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By: Jay Dyer

Jupiter Ascending was not a particularly memorable film. Full of CGI vomit, the last installment from the Wachowskis presented a sci fi opera that recalls Star Wars and their own Matrix series, blended with 70s Battlestar Galactica space glam. This time, however, the space opera revolves around the reversal of the classic mythological identification of Jupiter or Jove with a rational, male deity, into Russo babe Mila Kunis. This gender flip, as well as Lana Wachowki’s flip is a signifier of the esoteric aspect of the film: GMOs.

GMO is not what you think I mean: In Jupiter Ascending, the “G” is a gnostic modified organism. Like all other aspects of life, I have highlighted the technocratic plan to alter the biosphere, and quite amazingly, the entire plot of Jupiter Ascending reveals this strategy. Not only does the film reveal this overall plan, it also demonstrates the occultic background for the ideas of cloning, genetic modification and transmutation, astrotheology/exotheology, as well as elite bloodlines and their parasitical “harvesting” relationship to the masses.

Stranded on earth as a reincarnate version of a semi-immortal, Jupiter (Mila Kunis) is an unassuming house maid who discovers her inner girl power goddess when a GMO “Lycant” named Caine (Channing Tatum) swoops in from outer space in to make her life interesting. Jupiter had been roped into donating her eggs to a fertility clininc which turns out to be run by a race of greys, chipmunk chattering aliens that control earth for the Abrasax Dynasty (more on this in a bit). Worth noting here is the hint of what really is true – that the elites do manage and run facilities like Cold Springs Harbor, the Kaiser Wilhelm Institute and other fronts and shells organization that exist to utilize eggs for experimentation and modification.

Hailed as the queen of earth, Jupiter is embroiled in an intergalactic War of the Roses to control vials of glowing blue juice that restores youth. Earth, being an inheritance of the gods (and her own inheritance), is ripe for magical DNA harvest which we predictably learn creates the Kool-Aid juice of life. It is worth noting that Caine, in gnostic mythology, is actually the hero, while Abel, his brother is fingered as the villain. As with Cloud Atlas and The Matrix, the Wachowski style of such inversions are standard fare.  Indeed, the creation of the homonuli as well as the golem are old fascinations of esotericists, and even still alchemical process to transmute and transcend nature charges eerily towards the kind of world envisioned in Jupiter Ascending.  Commenting on this notion, theosophist Gary Lachman explains, citing Paracelsus:

“The question arises then: What is the homunculus and what is the golem? Franz Hartmann’s 1896 Life of Paracelsus defines homunculi as “artificially made human beings, generated from the sperm without the assistance of the female organism (black magic.)” The Swiss alchemist Theophrastus Bombast von Hohenheim, otherwise known as Paracelsus (1493–1541), is recognized by many as an early master of holistic medicine and natural healing. It was from Paracelsus that Goethe, a great reader of alchemical and occult literature, got the idea of the homunculus which he used in the second part of Faust. Paracelsus offered a complete recipe for creating a homunculus:

‘If the sperma, enclosed in a hermetically sealed glass, is buried in horse manure for forty days, and properly magnetized, it begins to live and move. After such a time it bears the form and resemblance of a human being, but it will be transparent and without a body. If it is now artificially fed with the Arcanum sanguinis hominis until it is about forty weeks old, and if allowed to remain during that time in horse manure in a continually equal temperature, it will grow into a human child, with all its members developed like any other child, such as could be born by a woman; only it will be much smaller. We call such a being a homunculus, and it may be raised and educated like any other child, until it grows older and obtains reason and intellect, and is able to take care of itself.'”

Spirited away to a bee farm, Jupiter is shocked to discover the detruciton of large metropolitan towers after an alien battle can be easily done and forgotten by the populace. The “aliens” have the ability to erase and implement memories, stultifying Jupiter into realizing that “large buildings can be detroyed and no one remembers.” In other words, the technocratic attack on neurology is such that massive false flags and terror events can be engineered and within a small amount of time, the public has forgetten or failed to grasp the signifiance of events like 9/11.

The “Abrasax” Dynasty is an anagram for the gnostic deity Abraxas, which I’ve detailed before. In the analysis of Edge of Tomorrow I wrote:

“One of the chief archontic deities who relates to time is Abraxas, mentioned by St. Irenaeus of Lyon as a deity invoked by the gnostic Baslidians.  Wikipedia explains of Abraxas:

In a great majority of instances the name Abrasax is associated with a singular composite figure, having a Chimera-like appearance somewhat resembling a basilisk or the Greek primordial god Chronos (not to be confused with the Greek titan Cronos). According to E. A. Wallis Budge, “as a Pantheus, i.e. All-God, he appears on the amulets with the head of a cock (Phoebus) or of a lion (Ra or Mithras), the body of a man, and his legs are serpents which terminate in scorpions, types of the Agathodaimon. In his right hand he grasps a club, or a flail, and in his left is a round or oval shield.” This form was also referred to as the Anguipede. Budge surmised that Abrasax was “a form of the Adam Kadmon of the Kabbalists and the Primal Man whom God made in His own image….

Scholar Hans Leisgang comments on these mysteries:

“According to mythical or mystery thinking, the gods and cosmic forces represented here are not conceived as merely existing successively or side by side: they act upon one another and within one another.  All are manifestations of a single god and of one and the same cosmos, which is the god himself with all the powers which he discharges but still encompasses; and these forces are the whole world with all its creatures and forms.” (“The Mysteries of the Serpent,” Papers From the Eranos Yearbook, pg. 211)”

Abraxas is also the IAO of the gnostics and Crowleyans, as I explained in “Egyptian Mysteries of God and Energy”:

“One of the best examples of this is the mythology of Isis, Apophis and Osiris, whose mythology includes the principles of life and energy itself.  Isis is the feminine principle of nature/energy extended in space and time.  Apophis represents the principle of destruction and entropy, and Osiris represents the reemergence of energetic loss towards eternity to a higher state of eternality and immortality.   The ancient Near Eastern symbol of IAO was representative of this formula, and when considered in comparison to the Pythagorean monad, dyad and triad, the same imagery is found to encode the same formulae.  The point or monad extends to the dyad, with the two points connected forming a line.  The line either has a circumference drawn around it and/or extends to a third point.  It can also form a vesica piscis, or an eye.”

Jupiter thus represents the rise of the feminine principle to become a new semi-immortal conqueror with the line of Caine, whose superior genetics are “recognized by even the bees.”  Bees are a classic esoteric symbol of both Masonry and their hierarchy as well as matriarchal royalty (the Queen bee).  Thus, it is not accidental the symbolic stand in here is that the “immortals” represent the royal bloodlines that have mastered the occult science of human manipulation and social engineering, while secreting away the real advanced technology – a similar theme in the film Elysium.  Cloning, life extension, artificial intelligence, etc., are withheld in their positive use, and for the public, turned to black op use.

Within these glimmers of truth, the inverted gnostic mythos centers around panspermia – the ultimate “alien” myth promoted now by our so-called scientific pop stars like Dawkins.  The rest of the film is quite predictable, as Jupiter and Caine beat the bad guys, and she returns to her dingy day job, yet still remains queen of the earth.  In essence, the film constitutes the sci-fantasy of a disgruntled, feminist hausfrau: I give it three bags of popcorn and two tampons. Stupider Ascending.