To The Monster A Daughter
Science fiction is the genre that features monsters, and
Mary Wollstonecraft Shelley`s Frankenstein
(1818) about an experimental surgeon, Dr Frankenstein, who makes a man from
parts of deceased bodies he revivifies by means of electricity, is regarded as
amongst the first of the genre`s works of literature. The theme was taken up by
Hollywood, Babylon, and the movie, Bride
Of Frankenstein (1935), followed, while the filmed musical, The Rocky Horror Picture Show (1975),
elaborated upon the theme with actor Tim Curry in the role of `transvestite`
character, Frank N. Furter, who creates himself a man to marry. The idea of a
creator making an acceptable bride for themselves is a Hollywood, Babylon, leitmotif in science fiction movies and The Stepford Wives (1972) posits the
idea of women created as idealized replacements of their original but flawed
wifely counterparts by men who were dissatisfied with what they`d espoused.
Although science
fiction aliens in movies like Independence
Day (1996) feature attacks upon the Earth, Swamp Thing (1982) is noteworthy for the `childhood`s friend`
relationship the creature has with the lissom star, Heather Locklear, who is
rescued lovingly from the swamp by the creature, but not as a means of exchanging
service for love, which effectively is what occurs when men `make love`.
Although the creature isn`t human in Swamp
Thing, as with director Steven Spielberg`s famously adorable ET: The Extraterrestrial (1982), who is
a visitor from the stars seeking to `phone home` to his parents, who`d
inadvertently left him on Earth, he isn`t a `monster`, but more human than the
human, represented in ET: The
Extraterrestrial by actress Drew Barrymore in her pre-pubescence as seven
year old Gertie, because he`s in the archetypal role of `childhood`s friend`,
which is what women lost early in their evolution.
The term archetypes
derives from the developmental psychologist, Carl Gustav Jung (1875-1961), who
posited that the collective unconscious of humans contained archetypes as
images or characters appearing in dreams, art and the imagination to guide or
impel humanity towards progress. If so, there`s a difference in archetypal
terms between monsters and aliens, while the original name for psychiatry, because
it referred to the doctor who determine a criminal`s competency to stand trial,
was `alienist`, and so `alien` meant non
compos mentis, while `monster` was a pejorative term used by the public to
describe those crimes they abhorred irrespective of the `alienist` who may`ve
decided that the criminal was a psychiatric case of brain dysfunctionality rather
than intentionally evil. Consequently, in archetypal psychology, `monster` is a
human evaluation and `alien` a psychiatric term for `curable`, which suggests
that `alien` denotes some aspect of human nature unexplained.
The role of the
invading alien is apparent from movies like Alien
(1979) in which actress Sigourney Weaver is a member of the crew of the
spaceship, Nostromo, who discover a
derelict alien spacecraft on a planetoid. Sigourney Weaver`s character, Ripley,
tries to avoid being eaten by the alien that`s awoken, in a role palpably
different from that of Heather Locklear in Swamp
Thing, or Drew Barrymore in ET: The
Extraterrestrial, where the loss of women`s `childhood`s friend` is
represented. The prototypical film of an archetypal figure helping the woman against
a `monster`, Forbidden Planet (1956),
features `Robbie`, the robot, who represents Morbius` daughter Altaira`s need
for an archetypal friendship, whereas Morbius, who is discovered on the planet
by the crew of the spaceship, C-57D,
where he`s studying the technology of the mysteriously disappeared advanced
race of `Krell`, native to that world, and is using what he calls the `plastic
educator` to enhance his mental powers, is uncovered as `Monsters from the id!`
by the crew of the C-57D, some of
whom have been killed by Morbius` `evil self` created by his addictive use of
the `plastic educator` and appearing as a rogue `Krell` attacking the spaceship
crew`s encampment. The conflict between Morbius` monsters and the crew of the C-57D is stereotypical male sublimation,
that is, men are monsters, whereas `Robbie the robot` and Altaira represent the
archetype of `childhood`s friend` lost to women from their picture because the
monsters have devoured it.
Because alienists
defined `alien` as unexplained, `alien` wasn`t perceived as `monstrous`, which
begs the question: what is alien? The answer is that Swamp Thing is human, because he hasn`t got a criminal mind,
whereas the alien in Alien is a
monster, because it`s behavior is criminal, that is, humans have humanity,
which means the creature from the swamp in Swamp
Thing, the extraterrestrial from ET:
The Extraterrestrial, and Robbie, the robot from Forbidden Planet, are human. Alienists would seek to define human
by appeals to behavioralism, but that test is designed to establish whether
convicted criminals are `monsters` and humans don`t have to take the exam.
Although modern society tells humans every day that they must pass the
alienists` test. The presupposition is that humans are `monsters` in the bank
or supermarket where the security guards and the CCTV monitor their every move
in order to confirm or deny that the human is a non compos mentis `alien`, whereas the debit card proves the
competency of the human, as does the cash for the tomatoes or the deposit slip
for the bank teller. Consequently, the aim of security systems is to prove the
human `alien` and non compos mentis
in order to dispossess them of their humanity, which has been the issue since
the industrial Revolution (1760-1840) in England where humans experienced
dehumanization and `alienation` through becoming unindividuated parts of a
manufactory. Public transport requires that the human individual have a ticket
to travel, but the discovery of an individual without a ticket doesn`t remove
their humanity and label them `alien` and non
compos mentis, because they haven`t passed the alienists` test demanding
that they have a ticket to prove they`re human. Their passport tells them that
they are, and they don`t need to prove they aren`t monsters, so why is there so
much accusation? Because psychiatry has established the principle that the
unconvicted are criminals.
Psychiatry`s defining
criminals as aliens depicts foreigners as monsters, whereas the thing in the
swamp in Swamp Thing is neither a
monster nor a criminal, so he`s an alien or foreigner, who`s human in
behavioral terms, which is the meaning of the archetypal character. Aliens
aren’t monsters, which means that monsters are being falsely equated with
aliens in movies. It`s important because the term `alien` has a psychological
meaning as applied to `foreigner`, that is `monster` and `foreigner` aren`t
interchangeable terms, whereas the identification of `alien` with `foreigner`
necessarily defines `foreigner` as `monster`, which means `visitor` is
definable as `demon` and `guest` as `enemy`, because `monster` isn`t directly
applied to describe what is monstrous by a psychiatry determined by its
original precept, which was to decide whether criminals were non compos mentis and so innocent of
their crimes or competent and so guilty.
Unconvicted criminals
awaiting the `alienist` psychiatric decision over whether they could be tried
for the crimes they had allegedly committed, were identified as possibly
`alien`, which is understandable as `foreign`, that is, any stranger was
subject to the behavioralist test for `monsters`, although all those tested
were humans, because unconvictable, as they weren`t in prison and charged with
having committed a crime. Consequently, the task of proving guilt drives
everybody insane, because the `monster` has to be in prison before the non compos mentis test can be
legitimately applied. If a student forgets their bus pass, they`re non comps mentis and a criminal
`monster`; because they haven`t passed the behavioralist test set by the
alienist: even though no crime has been committed. The surveillance calls the
human a `monster` in order to declare the human non compos mentis and so not responsible if the humans are driven
insane, because the CCTV and the security guards don`t want to be accountable.
Consequently, although guests aren`t monsters, alienist procedures define
visitors as non compos mentis and
irresponsible because they`re free to move from one place to another without
restriction as humans do.
That the humans are
being monitored by `monsters` seems incontrovertible. What isn`t evident is
whether the `monsters` are governmental, criminal, or a combination of both in
varying degrees of interpenetration with regard to institutions and
establishments. The normative alienist tests are designed to differentiate
human and `alien`, but women are defined as `schizophrenic`, because their
normal feelings for their own species of woman with her own `futanarian` penis`
semen and host womb for the sexual reproduction of her own brains` powers for
liberation from host womb slavery in homosexuality in pederasty`s war in
parasitism against her is labeled `lesbian` and aberrant if they like what they
see in the mirror. Consequently, the `monsters` don`t want women, who`re
defined as `alien`, although the aliens aren`t monsters, because they`re not
monstrous. Defining `alien` then depends on defining women and women are
definable as `futanarian` humanity with their own penis` semen and host wombs
for the sexual reproduction of their own brains` powers to liberate them from
host womb slavery by men of the `serpent`s seed` engaged in homosexuality in
pederasty`s war against her race, which is why `alien` is often definable as
`women`s archetypal `childhood`s friend`, because `monster` is definable as
men.
Science fiction
movies featuring aliens are therefore divisible into aliens as motherly
`childhood friend` archetypes, or devouring monsters, because women correspond
to aliens while men correspond to monsters, although aliens are depicted as
monsters because some aliens are men and not motherly childhood friends. In H.
G. Wells` seminal science fiction story made into the Hollywood, Babylon film, War Of The Worlds (1953), the occupants
of the devastating Martian war machines die of the common cold virus in an echo
of the late 20th century`s incurable `killer disease`, HIV/AIDS,
spread by homosexuality in pederasty as a form of its `biological warfare`
against humanity, because the Martians are men as `monsters` and not the the
motherly childhood friend of director Steven Spielberg`s Close Encounters Of The Third Kind (1977) in which the alien mother
ship arrives to take humans to the stars and planets. Similarly, in Star Wars IV: A New Hope, and its
prequels and sequels, Darth Vader and the soldiers of the Empire, battling against
Princess Leia`s rebel Federation of planets, represent monsters rather than
aliens, because monsters are categorizable instantly as that which devours the
human, while alien intelligence is describable as the boy who nobody`s seen
before buying sweets at the local supermarket.
The `monster` teaches
the woman that she`s an `alien` by giving her `schizophrenic` feelings about
being human. If women are `futanarian` with their own penis` semen and host
womb, telling women they`re `lesbian` and aberrant, because they have sexual
feelings for their own bodies and those of other women, makes them
schizophrenic and `alien` as defined by the predominant `alienist` psychiatry,
which defines a woman as a `monster` because she`s human. Consequently, the
`alienist` perspective is properly termed, because it`s `alien` to human
psychology. Devised by a devouring `monster` by analogy, movies like Independence Day, in which much of the Earth is devastated by devouring
extraterrestrial `monsters`, is what men of the `serpent`s seed` do on the
Earth and so can be relied upon to be planning to continue. Confusion is caused
by labeling the monsters `alien`, which assists the pogrom that doesn`t want
the human species of women to penetrate the masquerade. Unable to perceive it`s
themselves who`re the aliens ultimately defeated by the heroic brave boys of
the Earth`s security forces, and instead cheer wildly along with the rest of
the hoodwinked, as the `serpent`s seed` march on unhindered beneath the flag of
Satanism, the masquerade continues and the human species continues to
experience pogrom after pogrom along the `serpent`s seed` of men`s planned
route to her extinguishment.
Because of a paucity
of education for women, daughters are fed to monsters, that is, they`re given
to men in marriage outside of their own species` sexual reproduction as
`futanarian` women with their own penis` semen and host womb for the sexual
reproduction of their own brains` powers for liberation. The theme is familiar
from Graeco-Roman mythology, for example, the hero Hercules slays the female
Lernaean hydra to give the Danaid women in marriage to men, although the women
don`t want to marry, which suggests the women are knowingly `futanarian` and
the hydra is their many headed mother depicted as defending them as a `monster`
by men of the `serpent`s seed` seeking to enslave their host wombs in
institutionalized homosexuality in pederasty and war against the rest of her
cities during ancient Greece`s emergence as the regional power that would
produce Alexander the Great, who`d conquer the known world by 323 B.C., and
whose persistent virality was expunged when he died while planning an invasion
of Arabia.
The musical, The Rocky Horror Show, (1973) was billed
as a tribute to Hollywood, Babylon`s science fiction film industry, and it`s
theme of a Dr Frankenstein character creating a man `monster` is appropriate
because Frank N. Furter is a transvestite who wears women`s clothes and marries
the man he creates, which is what men of the `serpent`s seed` in male braining
do. If women are denied sexual access as a `futanarian` species with their own
penis` semen and host wombs, there won`t be any human brains as everyone
becomes a single male brained `transvestite` created by men of the `serpent`s
seed` as a `TV` they can watch wearing each others` clothes and killing itself
in their brave heroic wars against a dying woman.
The movie Bride Of Frankenstein couldn`t examine
the transvestite principle correctly as films were subject to the `Hays code`
(1930-67) when it was made in 1935. Women had to keep a foot on the floor
during bedroom scenes, because Hollywood, Babylon didn`t want `futanarian`
women to be seen having sex. However, although Bride Of Frankenstein seems about another `monster`, it`s actually
about women`s alienation, and science is the subject not only medicine, that
is, Bride Of Frankenstein represents
the need for women to sexually reproduce with each other and also the need for
the creation of labor saving robots to keep her safe and assist her in the
construction of the art, civilization and culture she still manages to produce
from her host womb despite men`s depredations. Hollywood, Babylon`s The Rocky Horror Picture Show (1975) features
Frank N. Furter`s attempts to marry Rocky, the man he`s created, although the
more logical premise is of the `futanarian` woman with her own penis` semen and
host womb becoming the subject of a movie industry released from the
restrictions imposed by the `Hays code` until 1967`s ironically titled, Barefoot In The Park, with loving couple
Paul and Corie, actress Jane Fonda, and actor Robert Redford as `newlyweds`, in
an apartment overlooking New York`s Central Park, engaging in intimate marital
scenes exclusive of woman`s penis. Because The
Rocky Horror Picture Show didn`t follow the human logic of its nativity,
woman was stillborn. Although Jesus` Nativity suggests `woman`s seed` will still
be born and have Resurrection and heaven; if only she`ll be selfish to the
point of living.
