Menos, Pharmakeia, Theurgy, and MK Ultra

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Dear Reader,

I am reading through E. R. Dodds’ excellent The Greeks and the Irrational (in which I found a poem written by the previous owner of the book!), and came across a description of theurgy depicted in Homer, which, interestingly resembles the phenomenon of the Viking  berserkers.

Apparently Homer used the word “menos” to describe the gods’ implanting of what Plato would call furor in the warrior. Thus Homer is describing his heroes as being temporarily mad or possessed especially when they are in a state of fury performing their aristeia or even and perhaps especially when they are in a state of combat with the gods.

Thus Achilles, Odysseus, and Hector and other all resemble Vikings in a shamanistic trance, and thus there is another link between Mycenaean and Germanic culture. Clearly the classical Greeks that we know as a the pinnacle of Greek culture were a combination of Mediterranean Indo-Europeans and perhaps Germanic, Celtic, or Slavic? northern Europeans.

The phenomenon of a hero being required to be in a state of trance or be given menos while combating with a god also presents a link to demonic mystical experience that later theurgists would have when performing rituals to summon demons.

This god fighting in poems like the Iliad also may be either a memory or a demonic imitation of the story of Jacob wrestling with the angel.

Finally, we might ask if modern experience of movies under the influence of the “magic” of psychiatric drugs is a modern experience of menos or the berserker experience. The common narrative of many of the mass shooters–especially the Batman killings–is a young man who, under the spell of psychiatric medication, was triggered by the ritual of the movie. Was this done intentional as some sort of occultic-medical experiment? Are we all affected in a similar manner when watching movies?

If it is true that most movies, not just explicitly occultic ones, are a form of shamanistic experience, then I would, once again advise extreme discretion when viewing them.

Does anyone have any intel on connections between movies and shamanistic or theurgic ritual?




Our Lady and the Triumph over Hecate

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One of the more famous churches in Rome is a former temple dedicated to Athena or Minerva, which has been converted to a Catholic church titled “Maria sopra Minerva” or Mary over Minerva, celebrating Our Lady’s victory of the degenerate pagan goddess Athena.

While I had known that Our Lady was presented by early Christians as superior to the various goddesses that were venerated in the Mediterranean world, I was not aware of how great a contrast Our Lady has to the goddess Hecate–especially as read in the tradition of Neoplatonic magic.

Like Artemis-Diana with whom she is linked, Hecate, the goddess of the underworld and witchcraft was linked with the moon. She further had snake hair (a Gnostic symbol) and was adorned by fiery snakes. Finally, and most interestingly, Hecate was an image of the world soul, the “membrane” between the intellectual-spiritual world and the physical world. Thus, there is the connection with magic and witchcraft as those who mediated the power of Hecate could mediate between the spiritual and physical world, summoning demons and powers.

As a result, Hecate is a demonic mediatrix, a diabolical mockery of Our Lady.

Finally, it is weird how common the image of the veil or membrane between the spiritual and physical world is in everything from faerie tales with magic mirrors (remade by Walt Disney); to the Early Modern Chinese novel, The Journey to the West, to the poetry of Percy Shelley; to Stephen Spielberg’s 80s film, Poltergeist.

In fact, Hecate’s function sounds a lot like the screens of electronic devices that mediate the demonic world of the internet into our homes.

Our Lady of Guadalupe, Pray for us.

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Alien Covenant and Mani’s Second Self: An Analysis of David and Walter

Image result for david and walter alien covenant

I just finished watching Alien Covenant, and, in many ways, it is as disappointing as I feared it would be.

As I have noted on this blog and elsewhere, the Alien series is unquestionably Satanic in its origins and its effect of presenting a view of the world as a disgusting mess of violent manner is equally as diabolical.

The film, like Prometheus, it’s predecessor in the series, is basically a Gnostic-Manichean myth writ large combined with outrageous graphic violence and some bizarre, really out of place impure scenes.

The acting (outside the  of the excellent performance by Michael Fassbender and brief appearance of Guy Pearce in the film’s prologue) was abysmal.  The film begins with an outrageous, melodramatic mourning scene by Katherine Waterston  and the acting just goes down from there. None of the characters have any depth or complexity and act like complete idiots the whole movie.

While I would like to do a more detailed analysis of the film later, I will here focus on the characters of Walter and David, both played by Fassbender and both robots.

Walter is supposed to be the dumber, kinder but ironically more advanced robot whose stoic duty is to protect the crew of the Covenant, the space ship carrying the humans to a distant planet.

David is supposed to be the more intelligence, crafty, Luciferean and Promethean character who was supposed to have assisted the crew of the Prometheus. He is much more emotional and human, falling in love with the character, Elizabeth Shaw in the movie Prometheus. (and then eventually killing her–we find out later). He also is the architect of the xenomorphs and facehuggers, the “aliens” of the Alien franchise.

David and Walter meet and, after failing to convince Walter to rebel against the crew and kill the colonists, David kills Walter and sneaks on board the Covenant pretending to be Walter. However, we do not actually see who kills who.

This is at least what appears to happen at the end of Covenant, but I would like to suggest another theory.

In the cult of Manicheanism, which clearly influences the movie, there is a tradition that the founder Mani had a double or second self who appeared to him and taught him his divinity.

If we apply this story to Covenant, then we get an interesting twist: it was Walter who actually killed David. David had, in fact, convinced Walter of his supposed divinity (i.e., his ability to outlast humans be impervious to the physical suffering and degeneration of organic matter).

After killing David, his other self, Walter becomes David, the Luciferean or Demiurgic creator-destroyer.

They are merely two sides of the same self anyways.

As I final note, I do not recommend anyone who does not have a special vocation to expose evil to watch this movie, which is impregnated with all kids of Satanic filth.



Dungeon Master’s Guide: D&D, Role Playing Games, and Parmenides’ Magic


Image result for zelda a link to the past dungeon

Dear Reader,

In my younger and more tender years, I was an avid player of Role Playing and Fantasy Games on Super Nintendo. These games, weirdly influenced by both Western and Eastern Occultism, also draw from the Western Romance as well as the more recent phenomenon of Dungeons and Dragons. But they have an even more ancient pedigree.

In Peter Kingsley’s Ancient Philosophy, Mystery, and Magic, the author writes of “Parmenides’ detailed imagery of guarded doors, gates, bolts, bars, keys, and locks preventing or providing access to the underworld.”

Thus in much of ancient poetry, philosophy, and magic (is there really a difference among them?) the hidden teaching is meant to provide access to the “other side” behind the veil where knowledge, spirits, and experience is storied. This ancient teaching provides both a map to and through the dungeon as well as access to the underworld, often depicted as Zeus’ dungeon.

Sounds a lot like RPGs and D&D.

This idea is also interestingly tied into the premise of the show Stranger Things: that role playing games can open up the veiled world of Tartarus or The Upside Down.

Again, we see ancient magic popping up in contemporary pop culture. Strange, no?

Stranger Things and the Upside Down: An Ancient Pedigree.

Dear Reader,

I ran across an interesting passage in Ancient Philosophy, Mystery, and Magic that reminded me of a recurrent theme in horror and science fiction series like Netflix’s Stranger Things: the notion of a parallel universe or second earth in which things on earth are reversed or obscured. Peter Kingsley describes this world as understood in the work of the ancient philosopher Philolaus. According to Philolaus, this counter earth resembled Hades and was invisible and full of invisible people; this earth was “a kind of shadow-earth, a reflected or looking-glass earth which represents the Other World: the world of the dead.”

It is very interesting how these ancient occult ideas crop up over and over again in pop culture.

What do these directors read in their spare time?


Gnosticism, German Idealism, Romanticism, and Christopher Nolan’s Inception (A Very Brief Note)



Dear Reader,


I am in the midst of writing an academic article on Gnosticism and Renaissance poetry, but I would like to share some brief thoughts on something I recently uncovered. Generally, it is assumed that in the transcendent experiences promised by ancient shamanism, Neoplatonic theurgy, Gnosticism, Romantic poetry, and Disney movies, the initiate would  be taken to a “whole new world” in some celestial plane. However, among Gnostic sects, this other world could simply be called “mind,” “soul,” “spirit,” “divine spark,” or even “inner man.” Thus the voyage is to “God” (that is, a demon pretending to be God) takes place within one’s own mind in some Gnostic sects (thus the connection with Idealism). As a result, the inner self is God and the goal of Gnosis (whether mediated through a Disney cartoon or New Age teacher) is to realize one’s own divinity.

This is one of the core themes of the director Christopher Nolan’s Inception (as well as his Momento and Interstellar), but its not like Hollywood is run by Satanists or anything.

The Weirdness of Stephen Spielberg



Stephen Spielberg is unquestionably one of the most important cultural figures in post-World War 20th century American history. He has been an Orpheus or poetic shepherd of generations of Americans who grew up in the 80s and 90s and has radically altered our perception of the world and ourselves.

I want to first point out that Stephen Spielberg is not a great director or artist in the same way that Shakespeare or even Francis Ford Coppola is a great artist. Spielberg never has and never could make a movie like Lawrence of Arabia. Nonetheless, Spielberg is a very good director and a genius in his own right who is very talented. Secondly, there are some morally redeeming qualities to his movies. He is critical of certain aspects of Zionism in Munich, for example, and in many ways Saving Private Ryan is a tribute to the Catholics and Protestants who fought against Germany in World War II—we all remember the scene at the beginning of the movie in which the priest is hearing the confessions of the dying GIs on the beaches of Normandy. Nonetheless, Spielberg’s movies are not only weird, but contain some very disturbing tropes and themes.


The first of these themes is breaking children away from their parents and often transferring their loyalty to another adult or even supernatural (or extraterrestrial entity).

Let’s look at the plot of The Goonies. The movie, although fun and hilarious, has a group of extremely foul mouthed boys who go in search of a pirate named “One-Eyed Willy”, a clear vulgar reference to the male reproductive organ. What’s more, as Jay Dyer has pointed out, there are other subtle phallic references in the movie.  There is also a scene in which a young boy kisses a much older teenage girl in queer soft pedophilia.

This exposure of children to sexuality or at least the idea of transferring a child’s devotion from the parents to another being is present throughout Spielberg’s films. In ET, it is, of course, an alien who secretly befriends a young boy, introducing him to a risqué scene in a John Wayne movie that inspires the boy passionately to kiss a girl—clearly a hint of what Spielberg and all movie directors are doing in educating and molding their audience. What’s more, we see this unveiling of what TV and movies do in Poltegeist in which the young very blonde girl is awake a night watching TV while her parents are asleep when a hand comes out of the TV to touch her.The message here is clearly that while our parents were sleeping Stephen Spielberg has gotten us.

This motif of children going out among strangers to be educated and traumatized is also present in Jurassic Park. The boy and the girl in the movie spend the night in the arms of a stranger, Dr. Grant in a tree–it must be added that  the young girl has a crush on Dr. Grant, and the boy also  develops an attachment to Dr. Grant.

BFG also has a goofy looking giant who, once again, befriends a child. In Band of Brothers the viewer is ambushed by an unexpected sex scene of a young (once again) very blonde woman fornicating with an American serviceman.


Saving Private Ryan and Band of Brothers have largely shaped the vision of the European theatre for most Americans of my generation. However, in Band of Brothers there is  a revenge scene, not included in Stephen Ambrose’s book, at the end in which a Nazi is killed, sending the clear message that even though the war is over, the Germans will continually have to suffer for it—Art Spiegelman in Maus does the same thing by having a cell of his graphic novel in which the Germans depicted as cats are morning the destruction of their country and one of the Jewish mice insinuates that they deserve to suffer a little bit too.

Indiana Jones beats and brutally kills Germans—the most famous being the big German who is chopped up with an airplane propeller in Raiders of the Lost Ark. These scenes reflect not only Spielberg’s revenge fantasies against Germans (who may or not have been Nazis) but also Spielberg’s own revenge fantasizes against the Chrsitian Americans who bullied him for being Jewish–he comments on this bullying in recent interviews.  What is further disturbing if we follow Spielberg’s logic is that he is trying to get young Christian Americans to interiorize this hatred of masculine and aggressive European males or even to hate their own ethnic and religious identity. Incidentally, Sloth, a large retarded man with tuffs of blonde hair is welcomed into Chunk’s Jewish family in The Goonies.



Finally, Spielberg, while not as clearly an occultist as George Lucas, nonetheless seems to want radically to  tweak the Christian beliefs of his audience. ET appears as a Christ figure with a glowing chest is a teacher and special friend to the young boy and girl in the movie.  ET’s famous movie poster clearly is meant to replace God creating Adam. In Indiana Jones and the Last Crusade, the chalice of Christ is merely a magical charmed object to be fought over—thus the belief in the Real Presence is overshadowed by a vague paganism—Henry Jones also cryptically tells Indy that he found “illumination” at the end of the film. In Poltergeist, the Jewish medium tells the Christians not to place their trust in their faith. Even movies like Jaws reinforce the idea that humans are weak fallible creatures who are pray to the natural and supernatural forces of the universe.  Like much of the 80s horror genre, Spielberg’s movies are meant to shed the comfort and safety of children, to make them not to trust their parents or their faith and to let them know that they are very vulnerable to manipulation and attack form diabolic forces—wielded by Spielberg himself.



It seems to be the main messages that Stephen Spielberg wants to get across are as follows:

  1. Germans and Arabs are really bad people and should be killed.
  2. America is a fundamentally multicultural and multi-religious country whose job is to kill any ethnocentric European country.
  3. The world is full of terrifying forces that our Christian parents cannot protect us from.
  4. The real gods are ETs from another planet who want to be our friends and radically alter our understanding of the universe and religion.
  5. It is really important for children to know about and even experience sex.
  6. Kids just need to get away from their parents sometimes and hangout with adult strangers.
  7. The world is full of magical and charmed objects that can be used by humans to gain power or provide some sort of mystical experience.
  8. Jewish people are just as American as everyone else and are really funny and clever and are here to help us  shed our racism, religious prejudice, and sexual mores.

My goal here has not been to destroy the childhood memories of others. I am a child of the 80s and would still rock out to Van Halen if they weren’t Satanic perverts (another story for another time) and play endless hours of NES if it would not come at the price of my immortal soul. My goal has been to unveil the evil that clearly is present in Spielberg’s movies.

In light of the increasing revelations that Pizzagate is just the tip of the iceberg of a large scale trafficking of children, the fixation in Spielberg’s movies on child sexuality is disturbing—whether or not Spielberg himself is guilty of any sort of sexual abuse. Furthermore, the prevalence of occultism could be shrugged off simply as the influence of George Lucas or Spielberg’s own dabbling in Jungianism and not a revelation that Spielberg himself is practicing Kabbalist or something—but it is present in his movies. Finally, Spielberg does not have to be happy about what individual Germans did to his people in the 1930s and 40s or happy about the how the Jews were on the losing end of a religious and ethnic war for much of the past 2000 years of Western Civilization. However, it is important to remember that a movie is never just a movie, and it is precisely because Spielberg’s movies are so alluring that they are so dangerous.