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Alien (1979) – The Deeper Meaning You Missed


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By: Jay Dyer

Alien was a revolutionary film in many ways, and arguably the first nihilistic, anti-human science fiction series with a darkly occultic undertow.  While 2001 may have been an alchemical odyssey, Alien’s worldview is far more self-conscious with its H.R. Giger-designed concept art.  Giger, and his Crowleyan-influenced artwork.  The use of Giger’s art shows the “aliens” are really demons, as Giger frequently features dead babies, sacrifices, ritual sex with demons, baphomet, etc., in his art.

Alien Director Ridley Scott also seems to share the belief and fascination with “aliens” many of the occultists do, who believe their ceremonies and ritual magick are contacting “aliens.”  The absurdity of this is that for all these people’s’ hatred of the Bible and the Orthodox Tradition, they end up vindicating our confession as these entities and their “messages” are exactly what the Bible and the Fathers teach concerning the demons.  Ironically, as I write this Sky News reports Ridley Scott claiming he believes aliens are real and are “coming for us.”  Likewise, when the Martian premiered, NASA told us once again there is “life” or water on Mars.

As I’ve commented many times, this new replacement Gospel of panspermia and alien creators requires a new threat as well, the so-called alien invaders.  In my book, I detailed this in the H.G. Wells chapter, noting how the famed science fiction writer and Masonic communist was also the inventor of numerous other psychological warfare operations.  In War of the Worlds, the alien myth turns dark as humanity must band together to fend off the external threat.  Indeed, as we saw with the Star Trek series and its long connection to the Rand Corporation, this was nothing but a mask for the promotion of a United Nations-style one world government that could only be achieved by destroying all distinctions.

Giger’s yucky Aleister Crowley piece.  Demons, aliens, and ice cream.

Following Wells, countless other science fiction programming works promoted this notion, all the way up to today’s Arrival, which I analyzed here in another piece that went viral.  With Alien, however, the optimism of global government collapses into the nihilistic abyss from which the xenomorph emerged.  A recurring theme in the series is the irony displayed in how ruthless the megacorp that runs Ripley’s world truly is – even more vile and ruthless than the xenomorph (as Ripley herself says, more than once).

Global corporate government is like the famous meal scene in Alien, where everyone is at the table, content and “equal,” and then suddenly a xenomorph explodes from John Hurt’s bowels to disgorge and dismember the rest of the crew.  This is the appeal of the Alien series (despite its other flaws) – that mankind’s hubris in tampering and genetically modifying nature, and then seeking to control these abortions, leads to disaster.  Indeed, that is the overriding narrative of the franchise.  In this way, I find the nihilism tolerable, as it explodes the Enlightenment mythologies of vague, meaningless “progress” and bare scientism for the shams they are.  Alien and its successors are the logical conclusions of a universe of meaningless evolutionary flux and chaotic, hapless genetic mutations.

Rare foreign poster.

Alien opens with the camera panning a Jupiter-Saturn-like planet where our explorers will meet their doom.  I probably don’t need to rehearse the Saturn symbolism and significance for my readers, but if you recall my 2001 analysis, Saturn is traditionally associated with the hexagon, time, space and death.  Thus, just as time eventually mows everyone down, so Chronos devours his own children.  In the Alien series, it is as if the entire universe itself is an aborted monstrosity that has “evolved” into a massive tumor.  And, as detailed in my book, the entire “alien” ethos is deeply aligned with the occult and the deep state agendas.

Interestingly, this theme of abortions, birth, and the muck and goo involved will also be a recurring motif in the series, suggesting that humanity is the real xenomorph (according to the Alien universe).  This thesis was also explored in my Prometheus analysis which is now found in full in my best selling book, Esoteric Hollywood: Sex. Cults and Symbols in Film.  In the Crowleyan view Giger appears to have imbibed, we can see this universe as one where the demonic arises out of the Abyss of chaos and “evolves” to create and destroy life forms.  In the gnostic scheme which Crowley ripped off, Jupiter is the ‘evil Jehovah’ of the Bible, the creator demiurge who imprisons and tortures his abortions.  We see why Giger saw this demoniacal worldview as appropriate.

It’s almost as if our corporate-owned explorers aboard the Nostromo (a Joseph Conrad novel about an explorer of the same name) are exploring the depths of the Abyss itself, as this Saturn-cloned planet of death yields nothing but emptiness and a “signal transmission” reminiscent, again, of 2001. (This scene, by the way, was cut but can be found on DVD editions).  It will at times seem as if the explorations of the various planets and their horrors are really just avenues of Ripley’s psyche (which we will see is traumatized) – and by Alien3, Ripley will even admit this.

We can begin to see how this is possible, when we consider films like Solaris or if you heard my interview with Robert Stark, where we discussed this in relation to Labyrinth, Time Bandits and The Hole.  Just as basements are symbolic of the subconscious, so too can the outer realms of the Abyss or “outer space” be linked or associated with these deeper aspects of the psyche and possible traumas.  As we will see, Ripley mentions this after she becomes severely traumatized.

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By Aliens, Ripley experiences extreme nightmares and even prescient dreams showing her giving birth to a xenomorph (which happens), suggesting the evolutionary mythos will come full circle in a battle between human, xenomorph, A.I. and creator(s).  Far from being scientific, the evolutionary mythos is a cheap representation of the ancient Hindu doctrine of cosmic evolution and polytheistic/pantheistic superstition.  With this in mind, it makes perfect sense to view the emerging life forms as random abortions struggling in a ‘survival of the fittest,’ where all four forms collide to determine who will go into the future and who will be the prey.

Whole Milk Based Based ‘Life Forms”

For the xenomorph, their reptilian appearance conveys the notion of an extremely cold, calculated predatory instinctual incarnation, with no use for emotion.  As Ash explains, they are a pure, beautiful silicon based lifeform (like himself, or so he believes) and is thus superior to humanity.  Ash, working at the behest of the Company, is an A.I. droid disguised as a human and is, quite literally, a programmed assassin.  Isn’t it interesting the common moniker for the Weyland-Yutani Corporation that dominates this dystopian landscape is “The Company,” the CIA?   Ash is the silicon-based lifeform created by humanity, while humanity and the xenomorph are the accidental abortions of the engineers (as we saw in Prometheus).

In this way, the struggle for dominance in the galactic social Darwinian scheme is portrayed throughout the series, leaving the identity of the engineers themselves a mystery (other than they are the ‘gods’ of ancient cultures).  I would venture the CIA has a vested interest in genetically-modified, silicon based “life forms,” as I wrote in my viral piece on Chemtrails and Geoengineering (that subsequently garnered around half a million views and 20k shares on various sites).

What happens when a Doobie Brother gets high in space and goes bananas with the Lite-Brite?

With the death of Doobie-Brother in space Tom Skerritt, Veronica Cartwright and Yaphet Koto, Ripley is the lone survivor – believe it, or not!  Feminist cat ladies in space are known to ignite nukes, so xenomorphs beware.  Though I am not positive, I would posit this may be the beginning of our ever-prevalent modern trend to have all strong heroes be females, and all males taking subordinate, cowering beta-cuck postures.  I can’t think of any films this early that masculinized the heroine, but a recurring theme in the Alien series will be, not only abortions, but feminism.

Cat lady in space – galactic feminist spinster.  Or, Ripley….Believe It or Not!

Note the gradual shortening of Ripley’s hair, going from attractive female to yucky-looking aunt by Aliens to full-blown G.I. Jane in Alien3.  Interestingly, the A.I. aboard the ship will be called “Mother,” transitioning to “Father” by Alien: Resurrection.  Ripley’s hair seems to match her alchemical transformation – and make no mistake about it, by Alien Resurrection, she has undergone a full alchemical transmutation into something new, a kind of quasi-goddess.

Hair has a very important significance and its removal or inversion in regard to the feminine or masculine can signal the loss of power (as in the case of Samson Judges , or the Nazirite vow).  Here, the significance is her adoption of masculine traits and roles as she travels her torturous path to goddess-hood.  By the close of Alien, Ripley has lost her clothes and barely escapes the cunning of the xenomorph aboard her escape pod.  Jettisoning the beast and then toasting him in a booster flame, Ripley enters her sleep pod with nothing but the scent of baked xenomorph wafting through the cabin air to trouble her.  Baked xenomorph, by the way, is confirmed to smell like a cross between BBQ and snake (or BBQ snake).  A rather simple story, Alien showed us some terrifying images of the dangers of the Abyss, and in the next installment, we will see telling revelations in regard to transhumanism, geoengineering and bioengineering, just as we saw in regard to nanotechnology in Scott’s Blade Runner.

The post Alien (1979) – The Deeper Meaning You Missed appeared first on JaysAnalysis.com.

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