"What I'm dealing with is so vast and great that it can't be called the truth. It's above the truth." - Sun Ra

Tuesday, January 31, 2017

The 'Remembered' Primal Scene and the Inquisitor's Lash

If you worry all the time, God thinks you don't trust Him as a parent. Dads should put their children at ease. They should fear only one thing - His wrath, and sympathize with the evil doers, for they're gonna get it. But even if you do that, in the dark depths of your Mordor basement subconscious, everything is topsy-turvy, that dad you so adore is a devil, his hugs and head pats distorted into sexual molestation, his carefree protective spirit morphed into ritualized endangerment. These things are inescapable as one can't will away one's reflection in a pool. Closing your eyes does no good. The waves have you.

In HAXAN: WITCHCRAFT THROUGH THE AGES we see several Medieval women of various ages and class strata tortured by the clergy into revealing the sabbaths they attended, naming names and citing abusers. This conjures to me the way hypnosis jars loose memories which may well be false, may well be the subconscious reflections of reality. Maybe if you torture a person long enough, they'll 'remember' the witches sabbaths they attended, the torture itself will create them they will name onto you the persons there and who did or didn't you know what the arse of Lucifer. Hypnotize a kid and go deep enough they'll either remember some kind of occult basement ritual involving all sorts of sexually depraved initiations, sex with parents and neighbors and demonic chanting robes; hypnotize an adult, they'll remember going aboard a space craft and being probed by aliens.

The question arises: is it all the same psychic phenomenon? Does prolonged intensity suspend conscious discernment between truth and illision, dream and waking, trigger either FMS (False Memory Syndrome) or some kind of vivid sleep paralysis reflection of the current scene being endured (i.e. the hypnotist or inquisitor being reflected as Lucifer)? Does it kick loose the barriers put there around our minds, the way a sandcastle hems in a piece of the ocean suddenly kicked open by a bored child as the tide rolls over it?

Hold that "thought" for a moment dear listener... but you can't. It's already gone, until lifetimes from now someone tortures or hypnotizes it out of you.

I've come to some bizarre conclusions about the way differentiation of self occurs - the 'break' from total unification with the oceanic Mother/I AM beyond space and time.

Consider the delivery room where you were first so differentiated. Consider the total darkness of the womb with closed eyes, and then opening them with a painful spank on the ass the immediate intake of air into the lungs like kickstarting a lawn mower, kicking a wonky TV. The utter dependency, feeling of paralysis as limbs first begin to move. Adults get all misty about it, but artists remember all too well the adjustment period from oh sweet nothing to a world of wipes and shots and shitting and--especially if you were born in the 60s-70s when breast feeding was considered unhealthy; nd being forced to sleep in dark rooms with rows of other infants, each of you sequestered from the others by plastic or glass trays was considered preferential; meanwhile giant parents and masked nurses loomed over you like moai, feeding you powdered formula from plastic bottles while they smoked unfiltered Luckies. Once in a while one grabs you, roughly, and gives you some painful shot or demeaning diaper change, with all the nurturing care of a tired surly underpaid fast food worker.

Eventually, hey, it all works out. But oh man what a scary start. That infant care room is so cold and rough we endeavor to forget it as soon as possible; it's the original trauma, and it creates a kind of instant amnesia. Maybe we try at first to recall where we were before we got stuck in the roach trap womb, what important papers we never got to finish before the other guy shot us, or goodbyes never said because the roof collapsed or the killers got away because we were dead before we could identify them.... but unless we were experiencing stress high enough that our PTSD continues past this amnesiac barrier, we don't remember...

It's the same thing really, as Manchurian Candidate Monarch 7 programming (1). The trauma of delivery is duplicated, the orienting into a new identity compressed.

So do the math: masked figures, obscure chanting (medical jargon, foreign language?), pain, degradation, parents, aliens, giants. demons, arse-kissing and degrading ass related issues. lien anal probing = rectal thermometers = molestation = Satanic ritual. it all fits, man, like Freud fits into the drooling infant's crib.

Rather than try to insist aliens or Satanists are real or not, I prefer to take the Schrodinger's Cat approach - which is to study the phenomena of myth in these cases, for in 'knowing' for sure the aliens, or the Monarch mind control subjects, or Satanic basement pedophile cult networks in your neighborhood, etc. are real or not, the myth, the paranoia, dissipates. So instead, I think along those lines, the fluidity of the Schrodinger's Cat box, the in-between state is what gives these myths their hypnotic power. I only reserve judgement for those who would try to debunk too hard and vehemently, as if any doubt or open-ended phenomenon is their personal enemy, for they are like the audience member at the movies who rather than get into the story and enjoy it, has to loudly scoff at how fake everything is, ruining it for everyone else.

It's pointless to try and separate the real from the imagined, the 'cover memory' vs. the dream symbolism of Freud, the sabbaths recalled under church torture in the Inquisition, the ritual Satanic abuse at an institutional level 'remembered' by hypnotized children, and the sex power trips of higher dimensional reptilian alien beings inhabiting the bodies of powerful figures in world orders. and the primal scene of the child being beaten and the mysteries of adult initiation - the enigmatic terror and excitement of those childhood mysteries surviving into adulthood, kept alive through the magic of paranoia.

The old saying 'just because you're paranoid doesn't mean they're not out to get you' might well be reverse-engineered - to not just mean if you're paranoid they WILL be out to get you, that they can somehow sense your senses sensing them. Your paranoia might be like a magnet, the way a person across the street senses you looking at them and turns to see you too --neither of you ever turn to look usually until that one moment.

Notice the men in black sometime, and suddenly they're everywhere - ignore them and they disappear. Stare at them and they know you know and suddenly--without a word--you're on their list. Unless you forget about it --tell no one. They'd only think you were crazy, anyway. How do you know you're off the list? When you stop worrying you are. It's not like it's going to get around the workplace or school. Your thoughts are your own; your vilest subconscious distortions are kept deep in the dungeon.

Until torture, hypnotism, or a fever blows open a hole in the floor.

1. presuming that exists in reality blah blah

Monday, January 9, 2017

Splice like the Wind

(pieces of this were orginally published elsewhere)

Science is a hypocrite. It preaches Darwin while sabotaging natural selection, working hard to ensure all our lazy breeders survive, right down to the most miserable of mutants. In short, science closes its one good eye and refuses to pay the consequences for its obscene benevolence. Never pausing in its ceaseless promotion of longevity, science gradually renders the world uninhabitable via overpopulation and a bankrupt social welfare/Medicare system. As they extend the lives of the elderly and prevent hideous burn victims, screaming crack babies, and comatose vegetables from the blissful death awaiting them like a nervous lover, science vehemently denies death its chance to truly heal the sick... planet.

In eradicating all viruses science turns us into a virus... it's only a matter of time before Earth wises up and sees a doctor about getting rid of us.

Take the theories on the origin of humanity: the Darwinian vs. the Creationism. Science says man was the result of chemicals swimming together for billions of years. Christian crazies say God created man from the dust of the stars, just two ways of saying the same thing! Why argue?!

Instead of man's origin let's talk about art: Van Gogh's "Starry Night" for example: Darwinsim would say Van Gogh didn't paint 'Starry Night' and it's not a picture of the night sky but merely a piece of stretched linen canvas heaped with different colored pigment applied via a brush operated by a half-ape Dutch schizophrenic. If Darwinists had their way, the painting would be attributable to the brush and the pigments, not the man. Come see the opening of the new 'Windsor 2" horsehair bristle! Man, that brush can paint. Creationism takes the opposite approach: Van Gogh couldn't have used a brush because he is a 'true' master - He created the work in seven days, hands-off, with his mind. It's not just a brush - it was never a brush. If he used a brush then somehow it wouldn't be 'divine.'

These are the sorts of art collectors who, for example, might get mad if their kid draws on the wall but has Twombly and Basquiat works 'worth' more than his kid's entire future college education two times over on the same wall - in fact if the kid scribbled something on the Twombly in pencil, the dad might not even notice.

TWOMBLY: This sells for more than your house

Take western medicine's initial response to the Chinese practice of acupuncture: only after decades of proven effectiveness are western hospitals allowing it into their buildings. Since western science isn't quite sure how it works they can't admit it does or they have to change their whole concept of the human body. Chinese medicine sees the body in terms of energy flow, chi, instead of western science's concept of the body as a series of organs connected to each other in a Rube Goldberg-like system.

Similarly, while science can admit life on other planets is all but a certainty and that our own technological evolution is limitless, alien visitation in the past is absurd. Scientists can create new life forms but the idea that someone created the scientists in the same manner is, to them, contemptible.

On the other hand, the Christians rear back at the idea that God might think in DNA, and dream time into existence via a matrix-like universal intelligence that permeates the galaxy. No, God is a person and don't ask them how they arrived at the idea of Him creating the world in seven days and seven nights without a spinning orb moving in a rotation around the sun to measure it in the first place. Right? Now, exhale, and then INHERIT THE WIND! That's the big argument reveal that cracks it wide open, Pollock!

A few years ago I was visiting a urologist for prostate trouble and I asked him about pumpkin seeds and stinging nettle and saw palmetto all the various herbal remedies I'd read about for prostates and he said "well, I am not allowed to say they work, but, I do take them myself," and he slipped me an email address to an expensive mix of the three. He couldn't ---due to his AMA bullshit oath, say they worked, but he knew they did, so bam. (PS - I never did get them, cuz I'm too damn cheap). Thank god (small 'g' cuz they'd want it that way) for those doctors who find ways around their profession's inflexible standards, to slip patients what actually works, regardless of whether or not it can proven via our current understanding of the body. Unless it can make the pharmaceutical industry a profit the medical industry won't bother with the enormous expense of proving an herb works to heal the body...so if no one can patent it, it can't work, because no one has confirmed it via clinical trials. And no one will pay for the trials if they can't patent it. Great logic, dad. That was the big argument I had with my father, a Merck market research analyst and pharmaceutical graduate when I was preaching the gospel of...what was I into then... ginko biloba? I can't remember... the memory one.

All of which leads up to SPLICE (2009).

SPLICE dares us to believe a weird-looking mutant couple (Adrien Brody and Sarah Polley), with Williamsburg hipster loft furnishings, are genius gene splicers. That seems rather wrong, even if we do see them on the cover of Wired, it doesn't convince us (nor does it ever in real life), nor do the interestingly-lit barns and basements where they keep their little Frankenstein kitten daughter-scorpion-hybrid. It's all a little too well-under lit and perfectly colored in dark greens and reds and perfectly stressed/aged furniture and inherited grandma afghans (see top).

But what does work on a believability chart is the sudden shift in the monster from CGI scorpion-kitten to human cat-eyed actress (Scorpio model Delphine Chaneac) whom they name 'Dren.' Both elements--the CGI and the actress-- deliver a knock-eyed performance that in its way reverses the switch from Jeff Goldblum to animatronic Brundlefy in David Cronenberg's remake of THE FLY.

Scenes of Dren leaping to and fro from the rafters, her scorpio tail like a monkey, work like a clinical trial-tested charm. Less effective however is all the tough corporate acting going on in the boardrooms as douche bag manager David Hewlitt spews testesterone-addled threats about closing down the program if the hipster duo doesn't produce results, then admonishes them about breaking Christian fundamentalist-enforced protocol using human genes in conjunction with animals. Make up ya mind, Hewlitt. Besides, you'll blow a gasket with all this 'playing both sides of the fence' scenery chewing.

I personally feel those concerned Christians should take a moment to protect not just the human hybrids but all hybrids, even if they're 10% cooked from animal DNA or CGI. Those bizarre bloody worm monsters the couple create early on seem like a mess of Franken-pain. Science should have to keep all these things opiated or else not make them at all. The cruelty with which even these supposedly hip scientists treat animals shows that on a certain elementary level they are worse than children torturing scorpions in THE WILD BUNCH. We can only hope a stray bullet takes one or both of them out and they keel over into the thriving mound of red ants.

The second round of horror comes with Sarah Polley's cruel treatment of Dren once they have to get her out of the lab. Locking her up in the barn, taking away her kitty, refusing to let her fly, run, swim, and crawl free, Polley's a real c--nt. When Dren's back butterfly bat wings sprout they look like tattoos from Red Dragon or Girl with the Dragon Tattoo come to life (or the tattoos that come to life in Elektra if anyone else saw that besides me), and with her bald head and alien eyes, Dren's a bit like Britney Spears or Sinead O'Connor.

O'Connor, as we may recall, got flak by drawing attention to the innate cold cruelty to children perpetrated by organized human power, in her case the Catholic church instead of biotechnological science, but the vibe is the same and in the end the real villain of the piece is Sarah Polley herself, dead-eyed determined to show the world that she can be as mean as Joan Crawford is to adopted daughter Christina.. as illustrated in MOMMIE DEAREST (1981).

c. Sofia Mauro
The bald head of Dren also conjures chemo, enhancing the idea of scientific torture and deprivation in the name of extending our lives even a hair longer. It may be too little too late, but at least the mad scientist genre has finally found its most worthy villain, a female scientist who, like St. Joan of San Antone herself, figures out a way to get around the messy laws of adoption and child protective services so she can torture, control, manage and stifle her daughter to her heart's content. Forget it Jake, it's science. There's no animal or human rights for a being that's neither. For a fucking scientist like Polley that's music to the ear.

Meanwhile, for the empathic amongst us, even a drawing of a screaming mouth can send us writhing to the floor in sympathy. Is that something admirable, or just a bid for attention gone seriously awry?

PS - 1-9-6
I got off topic, fuck it. There never was a topic. The topic was always death  - we avoid it too much for our own good. When I was at my peak of convergence 2012 enlightenment I stopped thinking these things, the population control anxieties, and started loving all creatures. My God/Alien/higher power told me I was 'recused from the bench' - meaning I didn't have to worry about it, 'they' had it taken care of. My job, they said, was to love all life as if it were my own children. And I was able to do that, even unto people I'd normally sneer at as I hustled past them on the street. All God's children glowed rosy and angelic.

Then... the cosmic alignment ended. I got super sick and woke up with all my chi absconded with by demonic harvesters, like ghost conductors whisking all our ticket stubs off the chair tops at the arrival of the last stop.

OR - I had a manic episode that lasted two months and was triggered via expectation of apocalypse; in other words, I had a nice messianic complex incident (I have one every three years, it seems) and then got sick from messing my diet up trying to be a vegan.

I'm a Pisces, so I don't believe in astrology, but I know it's true. If you get the inherent paradox of that statement, then you know what it is to be a 'mutable' sign. One fish swims in the mystical ether, the other smiles to itself and accepts it all might be a lot of hippie nonsense. The problem is, America can't relegate itself to the same harmonious dichotomy. America needs to be a Pisces and embrace its own duality. Maybe we can all agree that some higher power some of us choose to call God created man but he used apes as a jumping off point, as the paint and canvas if you will, to make his masterpiece, and maybe both the typical Christian idea of God and the atheists' idea of the Christian's idea are very shallow and outdated images. Maybe the God we first imagined as bored Sunday schoolers staring out the window isn't correct but that doesn't mean there is no God.

If we enhance our conception of God to include all things and people, the higher consciousness of which the entirety of our known universe is its full reflection, then we lose our terror of death, and maybe science can stop being so short-sighted.

Then again, when I start to feel afraid I might actually die, I panic and pray and shuttle through the Kubler-Ross 7 like my bald head's on fire.

Monday, October 17, 2016

Nigel Kneale's THE STONE TAPES and PTSD-- Theories of Residual Haunting Energy

Now it's common parlance for a very apt theory for hauntings as residual psychic energy recorded within the crystals and other minerals within old stone walls (in castles, especially), this can explain why older edifices such as castles and crumbling old mansions tend to be haunted more than plywood domiciles (unless said domiciles are build near major power junctions or rivers or above mineral deposits, aquifers, etc.

And maybe at the moment of your death, if it's violent and sudden enough, your terror and confusion can be so great that the moment right before your death you can unleash such a firestorm of latent psychic energy that you can create a rupture in the time-space continuum, like an LP with a note hit on a track that's so sharp and discordant the vibration causes the needle to skip out of its groove, and leaves that portion of your psyche behind, split off from the rest of your aura, to replay the same last few seconds or minutes of your life over and over - every new scream in mortal terror like the first, until even with a new record on the turntable that loop is still there, screaming maybe only loud enough to be heard during moments of high charge in the air (lightning storms, a child reaching puberty, etc.)

Either way it's fascinating to consider - especially if you follow the whole past life recovery phenomenon, lately taking off due to children and their parents being able to track down their child's past life via the internet - even to go and visit their old life's family--total strangers--and recognize them all by name, know where secret treasure is buried, et al. The unifying factor for them all is a brutal sudden shock death - one example even fell during 9/11; another was on the Titanic; another a Russian soldier who died in WW2, another a Navy pilot who went down in the Pacific. In each it's the idea that PTSD is such a powerful force, such a 'skip' on the album that it causes a stone tape sort of repetition even if the subject is still alive, and if dead it carries over --recorded in the soul and carried over, so that when the new album is getting started on the turntable the ghost of the skipping stone tape is still skipping on repetition in the distance, audible during the space between the tracks (when the child is asleep). Only by parental acknowledgement of the truth of this past life, its authentication in documents and information the existence of which the child couldn't possibly have known beforehand, can the kid move on (as in the very touching tale of James Lenninger).


Friday, July 29, 2016

Gremlins from the Kremlin (Machine Elves!)

If you've ever encountered 'machine elves' in your 'travels' you may be like me and fall out of your chair when you run past a semi-obscure Warners cartoon from the 40s, "Gremlins from the Kremlin," which has one of their weirdest songs, and weirdest animation, very very salvia / DMT. Was that shit just in the wind or was there an interdimensional disruption created by all the carnage where machine elves, the titular gremlins, spilled out of the leaky collective unconscious into 3D space time? Either way, it's startling - not necessarily what they look like, but their marching order --note the way they dance in tightlocked formation from an infinite point into existence, as if one being skipping across time's hexagonal slices, like a reality CatScan Dancer. Yeah, you've seen 'em!

If not - study yonder prop: here

Wednesday, July 20, 2016

Secret Dis/closure: WAVELENGTH (1983), and ROSWELL: THE UFO COVER-UP (1994)

It's always fascinating --even alarming--how few 'grey alien' science fiction films there are, making one wonder if there's any truth to the rumor that unless you're a big hitter like Spielberg, you better obscure your aliens appearance, and not make them too 'close to the truth' - the only ones who can do it without repercussion are the ones that don't try to be too realistic, and we wonder which came first, there's that rumor that the government took a picture of an actual alien and gave it to Toys R Us to make an alien doll with, an ingenious disinformation move as the real aliens would look just like the toy.

With the new Stranger Things on Netflix a kind of MK Ultra Truth reaching has begun, and maybe this movie is part of that disinformation campaign. If not for the box art and live witnesses (I found about this via The Secret Sun). If no other reason than Cherie Curie, the weird melancholic 'hushed' mood, and the Tangerine Dream music, this would be a winner. It's got more too.

Another one that seems very factual but never has been seen since it was out on--I think Showtime--inn the early 90s (I caught in a hotel room in NJ by accident). Having heard nothing/anything remotely involving a 'truth' to alien visitation up to that point, it was a pretty significant 'accident' in my life.

Thursday, June 16, 2016

Terrifying Women Come in Twos

Only some lucky or maybe dead guys know about the weird pairs of alien women--they always go in pairs--hunting young men, or something.... if we take them up on their offer, we're never heard from again. Only those of us who've run the other way have stuck around to tell the tale. One of the few to get this just right is DECOYS (2004), a Canadian schlock film which uses the usual college freshman Night of the Creeps-style comedy to go with its pungent expose of the women predator phenom. I think they're related somehow to those kids with the black eyes who approach cars in the dead of night, to Bob and the dwarf in TWIN PEAKS, and so forth.

I know, you see... because I've wandered into the net of these weird twosomes before, three or four times over my long time partying career; always they were different women, always very unsusual in how sexually aggressive they were, how strange they acted, and how weirded out the guys who actually had sex with them were. Our freeloading charismatic grifter from the east, Scumby, shagged one and came out mere minutes later ashen, he said something was off about her body but never went into detail. He forgot about it; we forgot about it, blocked it out. What was up with these girls, wondered I? The last time I ran into them was at Earth Day after Scumby convinced me to take way too much acid - and man I was in a bad bad place; the prettier one (my one) came up to me and while everything else was weird anyway, including my reflection, she seemed like an image, like no attraction repulsion magnetism, but rather like a ghost vortex of desire- a beautiful hippy girl I can still remember her body, hair, the maroon color of her dress, but damned if I remember her face, or what about her sent me running in the opposite direction, apologizing over my shoulder - and me desperately single, horny and unhappy. I should have/ could have glommed right about that shit- but what the hell stopped me? What made her very allure seem like some dangerous trap?

What's weird is the schlub party guy is too weirded out by the hot girl in the bathroom - hey alien or no when a hot blonde chick attacks you in the bathroom it's rude to say no, but that's why DECOYS works, because guys are all talk - lord knows I was, but didn't know myself well enough to realize the con game I was running on myself. We all want to get with the right girl so bad and then some totally hot but something's off and we can't quite place it girl falls into our laps and starts mauling us and we're drunk enough maybe we can roll right into it before our defenses kick in.

But otherwise, something weird happens: we panic and run. It's the Lacanian objet petit a invading our orbit of desire; we're destabilized. It's like if the sun was our sexual longing for the right girl, that constant relentless ache where every moment not spend in the company of beautiful girls is like a knife in the heart twisting, the superego ranting in our brain about what losers we are, but then a beautiful girl suddenly lunges towards us, finally we'll get that desire but it's too soon, we're not ready, we panic, we run, and then coming out of it later, the superego moves from that fight or flight instinct to railing on us for being pussies and not going for it; it's almost like the superego did it n purpose, so it could beat us up extra hard about it later.

I don't know enough on this subject to make a judgment or hazard a guess as to what these women are all about, but when SNL recently did a sketch about a pair of blonde black-eyed aliens women at a speed dating party, I felt a pang of genuine uncanny terror. What is up with these pairs? Are they aliens, or just MONARCH 7 mind controled sex slave assassins who slipped their programming.


The weird irrational behavior of the two models in the opening party, for example, along with everything else that goes on, can be explained through the maze of the mind control theory, as they want to take him "over the rainbow," presumably a well-known code for the world that is shown to subjects of the practice, leaving them a way to explain all the bizarre things that seem to happening to them, THE WIZARD OF OZ being one of the source texts for this kind of conditioning:
"The Rainbow--with its seven colors has long had an occult significance of being a great spiritual hypnotic device. Constance Cumbey, in her book The Hidden Dangers of the Rainbow, which exposes the New Age Occult Movement, correctly writes, "The Rainbow (also called the Antahkarana [left] or Rainbow Bridge) (...) is used as a hypnotic device (p.261). 
"The Supreme Council of the 33rd" of Freemasonry has used the rainbow on the cover of their magazine. In a book teaching Druidism (as in Illuminati Druidism), The 21 Lessons of Meryln, the Rainbow is described as "A true sign of Magic...it exists in both worlds at once!" Elvira Gulch is a woman who owns 1/2 of the county where Dorothy lives in Kansas. She is shown later in the Land of Oz transformed as a witch.
Many of the Illuminati elite are rich and lead double lives. People who meet them at a ritual will see the dark side of these rich people. At the rituals, people are tranced from drugs, chanting, and mind control; they are "over the rainbow." - Fort Refuge

On the other hand, the two girls may be there to just set up the future problem between Bill and Alice, whose mutual attractiveness has surely caught them the attention of interested parties before, but like the single night of misadventure that opens A CLOCKWORK ORANGE, their marriage seems to begin at this party. (No one from Alex's violent misdeeds prior to the home invasion night gets revenge, for example.)

The figure who separates Bill and Alice originally, Nick Nightingale, has a name that symbolizes sleep (we always fall asleep alone no matter who is in our bed), and immediately after Bill is called away, Alice is hit on by her animus-representation, the Anton La Vey, and soon thereafter Bill gets drawn into a menage a trois any man would melt in his bones for. Now, in my book any good looking young couple is going to want to mingle and flirt and bask in the adoration of others at a party, and then they go home together and no harm done. What, are they supposed to just canoodle all night? Why even go to the party if not to strut? So why are they so cowed and confused by this attention they're receiving? Why does Alice seem to change into a different person, very coy, tranced out, and strange, the minute Anton approaches? Why are these girls so bizarre? Is that illuminated star by the door some psychic trigger to release their inhibitions, or is this just what really really good expensive champagne does?

In the end there's a weird symbiosis between the masked orgy Bill crashes and Alice's dream and the idea that Alice is actually the girl who dies (or 'has her brains fucked out' to use Sidney Pollack's vile terminology), begging the question: what is worse, a sex-saturated dream where you lose control and are violated every which way but which you are enjoying (she's the center of attention -- she 'belongs' there) or a sexual reality in which you are out of your depth?

As someone whose had a panic attack after being hit on by two spooky models at a 2006 Halloween party, I no longer envy and hate Dr. Bill the way I did when I first saw the film in 1999. I hadn't read Lacan then, and couldn't stand the fact that Bill's uncertain fog lets these two hotties slip away, and all the subsequent ones he loses, or even got them in the first place, or was so easily picked up the West Village streetwalker. I mean this isn't Atlantic City! But now I'm beaten down, broken on the wheel of time, like a scarecrow. If I had another encounter with those two spooky models I would still run away but wouldn't hate myself so much later. Why? Because now I've read up on EYES WIDE conspiracy mind control theorems.

Here's a detail I remember about those two girls who tried to pick me up but gave me a whopping panic attack instead (and this after I 'tested' my psychic powers by requesting in my deep meditation to pick up not one but two girls for a menage a trois that night)-- one was dressed as a dominatrix, the other wore a black bikini, had a perfect body, AND REPTILE EYES, though they were presumably contacts for her 'costume.' OR we were meant to assume so, just as we are meant to assume that all of the masks at the orgy in EYES hide human faces. Are reptile contact lenses on Halloween the perfect cover, allowing reptilian-human hybrids to show their real selves?
REPEAT FROM ABOVE (in the interest of derangement, I'm telling this story twice, as my dad began to do, like his grandfather before him, the same story over and over - for what it's worth.. I forgot I already wrote about it down here when I wrote about it up there, but... um.... it makes sense, since the women hunting in twos thing calls for it. As does my wry picture of THREE women (from DECOYS) as the top image. There's always time for deadpan self-satire.
If that's what that is...
Now that we're talking about it, I'm remembering a run in or two with another pair of spooky girls, hippie chicks (and one guy) up in Syracuse in 1987. They were gorgeous and way too sexually open for my prudish tastes, to the point I found myself backing up away from them and was not sure why, as I was hardly a virgin, or sober. I can barely remember what any of these two sets of girls looks like now, except that they were very sexy, and seemed possessed with eerie calm. If I did hook up with either set, would I even be alive today? And are all my subsequent peccadilloes just my long night of the soul trying to get revenge on womankind for making me feel all itchy and strange for my chickening out of these encounters? Were these girls even human? Was their whole mission just to seduce men and steal their DNA, and/or leave us with a lifetime of sexual anxiety that they could siphon off with their orgone harvesting matrixes?

My hippy house's resident freeloader Eric did sleep with one of those hippie chicks and was super weirded out afterwards. He told me that something about her vagina didn't look right, though he couldn't explain exactly what was so wrong about it....then again he's not a writer. One of them came onto me at an outdoor concert while I was tweaking out on way too much LSD and my dog acted all afraid of her and her beauty carved into me like talons; I could feel the emanating waves of open sexuality calling to me but I could see my mortal death as well. I heard myself muttering an incoherent apology and felt my legs carrying me away even as a part of me tried to take up her offer.

Plus, Bill getting called away before he can go 'over the rainbow' to deal with the OD seems to be implying those two girls meant shooting him up as well as whatever sexual stuff... and he may have wound up as comatose as she is. Even metaphorically it means he is spared the problems that plague a man beset upon by two hot women, a kind of all-encompassing panic-inducing mix of dread and desire that confound his ability to walk or think clearly (the awkward nervous banalities of their conversation reflects this kind of flushed disorientation). It is like a drug in and of itself, draining normal humdrum reality, the way, for example the music dies down and changes and the rest of the world becomes a blur when Maria and Tony's first spot one another in WEST SIDE STORY.

Thursday, May 19, 2016

The Illuminati, Hypnosis, Paranoia, Schizophrenia, Kubrick, and Tom Cruise

Masters of the Fantasmatic Dimension, from left: Klytus (Flash Gordon), Dwarf from Twin Peaks, MC (Eyes Wide Shut), The Wizard of Oz, Evil Queen

In the end, the paranoia around the Illuminati is "which came first, the chicken or the egg"-style ingenious: if you let even a small amount of it in, you find suddenly everything clicks, and yet doesn't -and paranoia stars fusing with your skepticism. It's like hiding the fact you've been swimming by standing out in the rain. If anyone accuses you of swimming you just point to the sky, nature your ultimate alibi. In the Illuminati case, their ceremonies either mimic paranoid schizophrenic delusions in order to provoke split personalities for neural programming (a kind of mimetic mental magic) or their ceremonies are purely the product of pre-existing schizophrenic delusions / dreams / unresolved Oedipal tensions of the kind a kid will grow out of naturally unless he winds up hypnotized by an ambitious DA, or if he has an inherent genetic predisposition towards mental illness.

But what does it matter which is which?  aside from why everyone else seems to be having such cool sexy time but you? In the end we should be grateful for the trickle-down, because any other response than to dismiss it with a chuckle is self-defeating. How can you kill a serpent you can't even see? Why live in fear of an idea? That kind of thinking can lead to madness.

And let's boil it all down to basics: there's one ultimate signifier for all this: the serpent in the garden of Eden, or to use Kubrick terms, the 2001 Obelisk. Even the sexual trauma crimes of Humbert, Alex, Quilty, all come with this backhanded baggage leading back to that rat snake. We can only gain wisdom and self-reliance by having some higher intelligence 'blow up our spot,' to force us out the door of our parent's Edenic house to get a job. The military training in FULL-METAL JACKET is trying to achieve this same effect, to shape the lazy material of complacent man into something more advanced, and unfortunately (as per Nietzsche) nothing is more advanced than someone who is able to kill without conscience. Quilty empowers Humbert to kill him, as the drill instructor empowers Pyle, and Alex empowers the old men. They are evolution's bouncers, booting us out of any room, second womb, or early tomb we linger too long in.

"Oh? And what's so STINKIN' about it?"

Still I can't imagine the CIA or anyone getting it together enough, or feeling insecure enough, that they feel they need to hypnotize mass armies of hot girls to do their perverse bidding. Just having drugs and money is enough to get armies of hot girls, and a hell of a lot easier. And the first thing you learn in Lacan is that the drive is the circulation as such and therefore more than one orgy is a drag. The 24/7 availability kills the desire, and the whole round robin of desire becomes just more desolate post-orgasm blues.

But again, that's irrelevant. As per Zizek via Lacan (or vice versa), the Big Other's whole purpose is to remove the chance for the hollowing horror of 'constituent anxiety," to make sure there is no "traversing" the fantasy which would dislocate the subject from its perilous void-circumscribing orbit. In EYES WIDE SHUT, Ziegler's positing Dr. Bill as an outsider who will never be a member of this exclusive shadow society, no matter what mask he dons, is doing him a massive favor, because this forbidden society exists solely in order to exclude him, and thus perpetuate constituted (rather than constituent) anxiety. It's a gift, son!

A similar effect occurs with UFO crash sightings wherein the military steps in, harasses and bullies witnesses into silence, and reports it was a weather balloon or crashed satellite, then hauls it away never to be seen again. In doing this they perpetuate the revolution around the desire, they fan the flames of the need to know, and so perpetuate the illusion that they have this thing well in hand. If they announced a spacecraft was found, the world press would swamp them and create panic; by simultaneously threatening witnesses and lying to the press they create a subliminal consolation. Instead of worrying about aliens we're angry at the government for not telling us the truth. We always feel protected when denied knowledge.

A key aspect of this fantasy-traversing orbit is the desire to 'retrace one's steps' to find the fork where you and your fantasy parted ways - which Dr. Bill does the next day after his orgy dismissal; the return is always built into any orbit, with the illusion of linear time transcended. Danny retraces his steps in the Overlook maze snow, Dr. Bill retraces his ominous journey through the mask store and into the abyss of the LIE, the star child returns to earth, presumably to drop down into the lap of the very same ape who had tossed the bone up at the start of 2001, and Alex re-encounters all the people he beat up in the first part of the film, the giddy crimewave of gang violence, home invasion, sexual and other assault, and so forth rushing back to haunt him. The old men get to hurl some spit and fists in retaliation, his poor long-suffering mom cries as he's kicked out by his replacement son, and the man who was forced to 'viddy well' his wife's defilement gets revenge by forcing Alex to 'auddy well' his dear Ludwig Van's colossal degradation; Humbert's visit to the pregnant Lolita mirrors his visit to her mother in the beginning, and the shooting of Quilty both opens and closes the film.

This is why the ultimate realization scene for Cruise is when Pollack begins to back up over his 'charade' story and he realizes he's met a man even more of a fake than he is. That's what nails him more than the mask, which is just another reminder both of these rich elite's powerful omnipresence, but that it could be Pollack himself who is the mastermind of all the things, right down to the call girl Mandy's O.D. which may be fake anyway. Is anything real at all? In clouding the issue Ziegler shows Dr. Bill the very painting of his fear, of the refractions created by falseness and the empty cold of a cocksure grin, which its smug wearer presumes sweetens any amount of evasive bullshit.

This sounds horrible, but so what? We've been dealing with its trauma ever since mom first made us sleep in our own room, with at least one door between her and our quivering, longing self. But without that trauma, we're Norman Bates or worse. Without shadows all is pure light, indistinguishable from other light; there is no division between shadow and self anymore than one sunbeam can be portioned off from the rest, reserved to shine only on the elite. The introduction of evil into the world is inseparable from the introduction of choice, the possibility of free will. We all are welcome to join a yoga class if we want, and know the perfect grace and joy of breaking free from our 'programming' and merging with the divine through our breathing, but let me tell you, what a bore it is to live in that 24/7. I've done it, bro, and while I was perfect love and in the moment I was also very open to scammers, without the capacity for any resistance against temptation or exploitation... no wonder all the cult leaders end up committing all sorts of sexual abuses; they go crazy from being so free and yet so 'chosen up' as far as the light or the dark, so sure they know which is which - at first all the evil seems gone from their soul, but it's just sneaking around the back. When it comes, it's masked in heavenly light which the cult leader's ego never dreams might be anything but what he wants it to be. In denying he's still subject to root reptilian (Satanic) urges he gives them free choice of masks, so they come dressed as God.


We won't ever rise from our shackles of sleep until we learn to not judge those who keep us in the cave of Morphius. We simply need to recognize this is once again ourselves. We have to go back to Freud because if we boil it down to some exclusionary cult we're only choosing to exclude ourselves from our own story. We're kissing with a mask on. I'm sure the mask kissing connects to a Monarch MK-ULTRA program, but by now it's time to look inward for relevance rather than this arcane projection, the which came first, the paranoia or the conspiracy, and might conspirators deliberately invoke paranoia in those who try to unravel their secrets, and might the engendered paranoia be the whole point of those secrets.


The issue that sets the events of EYES WIDE SHUT in motion is really begun the night before by Nicole's feeling attracted to the Satanist at the party and projecting her desire on the screen of jealousy over Bill's two models. His evasiveness and and inability to admit he was turned on by those beautiful ladies is what drives her insane. The confession of love from the woman whose father just died mirrors this; loving a man she barely knows but marrying a blander version (a Tom Cruise variation with glasses) mirrors the two sides of Alice, who oscillates between wearing glasses and being her darker Mandy self. He's trying to find his own asleep wife, but he can't even find his own sleeping self. The double in the glasses represents the castrated, limited version of Dr. Bill, the one who is known, tamed, outside the realm of murky desire, the party Bill is trying so desperately to crash.

Bill has neglected this darker self, the Mr. Hyde, who could revel in this kind of sexualized madness, and so his nocturnal wandering becomes a sad attempt to find the real corollary, the place where sexual dreams are reality, i.e. Through the Looking Glass, because he has made no peace with his unconscious he grasps onto the white lapels of Nick Nightingale, his unconscious corollary, a blindfolded musician at the ritual, a nocturnal wanderer in between realms (for musicians at rituals can traverse both realms, conduct the orgies of the damned without taking part, i.e. the organist in CARNIVAL OF SOULS).

From left: Mary Henry (Carnival of Souls); Nick Nightingale (Eyes Wide Shut)
 Alice is more evolved because she encompasses both sides in one person. Her double is the drug abusing Mandy (they're both tall and have red hair) which is the only way it makes sense, since it's absurd to think that Mandy would even remember Bill if she was that zonked upstairs at Ziegler's party especially since he's wearing a mask at the orgy. Why even bother to warn him?

Personally, anyone who threatens me with rehab just because I pass out at a really dull party after giving a boring blow job for whatever vast sum, I say kill him.
The Cockiness of Impotence

The saving grace of so much Kubrick is that he casts doubt on the truth of events in his films, creating space for them to be read as the deranged clinical sadism of an impotent egghead. Impotence is a recurring theme, from the fluoride in the precious bodily fluids in DR. STRANGELOVE (which as we all know pollutes our third eye reducing our spiritual awareness) to the lack of visible sex in LOLITA. The absence of the phallus, the impossibility of union with the objet petit a creates the desire, while for Dr. Bill the only sex he actually sees or becomes a part of is the sex witnessed at the masked orgy. He's cut off from everything by a cocky smarm that won't even allow him to admit he was nearly lured over the rainbow (just as Alice was nearly lured upstairs to the 'Renaissance sculpture room'). It's cocky boyish persona that is blocking his every attempt to stray from his wife, the internalized mask that cuts him off from all his desires on his magical night, so that the following day, retracing his steps, he finds that all the once open avenues are closed, and that he narrowly missed possibly contracting HIV, being killed, and so on. His wife's phone call saved him from contracting HIV (presumably this was Kubrick's meaning), the same way Mandy's OD kept him from going over the rainbow, and at the orgy Mandy saves him from presumably being killed. In each instance Mandy/Alice are hovering in the ether like a cockblocking guardian angel.

"I'd never belong to any club that would have me as a member." - Groucho Marx

Cruise's insistence on going to this masked orgy is itself cause for his exclusion, in the Kafkaesque double bind of desire. No one in the elite wants this rube wandering around like a freakin' Times Square tourist, maybe calling his frat buddies to come hoot it up, taking credit for its existence via 'finding it' bragging rights When a real nice party doesn't want you, and you know for sure you wouldn't be welcome, have nothing to offer, well, you deserve everything you get for crashing anyway. Maybe you should stay home and work on your attitude, Dr. Bill!

An example of this 'deserved exclusion' occurs in the first season, second episode of the X-FILES ("Deep Throat"): Mulder really wants to see what's at this experimental military airbase that has been causing pilot zombie suicides... he has the suspicion the pilots are going insane from test flying captured alien discs. Mulder is denied entrance to the base of course-- the signs are posted to keep out-- but he's really curious so he sneaks in. Then he's caught and brainwashed to forget everything he's seen. Man, he's so indignant about that. We're clearly supposed to think this treatment is wrong but since when does curiosity alone warrant you to trespass against clearly-posted and authorized keep out signs? Everyone knows the FBI is riddled with Communist spies. Mulder could be one of them. Who the hell knows? I've had parties crashed by loathsome cretins I'd never let in if their masks weren't on, preventing me to know who they are, and if I wasn't tripping so hard I couldn't ask.
The scariest thing was when at one of our last Halloween parties a HUGE guy came in wearing an ugly full head latex monster mask, I mean he just radiated menace, and me in my lysergic funk I could just imagine pulling his mask off and seeing something a hundred times worse... I was afraid to even talk to him let alone kick him out as he lumbered back and forth across our pad, chugging our whiskey and looking around like any minute he was about to get the boot and wanted to make sure he stuck it to us enough first.

I'm still traumatized about that godless night. So no, I have no sympathy for Dr. Bill. He doesn't deserve to crash this soiree for the very same reason that he wants so desperately to. In this instance I think it's because he's gradually realizing his cocky sureness, his rich cutesy youth, is drawing hypnotized gorgeous druggy models to him like flies, and he desperately wants to belong to the last club that won't have him as a member, to keep pushing it until he makes it to the top of the heap he thinks he's already at. By denying him entrance Ziegler/the Illuminati forces Bill back into his marriage, gives him something better, in the end, than knowledge, gives him fear of knowledge.

All along he didn't want to become Ziegler, the Primal Father, but to connect. The masks in the orgy are at least removable, but his doesn't come off until he finally breaks down and even then he overdoes it, sobbing to Alice, "I'll tell you everything." In other words, he proves he can't keep a secret, he can't compartmentalize. He's a Fox Mulder. If he could, then he might even be invited to join the orgy eventually. Maybe these women, even his wife, are tests of one sort or another, to gauge his strengths in compartmentalizing. But he can only deal in rational facts the way Fox Mulder can't accept the reality of a UFO presence and continually has to see for himself, and even then no amount of evidence is enough for him, he has to convince everyone to believe it too. Scully at least doesn't want to believe, regardless of evidence, while he wants to believe but regardless of evidence can't be satisfied.

Thus unquenchable curiosity is the sure sign you don't deserve to find out. Knowing the whole truth, without restraint or border would certainly be too much for us, unless we're ready to take it all in with a poker-faced calm, ready to watch our conception of a distinction between the real and the fantasmatic dissolve like the chimera it always was.

In the end, there's a weird symbiosis between that orgy and Kidman's dream and the question of which is worse: a sex-saturated dream you are enjoying (Alice's, where she's the center of attention -- she 'belongs' there) or a reality in which you are out of your depth, uninvited, and unwanted?

As someone whose had a panic attack after being hit on by two spooky models at a 2006 Halloween party, I no longer envy and hate Dr. Bill the way I did when I first saw the film in 1999. I was also kind of arrogant back then and couldn't stand the fact that he let those two hotties go, or even got them in the first place. But now I'm beaten down, broken on the wheel of time like a scarecrow. If I had another encounter with those two spooky models I would still run away but wouldn't hate myself so much later. Why? Because now I've read up on EYES WIDE conspiracy mind control theorems.

Here's a detail I remember about those girls: one was dressed as a dominatrix, the other wore a black bikini, had a perfect body, AND REPTILE EYES, though they were presumably contacts for the a Halloween costume. OR we were meant to assume so, just as we are meant to assume that all of the masks at the orgy hide human faces. Are the existence of reptile contact lenses allowing reptilian-human hybrids to take their human ones off without attracting undue attention?

Now that we're talking about it, I'm remembering another pair of spooky girls, hippie chicks (and one guy) up in Syracuse in 1987. They were gorgeous and way too sexually advancing, to the point I found myself backing up away from them and was not sure why, as I was hardly a virgin, or sober. I can barely remember what any of these girls looks like now. If I did hook up with them, would I even be alive today? And are all my subsequent peccadilloes just my long night of the soul trying to get revenge on womankind for making me feel all itchy and strange and guilty for missing these encounters? Were these girls even human? Was their whole mission just to seduce men and steal their DNA, and/or leave us with a lifetime of sexual anxiety over our cowardice, an anxiety that they could siphon off with their orgone harvesting matrixes? My roommate Eric did sleep with one of those hippie chicks and was super weirded out afterwards. He told me that something about her vagina didn't look right, though he couldn't explain exactly what was so wrong about it.... not a writer.

Another weird metatextual element to EYES is the way Kidman's off behavior mirrors both the aformentioned drugs, mind control and ALSO the breaking down of an actor through trust exercises and the Stanislavsky method. It's very similar to hypnosis, the repetition of phrases and other occult chanting mechanisms; they are all used in shamanistic ritual, hypnotic regression, occult indoctrination, and acting. So the issue is, why aren't these things overlapping more often, along with sleep paralysis and alien abduction, a whole melange of fantasmatic 'other realities' that invite us ever deeper into a magnificent madness maze? Aside from Kubrick, are there any other filmmakers this paranoid?

We get some of these links from David Lynch (are Audrey Van Horn and Laura Palmer both SRA-programmed sex toys?), One Eyed Jacks, the Roadhouse, and the mysterious room with the dancing dwarf could compare to the ritual spaces in EYES, as well as the Emerald City Oz room, the wicked witch's castle in WIZARD OF OZ; the lair of the evil queen in SNOW WHITE, and the leader's mask and hood resemble Klytus' from the 1980 FLASH GORDON (1980), which as we all know is bathed in Illuminati and Masonic symbolism.

Naval officers as signifiers of the subconscious (sailing the surface of the deep archetypal oceanic unconscious)
 For example, while I'm writing this CHITTY CHITTY BANG BANG is on TCM, with an automaton girl standing before a series of mirrors (which they use in mind programming) singing that she's under a spell and waiting for her first kiss, an almost exact description of sexually subjugating mind control techniques (including occurring before an assembled audience of mysterious attendees, which mirrors our standard dreams of being exposed naked in a class we forgot to study for, etc.). In reproducing the iconography of normal subconscious dreaming, the programmers tap into the control state, programming as it were, their automaton women, the "standard pleasure model" ala BLADE RUNNER, DR. GOLDFOOT, etc. (see CinemArchetype #16 - the Automaton). I don't believe this was what CHITTY was trying to achieve, but it shows you that once you let this paranoid stuff into your mind, it mutates and transforms even dull children's movies.

Staged Programming, from top: Chitty Chitty Bang Bang, Clockwork Orange, Manchurian Candidate

I remember the first time I saw A CLOCKWORK ORANGE, my mom rented it for us when I was around 13 years old. it was the first movie I ever got to choose at a video store. I had seen the poster as a child and been intrigued by it, and imagine I'd see, you know, some boobs... which I had never seen outside of a stolen Playboy. You could certainly argue some kind of sick mind programming was underway for me, considering the horrors in that film were just not seen outside of a dirty movie house, I would imagine. I thought it was weird and was certainly shocked by the home invasion scene and the way we're not really supposed to have a clear 'rooting for' character, unusual in the (pre-cable) TV I was used to. But this was art. I had to figure it out.

But in real life, or at least the headlines, of 1980-1983 ritualistic abuse of women, children, people, kept coming. The horrors of Satanic panic coincided so perfectly with the dawn of the VHS that it's impossible to ignore. I still think we've only begun to gauge the effect of sudden availability of all these 'video nasties' (as the Brits called them) had on middle America. There was no ratings mechanism in play at all the first few years of the rental business. Stereo and TV and appliance stores were the only ones who rented out videos at first, and no one thought much about the traumas of TV violence because we hadn't really had any to speak of, a few shoot-outs on the cops shows aside. The home invasion scene in CLOCKWORK was a parallel to the invasion of these disturbing images into our house right at that moment, and we reacted.

I firmly believe that Satanic panic was a response to this new at-home availability of X-rated films and the flood of disturbing slasher movies and sleaze that had formerly been shown only on 42nd street or adult drive-ins. It was an undiscovered country we were gleefully exploring, unaware of the subliminal trauma accruing like waxy resin in our moral cortex.

I don't think these Satanic abduction reports are entirely fantasy. I think these cults do exist, but I don't believe most include seemingly normal families. Still, I am nonetheless fascinated by the phenomenon of recovered memories, the similarity between Satanic and alien abduction recall, and sleep paralysis.

To this of course I propose that there are levels between our ordinary collective reality (objects, spatial relations / time) and unconscious dreaming (Jungian collective unconscious, or the anima mundi) and in between the layers there is no clear line, but a grey area where one level can easily be confused for another.

COLLECTIVE CONSCIOUSNESS: Reality in conventional 3-D space time, i.e. global news, shared opinions, measured distance (You are there, I am here, the stars are light years away, etc.)

CONSCIOUSNESS: Emotions, processed input from the five senses, shaped to correspond to the collective; 'true' memory (We are all in 'this' together, the stars are within our reach)

------in between ------Hypnotic state of 'repressed memory' regression / recovered           memory, solidifying the subconscious (lower) into a reality (upper) memory, leading to a revision of one's concept of the collective consciousness as one's repressed desires from childhood are remembered as real. 

SUBCONSCIOUS: Repressed desires; Oedipal and Elektra complexes; incestuous or criminal desires; id; sexual dreams (we are all lying about our true natures, the stars shall be dominated by us one day)

COLLECTIVE SUBCONSCIOUS: Satanic orgies, incestuous fantasies / reality, sleep paralysis / repressed memories of alien abductions / bizarre ceremonies / demonic possession

UNCONSCIOUS:  Jungian Archetypes; anima/animus; superego, 'unfinished work from the past' (PTSD carrying over from one life to the next) dreams, personal devils, demons, angel projectors. (astrology, archetypal constellations, the stars are no farther than our fingertips)

------in between ------ Hypnotic imagery reflection, here caught between the universal                      and personal unconscious, dissolving ego into the collective; the oceanic; can recover memories from other people, past lives, channeling spirits. 

COLLECTIVE UNCONSCIOUS: Anima Mundi; Collective Unconsciousness; 3rd eye reality (4-9-D nonlocalized intelligence); true hallucinations - i.e. matter appears as energy slowed, every movement or thought triggers myriad possibilities branching off like tentacles, aliens, transpersonal devils, demons (the stars are inside of us, there is no distance or space at all, ghosts, demons, angels are all visible and separate from any one of us, and yet joined to us)

The question of 'is mind control MK Ultra real?' doesn't really make sense when approached pragmatically based on the theoretical layers of consciousness outlined above, because the figures in a subconscious dream (repressed sexual) mirror exactly the allegedly real figures in a repressed memory recovered during hypnosis. If one applies this formula to Salem witch hunts for example, the repression of their Puritan religion created such a hard wall between the subconscious and conscious that the pressure resulted in an autonomous complex, i.e. the subconsicous warps the floorboards with its built-up pressure and some of its contents leak out into the conscious perception/reality (since the Puritan mind has no means of discerning the real from the vividly imagined).

In other words these things all exist, but only if you widen your notion of what existence is, and you should. It's foolish to think that aliens only come from far away in big ships traveling through 3-D space. Do they ever sleep? Maybe to them our waking life seems to them so narrowed it's like we're asleep, while our dreaming selves are more approachable - and seen as the 'real' us! Why not?

I'm not attempting to dismiss the claims of SRA survivors, only that hypnotic regression / repressed memories occupy such a slippery slope between the levels of our consciousness that they expose the whole foundation of ordinary reality as a delayed reflection of the deepest level of the collective.

You'll see where this is going. Dr. Bill is harassed by the gang of toughs for being gay (a real life 'accusation' he vehemently denies), which could be said to represent, in one of the few appearances thereof, the non-New Yorkers, a vile underclass, the morlocks, the droogies, the bridge and tunnel marauders, relying on their gang's drunken cheering for constant support. It's as if that shove knocks him into an alternate state of reality for it's shortly afterwards he runs into the girl whose demarked as a prostitute by, apparently, the red door she takes him through, maybe because Kubrick thinks no girl would come onto a man in the West Village who wasn't? When Tom says while in her apartment, "Maybe we should talk about money." I wondered if she would have even expected any. In a way he shows himself to be as much of a boob in this moment as the businessman who leaves a bunch of money for Diane Keaton in LOOKING FOR MR. GOODBAR. But has Kubrick really even been to New York City, ever? Is the red door a signal, as in ye olden times, or Amsterdam, that this is a brothel, of sorts? We know he reads a lot and that's often the surest mark of a man who doesn't party. If he'd done any serious drinking in the Village he wouldn't be so easily labeled as a doofus bridge and tunnel tourist.

Of course that's the problem with filming a NYC movie in a UK studio. Kubrick did not think he needed to come here and absorb the unique flavors that may have opened his eyes shut in under 90 minutes. We're not all rich, Satanic, and successful or MK-Ultraficial sex zombies. Seeing this film in a New York City theater uptown, I could hear the disappointed sighs over moments like this shoving, the random pick-up by the hot model, the lispy hotel manager played by Alan Cumming, the choice of the very Jewish Pollack as the secret society member and hot hooker connoisseur (see here my rant associating his character here with his hooker enthusiast in Woody Allen's HUSBANDS AND WIVES) the bizarre fantasies like that he could get a cab to take him way out on Long Island, no matter how much he paid, and then make it back by dawn, on what is presumably a Saturday night, before Xmas no less. The time incongruity (it would take like two hours each way just to go a few miles and on a night like that, forget about traffic, it's bumper to bumper in and out all the way). Secondly, why the hell does he leave the prostitute in the first place if he's seeking a thrill? it's as if he keeps getting a life line which he's only too quick to grab and even quicker to throw back in pursuit of a thicker one:

Gayle: Do you know what's so nice about doctors?
Dr. Bill Harford: Usually a lot less than people imagine.
Gayle: They always seem so knowledgeable.
Dr. Bill Harford: Oh, they are very knowledgeable about all sorts of things.
Gayle: But I bet they work too hard. Just think of all they miss.
Dr. Bill Harford: You're probably right.

Here Harford doesn't even know if she's right but naturally he suspects it's true. "Just think of all they miss" applies twofold to the title of the film. How on earth can we think about all we've missed, unless of course we're talking about the associative process of hypnotic recollection of subliminal signals? Are the arcane symbols on the walls triggering an autohypnotic programming response in all these beautiful women? I wouldn't be surprised. All you really need to win the attention of a lot of hot models is cocaine. But a party like Ziegler's that shit is in the wind, and just a few trigger signs, like the star on the wall, indicate that there is something there that they all miss, that trigger signal that brings us into fantasmatic dimension.

"Nothing is ever just a dream, Alice." But then again nothing is ever just reality, and that's where the fantasmatic enters, for if you were to ask me if I believed in all the harrowing SRA recovery memories and conspiracy stuff on the web, I would say it depends on what you believe 'belief' is. I don't think that stuff necessarily "happened" in 3-D space time reality, but I don't think it was all a paranoid fantasy either. I think people who believe in it tend to get defensive if you talk about these phenomena in terms of psychology and myth but just because I don't believe this stuff is real I don't trivialize the unreal as being false. The fantasmatic dimension is in some ways even more real than our normal reality. The whole idea behind this being that there is an area of reality where collective experience--one set of sensory inputs grounding the other--works to prevent the supernatural from forming. Kubrick's entire filmography is about weening the human experience from the teat of this collective miasma, what the Hindu theologians call Maya, the goddess of illusion who spins her web around the eyes of men. In other words, these memories are in some ways 'truer' than reality itself! Once they are exposed, once the mind is free of the web, all is love and light, even death, decay, and suffering. Desire and fear are just the carrot and stick used to keep you circling around the track. Realize this and move off the track towards the center.

And of course this all has bearing on psychoanalysis, which in this case may read Ziegler as the analysand, 'performing' the role of the anal father, the 'one who enjoys' and excludes Tom Cruise from the mother's bed, denying his desire, playing the non du pere while flaunting unseemly wealth and power. Bill's beautiful boy face and confidence have gotten him just so far; girls fall in love with him in a heartbeat, drawn to his flawless 'performance' of a handsome young doctor, a 'normal guy' who misses a lot of things because he's continually called away to the next thing, a mirror perhaps to Kubrick himself who has clearly missed a lot of things by being so reclusive, though this is natural to someone with a high IQ or artistic bent, he reads way too deeply into everything, so his shoots are the longest in history, with 100 takes at a time of someone just walking through a goddamned door.

We know what he's looking for, of course, but he should know better than to try and find it.