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By: Jay Dyer
Cabin in the Woods is an enjoyable satire of basically every horror movie stereotype and archetype imaginable. The box office hit from 2012 written by Joss Whedon raked in a hefty profit while throwing nods to horror classics like Friday the 13th, Evil Dead and The Shining. The writing is genuinely funny and the spoofing is spot on, but is there more at work here? Not every film works for JaysAnalysis, but the ones that do work, really work well and Cabin in the Woods definitely makes the cut. I had intended to get to the film long ago, but as often happens the timing didn’t click as well until now, having recently read Dave McGowan’s Programmed to Kill: its relevance will be seen below.
Our central 5 horror archetypes include the innocent virgin, the foolish pot head, the jock, the dumb blonde and the bookish nerd, as the introductory sequence had shown us government agents in some kind of underground base. The COG (“continuity of government”) style agents vaguely match up to intelligence agency operatives, most likely the NSA ‘analyst’ who probably sits behind a wall of CCTV spy cameras, fulfilling his voyeuristic fantasies. As we begin to suspect, our 5 archetypes have been chosen for their roles, when an earpiece’d agent atop their dorm relays their departure back to headquarters.
This is interesting, and likely wasn’t intentional, but the fact the collegians are spotted (and probably coaxed into this trip) in relation to their university career could be significant. We know the MK ULTRA program and its various sub projects were often connected to dozens of participating universities (as well as psychiatric, military and other institutions), so it’s possible this scenario was directly related to the corrupt state university system. Although often overlooked, universities and colleges are suffused with some of the most radical, degenerate, debauched indoctrination practices as you see here that make older MK ULTRA style projects seem prudish.
Films and shows that display full controlled environments have always fascinated me. We have covered The Prisoner, Maze Runner, The Matrix, West World and other “Platonic” themed stories, and they all have their insights. Here, the curious component of ritual human sacrifice becomes intricately bound up with the metaphysics of the controlled environment. Controlled environments generally fall under some supra-governmental shadowy agency and/or some higher level of archon/demiurge that runs “the system.”
However, I can’t think of any other versions of this narrative that inject the human/blood sacrifice component. This is interesting, because generally the gnostic and Platonic-themed narratives reject the notion of a Creator God precisely on this basis, which is their misunderstanding of believing this Deity needs or is literally placated in some way through blood sacrifice. As we will see, Cabin in the Woods is different.
The standard horror archetypes are human sacrifices.
Another interesting element is the scientism/mad scientist element to the process of large-scale engineering the worshippers of the Ancient Ones use, which are ruled over by the higher, demonic sphere. The Ancient Ones are roughly the equivalents of the Titans, who may be the spirits mentioned in the Book of Enoch, as cited in St. Jude, and perhaps related to Genesis 6. We read in the Book of Enoch that the offspring of the Fallen Ones began the practice of requiring human sacrifice. Amazingly, this seems more real today than even a few years ago when the film appeared, now that we’ve seen the revelations of Spirit Cooking, Jimmy Savile, the Roman Catholic scandals and the numerous Satanic pedophilia networks. Are the mad scientists at the top of the pyramid working for the bankers, or are Satanic bankers at the top, or are the higher levels of the pyramid actually fallen spiritual entities that fool men into believing human sacrifice will grant them power?
Dave McGowan’s Programmed to Kill.
As we will see in the soon-to-come analysis of Dave McGowan’s Programmed to Kill, the belief in human sacrifice is not as far-off as one might assume. For example, while McGowan mentions well-known cases of serial killers, other cases of human sacrifice cults and even the higher, deep state connections of some of those serial killers comes to the fore. Cases like the Matamoros Cult, associated with drug trafficking, or MS 13 and Santa Muerte come to mind, both which include Satanic elements, as well as high-level Italian Satanic networks in the last several decades connected to the “Monster of Florence” cases. Other cases are worth mentioning too, such as self-proclaimed “Emperor of South Africa,” Jean-Bodel Bokassa, who had a predilection for eating his enemies when he conquered them (pgs. 353-355).
Many of these individuals and cases seem to have very suspicious high society, deep state connections McGowan mentions that puts a new viewing of Cabin in the Woods in a new light. I remember beginning to research these topics ten years ago in books like Blood on the Altar and Lucifer’s Lodge, and at that time many of the news stories we know about today in relation to high society deviancy had not come to light. As mentioned, since then we have had a bevy of cases and stories come forward – many in the last year or two – that would have seemed outlandish ten years earlier. With that in mind, is it possible the reality of what has yet emerged is even darker? What if human sacrifice and cannibalism are more prevalent than we are now aware? Some “leaks” and news cases suggest this may be so.
Another interesting insight concerns the deep state controllers using what might roughly be called crisis actors, surveillance and staged scenarios to produce the reactions in the sacrificial lamb characters. The redneck at the gas station is, in fact, a member of the cult and an actor, as well as (in a loose sense) the redneck zombie family that attacks. Although the zombies are not technically actors, they are tools of the Deep State Lovecraftian Cult making them, in a way, actors. Even more surprising is the cult’s usage of chemicals in hair care products and aerosol sprays intended to literally dumb down their marks. Also fascinating is the tailored trauma for each character, where it was already known which sounds, symbols and images would trigger each character. The Deep State Cult knows how to tailor trauma and triggers for the purpose of mind control, not just for each character, but also for other cultures, which explains the typical, Ring-esque slimy Japanese bitch ghost scenes.
The blood of the redheaded virgin is needed for the “Blood Machine.”
This, in fact, has a ring of truth, given mass consumer products do have these effects: Only the pothead “fool” archetype is immune due to his previous conspiratorial mindset that presages the entire plot of the film in the early RV sequence. Indeed, if known experiments of MK ULTRA such as Operation Midnight Climax included the clandestine dosing of Johns with hallucinogens were patterns of how the system could mass dose people we can also see these aspects of the film in a new light. In my estimation, BigPharma is really just an extension of MK ULTRA and the Military Industrial Complex, and shows these arms of the octopus all interconnect.
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The worldview of this cult is apparently a kind of primitive paganism whose code is that sacrifice is lawful when the victims “sin” by acquiescing to the temptation. Comically, we discover the real story is the Deep State Cult is underground because they worship the Balrog, basically. Peace and harmony on earth is dependent on these entities accepting the blood and thus not destroying the world, yet here the main characters that survive determine the world ought to go ahead and be destroyed to “cleanse the earth of ignorance.” The Fool and the Virgin are the only two that last to the end, yet ultimately capitulate to the dictum of the cult. This was probably done for comic effect, as the cult controls mankind though releasing their “nightmares,” which echoes Adam Curtis’ documentary, but in the final analysis the film is a brilliant analogy for how the real world operates that may, in fact, be much more reality than satire. Maybe blood and the power in the blood has much more significance than the masses are fooled into believing are irrelevant (Lev. 17:11).
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