorn with Mars? Or is it simply a reference to Saturn the demiurge and the secret ruler of this world? Or is the connection to the symbolism of the goat and Pan a veiled reference to NASA’s occult origins? All of the above?

The colossal irony of casting OJ Simpson as Astronaut John Walker only adds to the film’s poignancy. Hollywood is very much in the business of constructing myths and shaping perception. Subsequently, their collective obsession with racial #DIVERSITY has gone off the charts in recent years. Both The Martian and Hidden Figures were over the top about black representation in the space program. After all, what really matters is we fight stereotypes and ensure that any #MARGINALIZED group is represented in a completely positive light and real world outcomes will be the natural result. Back then, Simpson was a beloved black celebrity and if one were to take the case that this film is a giant reveal of the Hollywood/NASA conspiracy, one could easily imagine central casting reaching for the guy who best represented black achievement in America. The Juice. Talk about going meta.

The world of conspiracy theory and entertainment have long coexisted in the popular sphere. As is the case with Capricorn One, it gets repackaged and sold as its own entertainment thereby neutralizing and diluting any underlying truth claims in the public consciousness. “Conspiracy theorist” doesn’t carry the same weight as “racist” or “white supremacist” in the cultural lexicon, but in the hierarchy of epithets, it’s a close runner-up. Oliver Stone may have made a good JFK assassination conspiracy potpourri, but who really takes seriously these basement dwelling freaks spewing about the Illuminati plot for the coming New World Order? And perhaps that’s the point. People already consider the Jesse Venturas and Alex Joneses of the world unhinged nutters. You can dismiss these people because they’re conspiracy theorists. But the public likes a good conspiracy theory when it’s repackaged as The X-Files or a 007 film. It seems that Hollywood’s job is to continue to blur the line between reality and fiction so you can never really be certain of anything. And that’s why you can watch Capricorn One in the comfort of your home and then shake off all those crazy questions because “it’s just a movie”. Right?