The Dark Crystal – Esoteric Analysis

Henson's Dark Crystal

By: Jay

 Much like Labyrinth, Jim Henson’s The Dark Crystal is one of those kid’s films all of us who grew up in the 80s seem to have a strange affinity for. And, much like Labyrinth, it is chock full of Henson’s same occult proclivities. While Labyrinth, in my analysis, constituted the inner journey into Sarah’s psyche (much like Inception is an inner journey into Cobb’s labyrinthine psyche), Dark Crystal is more of an exterior journey.

 We are told in the beginning the setting is a long gone “age of wonder” on another world where time comes and goes in thousand-year cycles, or aeons. Such terminology may be said to be of another world, but as the symbolism necessarily goes, such films (and all stories in general) function as statements relative to the human story. Thus, the two great races that arise in the age of the Dark Crystal are symbolic of two kinds of people (passive and aggressive/followers and elites), which is itself a manifestation of the film’s obsession with duality. Indeed, the film follows perfectly in a long train of gnostic nostalgia, elsewhere reviewed by me.

 The notion of a 1,000 year cycle is also a Hindu theme, similar to the theory of Kali Yuga, where we are currently entering an age of dominance of chaos, the demonic, strife and dischord. This is also similar to the notion espoused by other occultists that this is the aeon of the child, etc. Occultist Madame Blavatsky also formulated bizarre theories of numerous other races and worlds that preceded our own, as well as the Babylonian Talmud mentioning such ideas. It becomes evident that Henson, like Lucas, borrowed heavily from the mythology of various cultures in creating these fantasies.

 The eastern dualist conceptions are marked in the film, as mentioned. The Skekses represent the left hand path of severity and cruelty, control and empire, while the “gentle mystics” are supposed to represent the “gentle ways of natural wizards.” The Skekses, then, are harbingers of technology and power – they harness the Dark Crystal for the purpose of advanced control mechanisms and even brainwashing (yes, brainwashing), while the mystics are purported to be in tune with nature and the forest. The Mystics, as is worth noting, chant the Buddhist “Om,” further reinforcing the eastern dualist religious conceptions, while the Skekses are busy enacting the “Ceremony of the Sun” for the passing of the Emperor, which brings to mind ancient Egyptian theology, and it’s identification of Pharoah as son of Ra. Continue reading

Facts of Life and Family Matters – Esoteric Analysis

Notice the pyramidal structure of the gals, with fat girl and the black on the bottom. Clearly an illuminist racial and weight discrimination hierarchy, forming a pyramid with no cap! Just kidding.

By: Peter Parker

In a world where queer theory and feminists readings dominate the realm of academia, the analytical method known as esoteric analysis is, sadly, restricted to the outer fringes of the world wide web or conversations I have with the homeless guys who congregate under the local overpass… and usually the homeless guys wander off when they find out I don’t have any change, booze or drugs. But who needs stuffy academics and smelly hobos anyway? With nothing more than girl-friendlessness induced free time, a brain polluted by archaic pop culture, access to an online etymology dictionary and completion of a first year myth and symbol course from a semi-reputable university, you too can have hours of fun, ringing, highly tangential, evidence for the presence of mystic arcanum from the beloved situation comedies of yesteryear. Think I’m joking? No my friends, I’m deadly serious.

For example, did you know that the 80′s sit-com The Facts of Life is filled with Garden of Eden/Pastoral imagery? Nearly every character’s name means something like field or garden. Why? What secret purpose does it serve? What unseen hand is responsible? I do not know? Perhaps it speaks some greater truth about the human spirit, after all, like the song says; “The facts of life are all about you, you, you, you!” Now onto the magic…

Facts of Life

Edna Garrett

Edna is a name of Hebrew origin meaning “one who renews”, possibly coming from the same root as “Eden” (as in garden of). Strangely, the name Garrett may be related to Garth a Scandinavian occupational name, adopted as a surname in the 20th century, meaning “keeper of a garden.”

Natalie Green

Natalie is a name of Latin origin meaning “birthday”, referring specifically to the birth of Christ (an event that will return mankind to the lost paradise of Eden). In Christianity, Christ is considered the New Adam. The last name Green, is Old English in origin referring either to someone who lived near the village green (a kind of field) or to a person who dressed as the green-man at the May Day festival (a festival of renewal). Continue reading

Golden Gate Bridge the Next ‘Inside Job’?

The Golden Gate Bridge destroyed in Land of the Lost

[Note: This originally appeared on my old blog a few years ago. The Guardian also wrote a similar piece around that time, however, not connecting it to 9/11 and planned events.]

By: Peter Parker

By now, most ardent followers of crypto-history may have become familiar with the hypothesis that the events of September 11, 2001, were not merely rigged by elements within “the secret government” but in fact heralded by myriad semiotic tip offs intentionally embedded within mass media in the years and months leading up to the attack. The alleged examples are numerous; the pilot episode of the “X-Files” spin-off series “The Lone Gun Men” the plot of which involves the shadow government attempting to instigate a profitable war by crashing a passenger plane into NYC and blaming it on terrorists. (The episode aired mere months before 9-11).

The movie “Gremlins 2: The New Batch”, featuring the titular monsters wreaking havoc in a towering, New York City office building. It is possible that all this is nothing more that a series of coincidences and that people are merely overreaching in an attempt to make sense out of a horrible tragedy.

Bridge taken out in Star Trek (2009)

But let’s, for argument’s sake, say that the power elite really do place symbolic markers in movies, tv, comics, songs, magazines, video games and the like, in an attempt to mock the masses or guide them through implanted, subconscious programing. If this is the case, it might be possible to beat our dark over lords at their own game through a vigilant screening of mass media. With this in mind my brother and I recently became aware of a disturbing trend that might point to something ominous on the horizon. Continue reading

Another Striking Pre-9/11 Film Reference: Keaton’s “The Squeeze” (1987)

"Progress" constituted by bringing down the towers on 9/11

As outlined in many places on my blog, such as this post, there are scores of such references in films prior to 9/11 that point to planned events and a stage show drama surrounding the destruction of that day.

Batman and the Joker as the Apollo/Dionysius Archetypes

The Apollonian/Dionysian Dialectical Dichotomy

Contributing writer David Shankle gives yet another angle on Batman: Dark Knight 

After revisiting Christopher Nolan’s Dark Knight, viewing the juxtaposition between Batman and The Joker in a Nietzschean context made a lot more sense.

Nietzsche, in The Birth of Tragedy, used the Apollonian/Dionysian dichotomy from Ancient Greece to explain the constant struggle between Apollo’s order (law, beauty, reason) and Dionysos’ chaos (hedonistic appetites, drunkenness, sexual urges, primal instinct). The light side and the dark side. Thus, as this reasoning goes, to totally repress the darkness would be to remain ignorant, and thus misunderstand reality as it as only understood in the Apollonian context. So Nietzsche proposed that these two elements were not opposing, but rather complementary.

Batman, the Dark Knight, represents Apollo. He operates on vitruous principles and seeks law, order and justice above all things. The Joker represents Dionysos: he seeks chaos and ultimately the disruption of order. He doesn’t value material things. When rewarded with a room-full of money, he dispassionately doused it with gasoline and set it on fire. He is therefore a philosophical villain, viewing the order enforced by Batman as a mere illusion. The Joker intends to show Gotham City that these delusions of order, their “system,” is feeble. This is further highlighted when The Joker talks to Harvey Dent (Two-Face) in the hospital. Continue reading

Prolegomena: Symbolic and Numerological Elements in Achilles’ Shield and Plato’s Timaeus

Micromosaic of the Shield

This is an introduction to an upcoming longer paper, examining the symbolic and esoteric meaning behind the Shield of Achilles, particularly in relation to Platonic cosmogony.

By: Jay

The liad of Homer is a foundational work of Western Civilization, and one of it’s most famous sections is the book dealing with the forging of the shield for the great warrior Achilles by the god of metallurgy, Hephaestus. While the story of the forging of the shield occupies a lengthy book, this paper will examine the beginning of Hephaestus’ work, highlighting the numerology, shape and imagery from lines 560-600. In this section, it is apparent that the shield functions not merely as a defensive piece, but as a symbolic construct for the Greek worldview itself.

At the imploring of Thetis, mother of Achilles, Hephaestus begins crafting a shield that “…any man in the world of men will marvel at through all the years to come—whoever sees its splendor” (ll. 545-6), cluing the hearer into the special, surreal nature of this armor.1 In other words, this is not mere armor, but in fact will become a microcosm display of the totality of the Greek worldview itself. It is significant to note that the image chosen for the Greek world is a circular shield, about which shape more will be said later, but that what first appears is the defensive nature of the symbol. Homer could have chosen a sword with engravings or a spear, but has instead chosen a defensive article, intending the reader to see the proper place of warfare as a necessary evil in this life. Indeed, the Iliad itself famously portrays the strife and misery caused by warfare. Thus, Homer would have hearers of his epic understand that true wisdom sees that warfare should have a defensive, balancing role in the protection and maintenance of civilized order.

Homer continues:

And first Hephaestus makes a great and massive shield,

blazoning well-wrought emblems across its surface,

raising a rim around it, glittering, triple-ply,

with a silver shield-strap run from edge to edge

and five layers of metal to build the shield itself,

and across a vast expanse with all his craft and cunning

the god creates a world of gorgeous immortal work. (ll. 558-64)2

As with above in lines 545-6, translator Fagles has chosen to use “world,” indicating that the shield’s purpose is not merely as a weapon for Achilles, but as a microcosm image of the whole of the Greek worldview. It has, in effect, the function of a creation account. The shield itself is possibly even a mnemonic device, whereby the oral tradition of the Greek account of creation might possible be recalled, as well as functioning as a memory device for the Greek orator reciting the story. Critic James M. Redfield explains of this totality world notion: Continue reading