Interstellar (2014) – The Secret Revelation

Film poster. The dust of earth and death mirrors the dust Cooper encounters in the event horizon.

Film poster. The dust of earth and death mirrors the dust Cooper encounters in the event horizon.

By: Jay Dyer

Spoilers ahead.

Interstellar is a grandiose film about a great number of serious philosophical and scientific concepts. It’s also about a host other things, such as love, life, mistakes, meaning, etc., so knowing where to start an anlysis is a bit challenging, though as many of my friends have said, it seems to be the perfect “JaysAnalysis” movie. I concur. Many sites that have posted analyses make the correct point of viewing it as Christopher Nolan’s 2001: A Space Odyssey, and while that is fine as far as it goes, it also departs from Kubrick’s film in significant ways. I will go all out on this one like I did with Inception, which is the first analysis to gain a lot of traction – I think I have decoded the real meaning of Interstellar, so stick around for my big reveal at the end!

As often occurs, no other analyses seem to grasp the real point of the film. You’ll either see a philosophical analysis or a scientific one, with the latter usually bitching about some disputed sciencey detail that doesn’t matter anyway (it’s fiction). Nolan intends to not insult the audience’s intelligence, contrary to most of Hollywood, so fedoratheists ought to be grateful rather than stroking their own virtual E-egos, echoing some nitpicking from DeNeil Grassy McTyson. I also see connections to Inception I will detail below, and in ballsy fashion proclaim that I will give you the conspiratorial and esoteric side none of the other sites will. As difficult as the film is to unpack, I can’t imagine the challenge of creating it, and Nolan’s preferred choice of not using CGI green screen vomit is all the more admirable. Let us ponder.

Interstellar begins by showing us a near future where the apocalypse is nigh: Earth is approaching its death-knell due to unexplained blights that have ravaged the planet. Famine is the chief concern as major crops such as corn are on their way out and farming is en vogue. We learn later that for whatever reason, oxygen began to deplete and the “dirt itself” turned on mankind – man and the earth are cursed. Edenic imagery is present here, as the dust of death to which man returns recalls the curse of Genesis 3 for rebellion in the Garden. While we are not told, one might speculate that genetically modifying crops and geoengineering the atmosphere may have been the cause of the blight and famine, and many in alternative media have been warning of this very real possibility. However, I am going to go out on a limb and propose a more speculative thesis no one else will: Interstellar is actually about the real secret space program and the plan to go off world to terraform, and beyond that, something even more outlandish. I recognize the high level of mad hatter tin foilage this evokes to many new readers, but bear with me and hear my case.

Cooper (Matthew McConaughey), a former NASA pilot and engineer who suffers nightmares following the loss of his wife and a past flight crash, finds himself and his family forced into a meager agrarian lifestyle as a result of the shutdown of NASA for aforementioned pragmatic communal concerns. Cooper’s daughter, Murph, shares the same fire for adventure and exploration as her humbled father, indulging her gifted inquisitive and speculative side in devouring books and debating her teachers. In fact, New America has even changed its textbooks to portray the original NASA Apollo mission as a faked charade to “bankrupt the Soviet Empire.” Conspiracy theorists globally perked up at that one, as Cooper is rebuffed by Murph’s school officials she isn’t qualified for college, being too rebellious. At this juncture, it is important to delve into what I think is the purpose of this puzzling faked moon landing reference.

 

I am of the view that the original NASA moon landings were faked and were filmed on a sound stage. I realize that is highly controversial and liable to cause a ruckus, but readers can choose to do what they what they will, given the incoherent accounts of the astronauts and engineers. However, that does not mean that I think there is no space program or that it was actually “shut down” by Obama. The real plan was the erecting of a faux NASA that functioned as a front for a covert, secret space program that has been largely hidden from public purview. When we consider that the technology that we now possess today, such as the Internet itself, was created back in the 50s and 60s, it is difficult to gauge how advanced the present day secret technology at places such as DARPA or various underground bases truly is.  NASA has thus been a longtime cover and distraction from the real black budget space programs. Much of the so-called “UFO” phenomena has nothing to do with aliens, but is precisely the advanced technology of this very secret program. The “alien” nonsense functions as a media veil for these black projects in much the same way as “NASA.”

To Infinity and Beyond the Abyss.

To Infinity and Beyond the Abyss.

I believe the secret space program is the hidden reference in the film because we discover the electromagnetic phenomena at Cooper’s farmhouse are relaying coordinates to an old underground base, specifically NORAD. A curious Cooper and Murph track down these coordinates to discover NASA still exists and that space travel never truly ended. A lie was concocted to cloak the real space program, which has focused all its energy towards going off world. Scientists and researchers have clandestinely appropriated the government’s taxes and funds, signaling a clear reference to the military industrial complex’s black budget programs in our world.  And, just like in Interstellar, that complex uses mass deception: Ours concocts “climate change” and “sustainability” as contrived crises to cloak one of their biggest secrets – going off world. However, the plan is not merely terraforming some Sector Z Globule as a utopian space base, but a mass depopulation and culling along the lines of the 1979 film version of Moonraker. A clue to this is also given in the books shown on Murph’s shelf, one of which is Stephen King’s The Stand, in which a bio weapon is released that ravages the global population and collapses the United States. What books and inter-textual references are chosen in Nolan films are crucial to decoding and understanding the total picture, as I have detailed here and here.

Film banner on planet Mann, where there is nothing but lies and death.

Film banner on planet Mann, where there is nothing but lies and death.

How far along this program is, I don’t know, but this theme has existed in sci-fi and popular films for decades. Numerous movies carry this motif, from Sky Captain and the World of Tommorrow to 2012, as well as numerous novels and young adult fiction works, such as The Passage  (Project Noah!)or The Maze Runner, and the idea is not that far-fetched when one considers the older eugenics movement as morphed into technocratic bioengineering and transhumanism – and this is exactly what is revealed in Interstellar.  The transhumanism element will become key later in this analysis. Professor Brand (Michael Caine) explains to Cooper that NASA has a “Plan A” to solve gravity and save earth, and a “Plan B,” to take 5,000 frozen human baby-cicles to one of three potentially inhabitable worlds. The mission to terraform another planet also hearkens back to the story of Noah, as the ship that will carry Cooper and crew becomes a new ark.

If you like this analysis, pre-order my book Esoteric Hollywood by clicking this image!

If you like this analysis, pre-order my book Esoteric Hollywood by clicking this image!

I should also mention that the electromagnetic “Poltergeist” events at Cooper’s farm include an old Indian Air Force drone seemingly seeking out Cooper (actually Murph), farm equipment mysteriously driving themselves to the house, and books falling off of Murph’s shelf she interprets as morse code. Fearing the loss of her father, Murph proclaims the message to spell out “Stay,” and begs Cooper not to leave. At this point, the theme of the loss of the patriarch enters, borrowing from the classic tale of Odysseus, who must choose between love at home and a greater, higher purpose. Another classical element is katabasis, the hero’s descent into the underworld or Hades, to return as a form of resurrection.  For Cooper, it will be crossing the abyss and going into the realm of the beyond, but more on that in a bit.  2001: A Space Odyssey is also a clear reference to Odysseus, as the title reveals, and like the Astronaut Bowman in 2001 who ventures past Jupiter and beyond the infinite, so does Cooper.  Both Cooper and Bowman also embody science and Apollonian rationalism, yet as we will see, this is not enough to propel man across the Infinite.

Consistently dismissing Murph’s intuitive sense more was at work with the unexplained events, Cooper rationalizes all as mere “gravity.” The loss of Cooper by Murph results in a lifetime of hatred and resentment for him, which will only be fully reconciled through the paradox of Cooper’s ultimate mission. This paradox is illustrated in the scene recounting Murphy’s name from Murphy’s Law, that whatever can happen will happen, and is not necesarily a tragic consequence.  The tragedy is ironically that, like Calypso, no one listens to Murphy – not even her father.  In this bedroom scene Cooper actually gives away a big clue to the big mystery, telling a crying Murph, “Once you’re a parent, you’re a ghost of your children’s future,” (which is the entire plot, as we will see).

Film poster. Cooper as Odysseus, preparing for his journey.

Film poster. Cooper as Odysseus, preparing for his journey.

In 2001, the atronauts and Bowman gradually make their way from earth to space to moon to Jupiter to the Infinite/Abyss. Reportedly, Kubrick’s initial screenplay had Saturn instead of Jupiter, so we can assume a similarity with Nolan’s version. For Nolan, the mission is earth to Saturn to wormhole to another galaxy/planet to black hole that resembles a massive dark Saturn. All of this is intentional, and refers to deeply esoteric concepts relating to these luminaries. Occult and hermetic traditions contain a mass of arcana relating to these planets, but Saturn is classically associated with the reign of time and death. Saturn is Chronos, the god of time, and is also the grim reaper, as Saturn holds a scythe. Nolan explains in an interview that the real antagonist in the film “is time,” and the script speaks of it as a “resource.” Like the dying crops and depleting oxygen, time is vital a resource and enemy, as the astronauts race on foreign planets to gain “data,” where massive gravitational forces result in varied experiences of time.  The real message of the film is gradually being unveiled as the means by which man will cheat death, not going gently into that good night (death).

Death symbolism is also prominent when the astronauts enter into a cryogenic sleep in pods reminiscent of coffins. The secret mission is named the “Lazarus Project” which immediately tells us it’s about resurrection from death, intending on also alerting the viewer to the persistent themes of cyclical process: movement, death, resurrection, movement, death, resurrection. The cycle of time is the reason for the numerous, artful cinematic displays of spinning. Ships spin, eath spins, Saturn spins, the wormhole appears to spin, etc., which are symbolic of the non-linear form of storytelling Nolan prefers. The far eastern doctrine of a wheel of time that entraps man in this temporal life is also what’s in view, and the Lazarus mission is about transcending eternal return and endless Chronos-logical death cycles. I analyzed this cyclical symbolism in Inception, but Nolan’s early film Memento also comes to mind.

The first planet chosen proves a watery bust, functioning as a veritable surfer’s paradise. Massive waves recall baptismal death imagery, and the reaper strikes once again killing one of the crew. Narrowly escaping and suffering a loss of a couple of decades, Cooper and Brand return to the ship and plot a course to option two, Dr. Mann’s planet, where a Matt Damon-cicle also awakens from “death.” The name “Dr. Mann” is significant, as we learn both Dr. Mann and Professor Brand have engaged in colossal lies. Mann lied to get the crew to come rescue him and Brand lied that gravity could be solved and earth saved. Both Professor Brand and Dr. Mann mirror one another, making massive mistakes and justifying them with curiously collectivist statements, insisting that huge sacrifices must be made for the good of the species.  These rationalizations are actually cloaks for their own weaknesses and this is a crucial point in the film – human weakness is such that it will require something more to get man to the beyond.  Human frailty and hubris are always a cause for error and mistakes, but error and mistake prove disastrous when the species itself is on the line.

Ironically, in both character’s cases, their attempt to rule out individual desires and feelings for the so-called “greater good” are proven wrong! Nolan seems to be advocating the important truth that while communal activities are important, the spark and drive of the great individual is the key to paradigmatic advancement, not radical collectivism. Thus, both Brand and Mann fail, and their generic names signify the failure of these archaic modes of impersonal thought.  “Brand Man” or homo economicus and communism’s fictional “new man” (it’s dialectical opposite) do not work, and are surpassed by the power and grandeur of a man against time. With Professor Brand it turns out there was no “Plan A,” only the Noah’s Ark style “Plan B” to plant a off world colony. Though I haven’t mentioned it yet, the Dylan Thomas poem, “Do Not Go Gentle Into that Good Night,” is cited a second time here (the first at his initial launch) as Cooper is on the verge of death from Mann’s betrayal. The poem is about fighting death and cherishing life, appearing in the narrative at crucial times when chronos/time/death is approaching.

Passing the realm of Chronos.

Passing the realm of Chronos.

Nolan’s use of AI is atypical and will be the key to unlocking the code, with the robots saving humans more than once. In Kubrick’s work, we are all familiar with the famed battle of man against HAL 9000, where HAL seeks to supplant man’s evolutionary ascent. In Nolan’s work, AI is subservient to man, and does more than just aid him in his quest. In fact, mankind as a whole is saved more than once by the onboard bots that resemble Kubrick’s monolith in shape and form. Instead of mysterious, otherworldly stones of alchemical spacey origin, my thesis for Interstellar will here challenge the norm. It is my contention that the film advocates a form of transhumanism, where the mysterious “they” are not just the “humans of the future” as Cooper states, but advanced AI-human hybrids of the future. Several clues are given to support this thesis.

Wikipedia. Tesseract illustration.

Wikipedia. Tesseract illustration.

First, the beginning of the film shows the museum footage of Murphy and the elderly recounting history on smaller versions of what look like monolithic bots. Just as the monolith bots store the history of man, they store the history of Murph and Cooper, as demonstrated when Cooper is in the Tesseract.  Second, when the drone lands and Cooper and Murphy are discussing harnessing it, Murphy gives a big clue no one seems to have picked up on, pleading, “It isn’t hurting anyone, can’t we let it go?” Murph speaks of the old Indian Air Force drone as if it were alive.  Third, when Cooper passes the event horizon having travelled beyond space and time, the means by which humanity will transcend those final boundaries is revealed as the agents who, like angelic guardians throughout the film, consistently save the humans. Just as the solution to the problem of gravity was only achieved by both man and AI crossing the horizon and working together to relay the information in binary (the language of computers), so likewise the transcending of space and time in the Tesseract was achieved by a transcendent race of humans merged with machines from the future.  Fourth, this explains why you never see TARS in the Tesseract – you only hear Cooper talking to him, but he cannot be seen.  This is also why the robots in Interstellar have the look of the monolith in 2001. Nolan very consciously chose to make the robots like the monolith, as the film is full of 2001 references. But here, the robots are not HAL 9000: They are the means by which man will transcend. In 2001, the mysterious monolith is leading man in his evolution; in Interstellar the monolith is replaced with monolith-looking good AI. Understanding the place of the monolith in 2001 is key to solving the riddle Nolan presents us with here.

Further bolstering this case is the imagery used when Cooper crosses the abyss. The end of the universe and entrance to the Tesseract appears to have a lattice structure which TARS explains was “created” by “them” to give a fixed point in space and time to reveal these truths. In other words, the matrix-like structure of the universe is meant to be transcended (so the film’s worldview is saying) through an evolved, emergent deus ex machina. Readers may disagree, but I believe this is the best analysis of the worldview presented, as the film consistently upholds the Darwinian perspective. On this view, it is only natural to expect the means by which man might transcend his final frontiers is artificial intelligence and transhumanism.

Dear Jessica - come read Hofstadter and Godel with me.

Dear Jessica – come read Hofstadter and Godel with me.

Another subtle clue is found in Professor Brand’s office, where you can barely make out a copy of AI specialist Douglas Hofstadter’s Metamagical Themas. Luckily, I just purchased this book a few weeks ago, so I was able to identify it. Hofstadter’s work focuses on strangeloops and Kurt Godel, and soon after we see this, an older Murphy (Jessica Chastain) hints at Godel by saying the models Professor Brand uses can never work because they are self-referencing! In other words, perceptive readers are supposed to make the connection that the type of strangeloop Hofstadter discusses demonstrates that humans can’t solve the equation because they are within time and space  – but an advanced AI might! Yet even still, an advanced AI is caught in an infinite strangeloop without a bridge to a finite point in space and time. Here is where the human element enters, as Cooper states in the Tesseract, “We are the bridge!”

Hofstadter's book that appears to be next to an Einstein biography on Professor Brand's desk.

Hofstadter’s book that appears to be next to an Einstein biography on Professor Brand’s desk.

At this juncture, Murphy realizes more must be at work and that her “ghost” may have been real all along.  The solution to the outer world problem of death is connected to the inner world problems of Cooper’s psyche (like Cobb in Inception). It is not accidental that the outer abyss mirrors archetypal images in his subconscious. In other words, Nolan is saying for advacement to occur, what is needed is Jungian self-individuation where both the rationalism of science and the intuitive feel of the feminine are joined. This was Jung’s whole project with Pauli. This is why Amelia Brand (Anne Hathaway) is right in her feeling of which planet to choose and why Murphy is right about her feeling that more was at work with her bedroom than gravity, and why love is the key.

Kubrick's 2001 Monolith, similar in form to Interstellar's robots.

Kubrick’s 2001 Monolith, similar in form to Interstellar’s robots.

Time and space are cyclical, like a sphere, and the only means by which it might be transcended is a Tesseract, and the only conceivable way such a state might be created is an advanced computer/human hybrid possessing the full capabilities of human masculinity/femininity and a formal, platonic AI. The future AI men are also who placed the wormhole where it was. This interpretation also explains why Cooper resuscitates the damaged TARS on Cooper Station – we are supposed to connect the human “Lazarus” project with the resurrecting of the AI. Consistently throughout the film, the AI are treated as alive, and that is the key to grasping this point. For Nolan, the key to transcending death, the last enemy referenced in the Dylan Thomas poem, is the “Lazarus Project” – the singularity merger of human and machine. While most viewers were focused on the storyline of Cooper and Murph, the underlying story was actually TARS and the singularity as the key to defeating the real enemy – death.

For more evidence Nolan constructs his films in this riddle fashion, see my analysis of The Prestige.

If you like this analysis, pre-order my book Esoteric Hollywood by clicking this image!

If you like this analysis, pre-order my book Esoteric Hollywood by clicking this image!

 

96 thoughts on “Interstellar (2014) – The Secret Revelation

  1. Pingback: Interstellar (2014) – The secret revelation | Nobola

  2. I think Nolan wanted to introduce a whole bunch of Christian elements to the film. Here are some interesting points:

    1) Church Organ soundtrack through the whole film.

    2) Shots of Coop and Brand with eyes and hands closed praying

    3) We have Christian Trinity: Cooper represents the Father and Holy Spirit/Ghost (once he joins with Tesseract). Murph represents the Son a.k.a Jesus the savior (remember she was 10 years old at start and after 23 years time dilation was 33 when she “saves” the world – same age as Jesus dies). They both represent the Holy trinity.

    4) We have an otherworldly unknown powerful presence who created the wormhole and tessaract that guide the events of the film – aka Godlike who has have basically interfered with and guided Coop throughout his life going as far as to construct a tesseract for one particular moment in time. God advocates true love and is major theme of film with father and daughter.

    5) There were 12 original astronauts sent out onto the planets – There were 12 apostles of Jesus sent out for his gospel.

    6) Cooper also spends decades wandering desolate environments,”Lazarus”. Dies and is reborn at black hole.

    7) Holy Spirit/Ghost Coop reaching out to touch people (including hand shake scene white light)

    8) And just like Jesus after his resurrection, he came back (albeit 3 days vs. 70-something years) then left again after a very short period of time.

    9) Literal Noah’s Ark with at end with Cooper space station transporting humanity.

    10) Adam and Eve with Coop and Brand (embryos for Plan B – start new race).

    • You certainly have caught on and opened my eyes, definitely sensed an multilayered onion here. Could just be extremely clever production or actual the real thing here… The 12 disciples obviously, you missed how there was the one coward…the traitor…. This is deep, just as deep as space Odessy or possibly even greater. My mind was sent spinning after watching what simple people simply didn’t like or were confused by, this is an anomaly that I suspect will be a collosall financial failure but seep slowly into our collective conscious over time. I will state again I truly sense this is even deeper than those that created this realize. Possibly “they” have influenced this message?

      • I fully agree with the last sentence you wrote. This film is VERY important to the collective consciousness.

    • First of all Nolan is not religious. It would seem odd to put religious elements into a story when he is not. I think you are just looking for meaning, but possibly there were subtle points (although highly unlikely). He has said that he doesn’t want to add ANY religion to his movies as to not begin arguments, etc. Hence his movies in NO WAY are intentionally religious in any sense.

      1) Church Organ is a cool sound for science fiction.

      2) Maybe their hands are just closed? We don’t know they are praying.

      3) A mixture of coincidence (the age) and Cooper doesn’t represent the Holy Spirit, he represents a father figure looking after his daughter, family, and planet. This does not mean he “represents” anything religious, that is just desperately seeking Christian meaning. He represents how love can transcend dimensions, worlds, and ultimately the message is: LOVE is the strongest force of all.

      4) The tesseract and wormhole was created by futures humans, just like Cooper is a future human creating a change in the past. This is somehow like a paradox, it is not, however, related to “God” in any way, but rather our natural instinct to protect those we LOVE, (because love transcends dimensions….)

      5) 12 original astronauts – 12 original planets – 12 “points” on a clock. The symbolism of “12” does not relate to apostles, but rather TIME. The docking station has twelve large components to it. Mann, who represents humanity in its selfishness, destroys part of the docking station “destroys time, and what little were have of it”. Cooper then has to go back INTO time (the docking station) to fix it. The 12 is constantly used as a motif that establishes the importance of time.

      6) This is nonsensical. Just because a character is alone, doesn’t mean it is biblical. Once again desperate for religious meaning when there is no INTENTIONAL meaning. But religious people often see things the way that benefits their religion, and ignores everything AND I MEAN EVERYTHING that contradicts it…. But i won’t go pointing out the hypocrisy of religious people….. they don’t like that.

      7) Once again, the touch was the means of LOVE, and how the connection TRANSCENDS dimensions. They were in different dimensions, but they could literally and metaphorically “touch” each other in the heart. LOVE is the overarching force…. etc. NOT RELIGIOUS!

      8) Well Cooper never died….. so yeah. He didn’t come back (and neither did “Jesus” BTW. Only Christians saw him supposedly which is strikingly convenient for them. I mean, why didn’t Jesus present himself to the Romans – that would have been the most incredible thing for your religion. But no, so we can only trust some brainwashed hippies to provide us with this historical information –> UNRELIABLE. No “resurrection”.

      9) Literal Noah’s ark. Don’t even get me started with the scientific impossibility of this ludicrous fairy tale that grown people somehow comprehend. The ship was a means of transportation. How else do you expect them to get there? Teleport? No. You will attribute anything and everything you can to some sort of religious meaning. No. They travelled there. DOES NOT MEAN IT WAS A REFERENCE TO A BOAT!!!! I drive to school, does that mean my car is a literal NOAH’S ARK???????????? According to your absurd logic: yes.

      10) I can’t even bother to argue with this ludicrous logic. Except you are sadly mistaken my dear friend.

      So this is all my opinion, but I strongly believe your desperation to see religious meaning in everything you want is driving this erroneous complexion of stupid logic and blindness.

      Good day and i hope one day you see sense:)

      • Man does it feel good to know that you’ve bested the other commenter intellectually, scientifically, and morally because you, the superior, are a firm believer of athiest ideas and must crusade across the internet to spread your correct way of thinking to the unenlightened. Doesn’t it feel good, bob?

  3. I was right.

    “For their shape, were you inspired by the monolith from 2001: A Space Odyssey?

    I think, in its science-fiction context, inevitably your mind goes to that – and that’s fine by me. Definitely, the spirit of 2001 hangs over the film. It was one of our aspirations to pay homage to that film. It also relates strongly to the architecture of Mies van der Rohe. As we homed in on the idea, I asked my designer [Nathan Crowley], who’s a very big fan of modern architecture: “What if we designed a robot as if Mies van der Rohe designed a robot?” I think he really nailed it.”

    http://m.thenational.ae/arts-lifestyle/film/interstellar-director-christopher-nolan-says-he-had-a-very-particular-vision-for-the-robots

  4. Great stuff, Jay. I would also like to point out that Dr. Michael Mann is also probably a play on the “Hockey Stick” climate scientist/self-promoting fraud.

    • hmm, my first thought was that Dr. Mann was a reference to Thomas Mann and thus The Magic Mountain, but now that you mentioned the first name, you might be correct. still seems a little too obvious though?

      your mention of “global warming” however points at a larger assumption that the storyline makes — Earth is screwed so much that it is no longer habitable for life as we know it, so we all need to focus mankind’s collective efforts now on finding a new planet to live on in order to save the human race. oh yeah, it may have been due to screwing around with the genomes of other species and spraying all kinds of crap into the atmosphere, but we had to do that because of massive CO2 levels, for which ALL OF US were responsible (cue guilt trip). so trust us, because we know what’s best for all of us.

      of course, no one mentions that this is the exact same type of thought process and manipulation of the masses that got the planet into this state in the first place. but it’s too late for that type of introspection now, it’s time to move onward & upward and fuse ourselves into machine consciousness, rather than listening to the natural world and understanding how to work harmoniously with its rhythms.

      what a crock of bullshit.

  5. Hey – surely that line “… genetically modifying crops and geoengineering the atmosphere may have been the result of the blight and famine…” should read either “…been the cause of…” OR “…resulted in…”?

    Jay, have you seen Andrey Tarkovsky’s great Solaris (1972)? It seems to me Nolan’s movie owes almost as much to that as it does to Kubrick’s 2001, echoing themes from both.

    • While I haven’t made up my mind yet regarding Nolan’s INTERSTELLAR, I couldn’t help but feel that it had plenty of themes earlier addressed in Tarkovsky’s SOLARIS.

      I’m not really sure, yet, but Nolan’s INTERSTELLAR could be considered a late American reply to SOLARIS (1972)

  6. Pingback: JaysAnalysis Feat. on Media Monarchy – Interstellar and 2001 | Jay's Analysis

  7. Thanks for your depth Jay. I heard a central feature of Buddhism in the dialog when Coop spoke about detachment before going into the black hole. He gave up his attachment to returning to earth and embraced the unknown of the black hole and in that act, he found the answer to his purpose.

      • La communication est un art, une force. Celle de controler. De controler dans un but. Un but qui a deja commencer il y a bien longtemps… Beaucoup de questions découlent des mots choisis. Controler? Qui controle? sur qui? Pourquoi? Et jusque quand????
        Pourquoi au dela de l’argent ( autre levier) les progres de la technologie en matiere de communication depuis seulement quelques decenies ont il si vite avancé et avec un tel succes alors que sur des questions vitales sommes nous tant en retard???
        Comment faire pour influencer plus de 6 milliards d humains avec une efficacité redoutable en un minimum de temps??? La communication… Oui mais comment??? Penser à l”industrie” du cinema, la tv, INTERNET, facebook etc .
        Je vais seulement pour le moment m arreter à l”industrie” du cinéma… Interstellar est encore un bel exemple parmis tant d autre; bienque un bel effort est fait sur celui ci pour orienter ‘la pensée générale”. Ce film mèle vérités et mensnges de manière presque subtil, voyer pleine de charme, d’envoutement et de beauté, pour faire passer insidieusement le meme message.Encore une fois la communiation est un art, une force…
        Mais dévoiler ainsi certaines vérités, dans un courant unique, unidirectionnel et puissant est comme jeter une piece de monnaie dans un torrent en esperant que cette piece resiste à la force de l’eau qui l’entrainera tout au long de sa chute.
        La communication est un art, une force… Certaines personnes comprendrons d autres lutte contre ce torrent d’autres sombrent…. Chacun doit faire son choix…

  8. Pingback: Interstellar: recensione e commento - La Voce del Gattopardo | La Voce del Gattopardo

  9. I wanted to know if you have read about the results of Gravity Probe B (GP-B), which analysis has shown proves Einstein’s theory of gravity, which states there is a space-time vortex around Earth. The change of the quantum state of one entangled photon reflects in the other photon regardless of its physical distance, would this mean distance is not a variable anymore.

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  11. Awesome analysis! Thank you.

    The archive of humanity is currently the female body as it holds the secrets to continued existence from male exploration. Each person spends 9 months in this library while they are informed how to operate for the rest of their life. Cooper returns to the archive as he reaches for reach enlightenment.

      • If the Soviet Union had announced it as a fraud: no one would have believed them, other than leftist Communist stooges.They could have considered it to be typical Soviet anti-Western propaganda, motivated by jealousy and resentment of one of the West’s greatest triumphs.

        Anyway, I believe it was easier for NASA to fake going to moon than doing it for real.

  12. some interesting lines such as:

    – “we were never meant to save earth, we were meant to leave it.”
    – “earth is not our home”
    – “America doesn’t have an army anymore”

  13. No way you can be taken seriously after this statement;

    “I am of the view that the original NASA moon landings were faked and were filmed on a sound stage. I realize that is highly controversial and liable to cause a ruckus, but readers can choose to do what they what they will, given the incoherent accounts of the astronauts and engineers”

    We can see the landers from earth, for crissakes.

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  16. Thank you for articulating the feelings that I could not express when I watched Interstellar for the first time. I tried to discuss the themes of death, AI and the singularity with others to no avail. Your piece has definitely helped me better understand my own views of Interstellar.

    One thing that you didn’t cover is whether Mann was human or non-human when he was awakened.

    The first thing that tipped me off was the scene where Cooper and Mann were wrestling and Cooper said there’s a 50-50 chance that your visor will break first, and Mann (without any hesitation) says something along the lines of “I haven’t had such good odds in years” proceeds to headbutt Cooper cracking Cooper’s visor. Is this evidence that Mann was in fact a robot? Surely no human would be able to process the implications of a 50-50 life or death game of chance so quickly.

    The other quirk I noticed (but need to re-watch it to confirm) was when Mann started acting strange and robotic when he/it was dying because as one of the characters mentioned: “the only thing that could never be programmed was the experience of death”. Accordingly, the robot exposed it’s non-human behavior when it tried to display the experience of death to Cooper.

    I’d be very interested to see if anyone else noticed this. I’m surprised no one on http://interstellarfilm.wikia.com/wiki/Dr._Mann has mentioned this yet.

  17. Your current writing implies that the oxygen thing was contrived. In the story, Professor Brand explains that the death of plants is killing the source of O2.

  18. Great insights, Jay. To me, Interstellar is ultimately about humanism and transhumanism. The overall message of the film is that man is evolving into god (5th dimensional beings) through the use of AI, but has no need for any God or force outside of himself to carry out this process. Nolan always eschews the spiritual/ paranormal side of things in his films, and Interstellar is no exception.

    Ironically, Nolan’s efforts to showcase human evolution without God just highlights how ridiculous this line of thinking is. When the audience is first introduced to “They,” we understand that “they” are a symbol for God–watching over humanity, providing a means of escaping the desolation, etc. But as soon as Cooper reveals that “they” are not extraterrestrial, but are 5th dimensional humans from the future, the internal logic of the film breaks down into the silly issues we see in time travel movies: the only way the future humans could have created the tesseract/wormhole is if humanity successfully escaped earth. The only way humanity could have escaped earth is with the intervention of the future humans.

  19. Strange, I interpreted the “moon landings were faked” mention in the movie as a means of referencing just how backwards the society had become. Another means of illustrating them all as science deniers.

    Course, you’re a loon.

  20. In these videos I absolutely and unequivocally prove that the Apollo moon landing footage is manufactured on Earth through extensive analysis of falling objects and sand seen in the TV footage. However the complete analysis is far more involved than just that. I believe you will be impressed.

    The Presentation videos are YouTube and Vimeo upload-ready. I would also appreciate if you would post all of the video links provided below for download by anyone.

    A kind citizen has already uploaded the main videos to his site. You can view them here:

    Make_Believe___part_one
    http://krishnatube.com/video/1502/Make-Believe-NASA-Moon-Missions-Part-1

    Make_Believe___part_two
    http://krishnatube.com/video/1505/Make-Believe-NASA-Moon-Missions-Part-2

    The more the merrier!

    I thank you.

    Presentation Videos:

    Make_Believe___part_one___MAIN_____.mp4 5.94 GB
    https://mega.co.nz/#!0ghi0T7T!eqLYOfkdF1MMoLjEE8FyO_IMVOFsiOLwW3wFJlD9MWU

    Make_Believe___part_two___APPENDIX_.mp4 1.88 GB
    https://mega.co.nz/#!U1QmGZ6D!zzpsHqGwsPTG1b1TcCqNAFUcKyjQHWXy0PvBEWc8JXQ

    TVcamera footage edits:

    A11_tvcamera_raw_and_retime_f4v.zip 641.7 MB
    https://mega.co.nz/#!lkByyZ7b!IUl6FxRHfTORfON50-k0yDgc8aMixcl_oq0rlcjKRyU

    A12_tvcamera_raw_and_retime_f4v.zip 160.1 MB
    https://mega.co.nz/#!A8BRmIAA!K4Zc0CURPahJvWvDbSYGteTHoqB4w9HsoC3XhFLLsNY

    A14_tvcamera_raw_and_retime_f4v.zip 1.93 GB
    https://mega.co.nz/#!4x4yjSzJ!KDH7XH36n7ntDcaRf4RBe8IUzdHFtbojnz2lFAEpvyQ

    A15_tvcamera_raw_and_retime_f4v.zip 2.89 GB
    https://mega.co.nz/#!xxwymArR!E_V83ZM2j4pEiIRYAvwqyt5Rt9WWVLUHGQnNz68BdtA

    A16_tvcamera_raw_and_retime_f4v.zip 3.97 GB
    https://mega.co.nz/#!E8w01BaC!uQdNiOIXhZ8ngSAA_PtTwaAfcAvILzHjef_REy5FFAc

    A17_tvcamera_raw_and_retime_f4v.zip 4.10 GB
    https://mega.co.nz/#!5wBSWIQY!kZGTHi00zNqf-QZ3uYmJlC06G-rry_aBiFApv9kkiU0

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  24. Good work, pal. Excellent point on the moon landings; people are so brainwashed and braindead that, sadly, they can’t reason and see how absurd and preposterous it is to claim that we went to the moon.

    The psychopathic cabal had many objectives with the fraud, but get this, the occult symbolism is mind blowing, not to mention blatantly transparent. Here’s but one minor example: Apollo 13, booster blew up on April 13th, 1970, at … are you ready … wait for it … 1:13pm, or 13:13 military time!!! You can’t make this stuff up, but they did. Look up the details yourself, but it’s a clear wink wink from NASA!

    • NASA is absurd, as they now promote “aliens,” making it harder for so-called “science minded” individuals to appeal to it as some institution of rational progress.

  25. . I was joking with my family tonight as the movie started that they need to make note of all the books on the shelf if they want to understand the movie. Little did I know that there may be some truth to that. This is the second time I’ve seen it and I saw the scene where the school teachers explain how the Apollo flights were faked as a necessary rewriting of history in their time to discourage unnecessary pursuits which are then seen as destructive.
    As far as esoteric symbolism goes there is plenty of Osirian myth in Interstellar. Lots of sleeping in the crypt and even the name of the mission can be etymologically linked to Osiris becomes El Ausar – Lazar – then transformed into Latin Lazarus. I’m not the first to make this connection.

      • You’re right. Different characters in different stories illustrating the hope mankind must retain in winter that the sun will return. The anthropomorphization of principles was well established when the Lazarus story was composed. I.e. giving a human face to an abstract concept. Check out “The Art of Memory” by Frances Yates. Or if you read Latin check out “Ars Memoriae” by Giordano Bruno. Once we begin to imagine and get a marginal understanding of how the ancients used stories as memory aides we begin to make sense of some myths. The dying and resurrecting theme illustrates the return of the day as well as the return of summer. There is a sense of hope in an eventuality which seems impossible. The despair which early humans would have felt as winter approached was quelled with the invention of stories which contained a reminder that the sun will be high in the sky once more. As modern humans look at the threat of extinction looming in the distance stories such as “Interstellar” awaken a faint hope. But we are too wise, too smart to be fooled by such scientific fairy tales. No the best option , we’ll decide, is to hide from our fate which we know we are powerless to change and go on rationalizing our behavior. The near extinction will happen and then those unlucky lucky survivors will work out what to do next.

    • The more I read about it, the more I tend to believe that Mr. Nolan was serious about the (early) Apollo flights being fakes.

      First, McConaughey doesn’t speak up, claiming the moon landings had happened.

      Second, rather than to deny the moon landings took place, the school principal and Murph’s teacher could have easily used these as an example how enormous amounts of money got wasted that should have been put forward to better uses.

  26. just got around to seeing this film today! I thought your comment about the loss of the patriarch was interesting. The patriarch even prior to Saturn was Uranus. Saturn castrated him and as you mentioned, became the ruler of time. In astrology Saturn is related to established structures and the power that derives from them, while Uranus is the archetype of radical change and revolutions. Uranus was also associated with the concept of heaven, being the first planet that could not be seen by the naked eye. This leads me to believe that what we really mean by “heaven” is the idea of quantum uncertainty.

    Coming back to Saturn, the last 10 minutes of the film again has us debating the subjective reality of what we are seeing. What the hell is Cooper Station, a figment of Cooper’s imagination? Or something more ontologically knowable? And why is it near Saturn? I would assume, for the same reasons I described above.

    Finally, the themes of psychic individuation and the transcendence of time takes a new twist in the final words coming from the aged Murphy – Cooper needs to let Murphy go, to pursue his love (Brand). Most generally it would be the mother that he needs to let go! Creeps.

  27. Pingback: “It’s Us…”: The Esoteric Messages of Interstellar… | thetruthisstrangerthanfiction

  28. Secret societies use science fiction to mask their global agenda in metaphor. Which is why sci-fi has become such a fluid medium for trillionaires who plan to use spiritual influence and advanced technologies to control things.

    So blockbusters and bestsellers typically feature appropriate storylines and themes, made apparent by the repetitiveness of movie scripts and the seeming lack of imagination due to the narrow spectrum of Atlantean ideology.

    Science fiction can become fact when futuristic technologies suddenly appear on the surface, after spending decades in underground bases.

  29. This film has taken the organic, biological process of spiritual maturity and brilliantly replaces the undeniable ecological solutions to our problems with technological ones. We got to the moon (well, we sent some stuff to the moon at least) in a glorified firework, forty years ago, and we claim that we have the potential to explore outer space! It’s ludicrous. If you have ever explored inner space yourself, you need no spaceships, cigarette box robots or equations to notice the immense complexity and beauty of life and existence – Huxley refers to it as ‘isness’. Once this is noticed, it’s laughable to want to abandon this island earth, as well as selfish to allow it to change the biospherical equilibrium to make it uninhabitable by humans. We are already travelling through space on a giant spaceship, and it’s more beautiful, complex and suitable for our species than any other could possibly be, especially when you address the fantasy that we can’t even get a single human being past the moon… (and don’t say ‘yet’ – this culture is fueled by business, not science. Present ‘science’ is simply corporate research, and even when NASA had funding they couldn’t recreate ecosystems to keep people alive for more than a month! Nature is TOO COMPLEX for us to conquer! It’s delusions of grandeur on a cultural scale, fueled by irresponsible filmmaking like this spectacular advertisement for ‘science’).
    This movie uses technological fixes as a narrative backbone, when for a start, if we learned to ‘grow’ food (heh, to even call it ‘growing’ as if we have the power to create food! We *help* the food grow!) in ecological terms, and not fields of single crops, the soil would stay healthy and we’d have less diseases, blights, plagues etc… yet the ‘science’ of this movie has everyone ‘farming’, using the very same technology which *caused* the ecological meltdown in the first place! We can’t even know the entire effects of new pharmaceuticals, never mind GM tweaking – have these people never understood the story of Frankenstein himself being the monster, not his creation?!
    So as a piece of art it is beautiful and refreshing, but at its heart is just more propaganda to keep the zeitgeist in a ‘techno-fix’ mentality, as if we can calculate our way out of the mess, when the answers lie here on good old Terra Firma, within us and all the other species we’ve massacred over the centuries, within not love of family, but love of life itself – every living cell and every fellow lifeform. Once we break the spell of our zealous love for the closest genetically to us, and start loving everyone as our own flesh and blood, we might start allowing the biosphere to start repairing itself, without our myopic interference.

  30. Hello Jay. I think you are right in your Interpretation, especially about the Saturn and Transhumanisn Parts.
    You have to listen to this introduction to 3001: The Final Odyssey.

    Its exactly about what you said.And by the way the “Stones” are in fact highly advanced AIs as it is revealed in this Book !

    And about Saturn ,did you ever saw the hexagonal Storm at the Pole ,which in many eyes represents the Hypercube/Tesseract?

    And to close this ,i sometimes think the so called elite is so fixated on eternal Life because they maybe want to escape Punishment for their deeds.Who knows. Like Dr Faustus who made a Deal with the Devil and wants to stretch his Life as far as he can cause hes afraid of what awaits him after Death.

    Keep on going i very much enjoy reading your Site .I just discovered it recently.

    • I personally think the concept of Hell is a strange and sadistic one..Maybe the opposite is true – they or some of them dont believe in Life after Death at All and thats why they so afraid to die when they think the World is gonnaStop without them.But it maybe eternal Life hidden in
      a physical Body or Machine is just the True meaning of Hell.

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  34. Great analysis.thank you.I have also noticed with all these alien movies their is always a child involved space odysey baby at the end, aliens the girl running around, ET and the kid. I took the research to aliester Crowley and OTO and Scientology .i think these aliens are handlers for humans and children are the suitable victim.just like Crowley said most best victim is a child. Gieger aliens was fully about sex, penises and vaginas and satanic occult works of Crowley while people munching on pop corn. In interstellar I see the girl in her bedroom and this ghost/spirit/jdemon/alien trying to contact her. Like the dad says she was chosen. All I’m saying these alien movies are obsessed with children I can go and on. The alien however do exsist in Islam we call them jinns. We believe there is another channel of the unseen, mankind, angels, jinn. Christianity also believe in father, son, Holy Spirit.

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