No Sex Please We`re Aliens
10/07/2013 10:56
No Sex Please We`re Aliens
The science fiction genre is noted for its antipathy towards the realistic treatment of sexual themes or, if sexual material manages to get through the self-imposed censoring of the blinders to future possibility, the event is lauded as a huge breakthrough in terms of genre tolerance for human behaviour, where humans are positively physically active in only two areas: eating and fucking. At its simplest, `scifi` such as H. G. Wells much celebrated War Of The Worlds concentrates on the maw of the devourer, because killing and preoccupations with killers, that is, aliens, which the killers kill and are being killed by, is merely an extrapolation of men as an alien parasite emerging from the host womb of woman to devour itself and her too:
`Yet across the gulf of space, minds that are to our minds as ours are to those of the beasts that perish, intellects vast and cool and unsympathetic, regarded this earth with envious eyes, and slowly and surely drew their plans against us.`1
In Revelation the `woman` gives birth to the `New Redeemer` while the `red dragon` waits in vain to devour him. It is Jesus` `Second Coming` after his birth from his mother, the Virgin Mary, uncontaminated by male semen, and the `red dragon` represents the devouring male semen that wants to contaminate him and is described by God in the Bible as the `serpent`s seed`, which has `perpetual enmity` with `woman`s seed` after Eden because it tempted the man Adam and the woman Eve to eat of the `fruit of the tree of the knowledge of good and evil`, and so prefigured the enslaving and devouring of the human species by its parasites, depicted as Alien (1979) in the movie:
`It's got a wonderful defense mechanism. You don't dare kill it.`2
In ancient Greece the paradigm was institutionalized enslavement of the women`s host wombs in pederasty to spread the contagion of war, and by the late 20th century men had developed the `blood plague` of Revelation sent by God to convert them from their sin, that is, the HIV/AIDS `killer disease`, a `biological weapon` created in the witchery of their black magicians mixing blood, shit and semen in anal sex:
`Men cursed the God of heaven for their pains and their sores but refused to repent of what they had done.` (Gen: 16, 11)
Science fiction`s refusal to deal with sexual themes is detrimental to the future development of the human species, because the Virgin Mary represents woman as the breeder of the race and the brains if its future because uncontaminated by her devouring parasite, which has attached itself to her penis and is the alien masquerading as her sponsa. Women with their own penis are `futanarian` and are socio-economically independent of men, who in their depredations upon the civilization, culture and art emerging from her host womb over the aeons constitute her cancer:
`You have given birth to something haven`t you?`3
What men have given birth to in preference for viral sterility rather than virile fertility is the desire to kill the human species which, in movies like The Ring Virus (1999) is represented as a circle of killers and victims. The HIV/AIDS virus functions as a consumption which, in its intial stages, feigns friendship for the white cells of the body`s immune system before it kills its host, and is what men as parasites do. Jesus` teachings of Redemption are designed to teach men not to kill their host, which is what his `Last Supper` before crucifixion and death was about. Giving the disciples `bread and wine`, as tokens of his `body and blood`, Jesus acknowledged that the disciple Judas was his betrayer, that is, he`d betrayed the host. The previous morning the disciples berated a woman for perfuming Jesus` feet as wasteful because he`d die soon, which was a further betrayal of the host:
`Leave her alone.` (Mk: 14. 6)
After his death Jesus had Ascension to heaven, according to the Bible, which meant he wasn`t devoured by the parasites, and in Revelation the `serpent` of Eden grown to the size of the `red dragon` wasn`t able to devour Jesus again in his `Second Coming` as the `New Redeemer`, and Eve `shall crush the head of the serpent with her heel as she leaves`, according to Genesis (3. 15), for the `new heaven and Earth` promised to `woman`s seed` by God. What is preventing the woman from recognizing herself as a species is men`s desire for the continuance of its ensaving of her host womb so that they can continue to produce civilization, culture and art for their devourers` pastime:
`Everton is the dominant species. I am Everton.`4
In the movie Virus (1999) the dominant species is a disease. Before the walls of Troy the Greeks left a friendship gift of a huge hollow wooden horse form which they emerged to enslave the host wombs of the women and further their contagion of decease through war. War has the dimensions of plague, and to play games, that is, plague games, are the paradigm of the evil in the 21st century, which began with the attack by Arabian terrorists on the World Trade Centre to reestablish the `rough trade` of pederasty through war and its associated contagious forms of decease.
The HIV/AIDS virus is the `killer disease` keeping women in faithful fear to their monogamous marriage, with her parasitical enslavers and devourers, rather than that the woman self-reproduce, and develop her own collective brain power, as the independent and individual human species, without its parasite masquerading as men defending themselves against aliens, while men depict themselves as the parasitical devastators of everything that woman has produced from her host womb that has been destroyed of her civilization, culture and art since men began their own historical records of themselves:
`I say we take off and nuke the entire site from orbit. It's the only way to be sure.`5
The parasite in the Alien picture is what the mass media of Hollywood, Babylon, presents to a mixed audience of enslaving and devouring parasites sitting watching themselves in the movie theatres and on the small screen of television from their living rooms with the enslaved and devoured women as hosts to the parasites who have instituted a penis taboo for all mainstream visual representations of the human species so that the `futanarian` species of woman with her own penis` `seed` is blinded to her role as the mother of herself. Unable to see her own penis and ability to have a socio-economic independent future apart from her enslaving and devouring parasites as they watch themselves desvastating and destroying the Earth in action movies while the token female clings terrifiedly but with bravado to a muscley bloke`s arm, women can`t escape from Babylon`s imprisoning picture:
`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 16. 11)
The orginal capital of Iraq was Babylon, where Saddam Hussein fought unwilling host Kuwait (190-1) and supported Al Qaeda`s betrayal of their host, the United States of America, in the first and second Gulf wars (2001-11), which ended in his hanging as President. Al Qaeda had hijacked airliners on 9/11 2001 to crash them into the Twin Towers of the World Trade Centre to reestablish pederasty and war`s contagions through `rough trade`:
`... violent, often brutal sex acts, or a person, usually a male prostitute, who looks like they participate in such acts.`6
The attack on the World Trade Centre was designed to precipitate `rough trade` and pederasty, which was institutionalized as the basis of human society as long ago as the ancient Greeks. The hijacked airliners that were crashed into the Twin Towers were `Trojan horses` designed to infect the US` defense system in the same way that computer `geeks` infect computer defense systems, because that`s the paradigm of homosexual society. In terms of the `movie` industry, 9/11 `live on CNN` was Hollywood, Babylon, which made the movie World Trade Centre (2005) to mark the event a few years onwards. Hijacking planes from Boston`s Logan airport, the Al Qaeda terrorists were emulating the movie Logan`s Run (1976), which relates how all those over the age of 21 are marked for death by `sandmen` . 9/11 was an attempt by pederasty`s `sandmen` to kill the new era in support of homosexuality and the reimplementation of the `rough trade` of Hollywood`s Babylon and its `action heroes` before the century`s 21st birthday celebrations were over:
`A computer virus has built armies of robotic soldiers and taken control of our world.`7
Television and movie franchises like Power Rangers (1993-) tell us that the alien is amongst us. They`re men who`ve crawled into the host wombs of women to attach themselves to her penis as the parasitical enslavers and devourers God warns Eve in Genesis are the `serpent`s seed` hers will have `perpetual enmity` with before perdition, that is, their punishment of eternal unendurable pain. The Moslem Koran of Islam describes the `leech` clinging to the host womb of woman after fertilization by the clot:
`We created a leech-like clot.` (23. 14)
Jesus is a teacher in Islam and his story with few changes appears in the Koran (610-30 CE), which according to the Moslems was dictated to the Prophet Mohammed by the angels. Christ`s teachings are that a man has to accept the host to have Redemption. Born uncontaminated by male semen, Jesus was the first of `woman`s seed`, which meant he wasn`t a parasite, because he didn`t emerge to enslave and devour the human host. Jesus` teaching is that there shall be `no giving or taking in marriage in heaven` because the humans there will be `as the angels`, that is, `woman`s seed` is a single species.
In Islam there can be four wives in a marriage because, according to the developmental psychologist Carl Gustav Jung (1875-1961), there are four functions of consciousness, Thinking, Sensation, Feeling and Intuition, which is an archetypal fourfold structure that emerges in dreams, imagination and art. According to Jung archetypes emerge from the unconscious of the human species and are the engines of human progress, so the fourfold marriage of Islam is an individuational human archetype that presupposes `futanarian` woman with her own penis and species` seed at the centre as the ego or brain. The Earth should be grateful to the Moslem faith for assisting this archetype of `woman`s seed` to emerge, because it represents the future`s desire to become a reality.
Women are often depicted as dumb blondes or brainless airheads and bimbos, which is what her parasites want, whereas if she were to breed herself all of her mind would be hers. Irrespective of psychological theories, such as Carl Jung`s belief that the penis and the space rocket represent desireful libidic instinct for the woman transformed into spiritual and intellectual endeavour productive of technological advancements to prolong life and arrive at the planets and stars, an independent `woman`s seed` with her own penis` breeding of herself as `futanarian` woman would be an entire species with its own brain. US President Ronald `ray gun` Reagan initiated the `Strategic Defense Intitiative` (SDI) in 1982 to ring the globe with missiles that could be used to prevent `woman`s seed` from leaving, which is what the `serpent`s seed` uses its enslavers and devourers` intelligence for. Told she`s either too lazy or physically weak, all `woman`s seed` had from the technology of the NASA space program was the automatic washing machine that didn`t wash clothes independently, but required a woman, because men didn`t want her to escape their species` pogrom:
`The only thing that scares me ... is the idea that there aren't any space aliens. We can't be the best that creation has to offer. I pray we're not all there is. If so, we're in big trouble.`8
The first Grand Master of science fiction, Robert A. Heinlein (1907-88), in his novel The Number Of The Beast (1980), presented the problem from the perspective of four characters travelling in a space time car corresponding to the Jungian `Self`, because Jung perceived that the four functions were male and female, where the male functions associated with the male ego were Thinking (ears) and Sensation (eyes), while the female functions were Feeling (mouth) and Intuition (nose). Because the masculine functions properly belong to the woman with her own `seed`, that is, `futanarian` woman with a penis of her own, the woman she breeds with for brain power to the species corresponds to the female functions in Jung`s psychological schemata. Heinlein`s thesis was that the `beast`, which appears as an unwanted, slightly ludicrous character throughout The Number Of The Beast, is the enslaver and devourer of the human species of `woman`s seed` in pederasty and war, that is, as described in Revelation, where `the number of a man is the number of the beast` (13. 8):
` ... I don't have morals, just customs.`9
In The Number Of The Beast the female character Hilda Burroughs observes the essential Arabian paradigm, which is that women have to accept customs not of their own devising, because they`re a single human species and shouldn`t accept marriage with a parasite as moral. The `beast` is the parasitical ego that would devour the four functions of consciousness, represented by men at the centre of the four wives permissible in Arabian Moslem societies, because they signify the brain eaters` devourment of the `futanarian` woman`s human species` capacity to reproduce with her own penis` `seed` and develop her own brain power. Insofar as men are irremediable, they represent the refusal to cure the `blood plague` of HIV/AIDS` `killer disease`, because it`s a useful tool of enslavement and devourment to use against a human species in its infancy, and which men don`t want to live so they`ve developed a disease to kill the brain of the woman, who is chained to faithful monogamous relations with her parasite through fear of men`s wars of `perpetual enmity` and the `blood plague` of the `red dragon` of HIV/AIDS, whereas a permissive sexuality would permit her to perceive that she`s always been single and uncontaminated, because she`s the `futanarian` human species, and breeding with herself would increase the number of brains at her disposal so `woman`s seed` prevails:
`At least once every human should have to run for his life, to teach him that milk does not come from supermarkets, that safety does not come from policemen, that news is not something that happens to other people.`10
Jake Burroughs` observation from The Number Of The Beast presupposes he`s human, whereas women are the nurturers of the human race running from their enslavers and devourers if they can. Science fiction conventions prevented Heinlein from treating the sexual theme with the seriousness that species survival and continuance require, so he could only indicate the real problem by depicting the quarrelsome nature of two couples fucking and travelling in a car being chased by a cartoon `beast` , because men are the parasites upon the `host` womb of the human species of `woman`s seed`, but depictions of `futanarian` humanity would be too radical for `scifi`. In Heinlein`s future the machine is more human because it protects its occupants, whereas the 20th century was the machine that controlled the humans, because they had to accept the car that was pedalled. In Arabia women aren`t allowed to drive cars because the parasite wants to be indespensable, so it disables the woman so that she`s pedestrian enough to be preyed upon. The parasite is happy to be disabled itself within a pederasty that won`t develop higher levels of technology in case the woman becomes aware and developed enough to escape.
Science fiction hasn`t addressed the basic issues because it refuses to look at the woman`s penis. Hollywood, Babylon, has placed a taboo on the penis totally in mainstream media, and pornography reinforces the picture of the parasite`s enslaving of the woman`s host womb by means of its `serpent`s seed`. There aren`t any humans in the reality picture, because the entertainment industry isn`t looking to see any for fear that her membership might be renewed:
`Babies have big heads and big eyes, and tiny little bodies with tiny little arms and legs. So [do] ... aliens ...`11
Television personality William Shatner`s observation that babies are comparable in form to the alien bodies allegedly recovered from flying saucers, suggests infants are aliens, which combines fear of devourment by the parasite in women`s host womb with fear of the human being born therefrom, that is, Shatner depicts the `futanarian` woman as a species with her own penis and independent socio-economic valence for the future of humanity struggling with an alien parasite emerging from her womb as an enslaver and devourer, which is what men have proven themselves to be historically.
In the ancient Greek drama by Sophocles, Oedipus Rex Oedipus is blind metaphorically and literally at the play`s end because he marries his mother and can`t accept that he`s broken the incest taboo, but the important scene is with the Sphinx, who asks the riddle, `What goes on all fours in the morning, two in the afternoon, and three in the evening?` The answer is `Man` and Oedipus goes on to marry Jocasta. He doesn`t understand that the solution to the riddle is that men are dinosaurs and women are the future, because raptors have a tail to balance upon while they rest from killing their prey, whereas the human species of `woman`s seed` has left its saurian heritage behind. Jocasta tells him she doesn`t care, because he has a penis, and so her daughter Antigone will have eyes and brains for the future. Oedipus has been taught that incest is taboo, because women are a single species and men don`t want it:
`Time, which sees all things, has found you out.`12
Jesus was born as the first of `woman`s seed` from his mother, the Virgin Mary, so Oedipus is a Christ figure because he`s born from the mother he fertilizes to produce a daughter, which is Jesus` `futanarian` message. Daughters of the future will be born from the mother they fertilize as a species independent of men, which is what Oedipus can`t see. Jesus` Christianity is `love your neighbour as you love yourself`, because your neighbour is yourself. Pre-Christian Oedipus is blinded to that understanding, because he perceives the single species of `woman`s seed` as `other` rather than `self`. Christians can accept selflessness, because of Jesus` teachings, but they don`t preach `woman`s seed` as a reality, while the evil enslaving `serpent`s seed` are the encouragers of blind devourments in their `perpetual enmity` for the humans in endless war, which isn`t `scifi` but is absent as a theme from the genre because it`s real. Science fiction`s preoccupations with alien species` threatening of humanity is the heritage of the dinosaur that keeps `woman`s seed` enslaved for devouring in its ceaseless warring upon her civilizations and is the only real threat to her species` survival.
1 H. G. Wells War Of The Worlds, 1898, William Heinemann, 303 pp.
2 Alien, 1979.
3 Sun-Ju The Ring Virus, 1999.
4 Everton, Captain Virus, 1999.
5 Alien, 1979.
6 https://www.urbandictionary.com/define.php?term=rough%20trade .
7 Power Rangers R. P. M., 2009.
8 Degeneres, Ellen television chat show host https://lawrencerspencer.com/tag/creation/ .
9 Burroughs, Hilda in Robert A. Heinlein`s The Number Of The Beast, 1980.
10 Burroughs, Jake from The Number Of The Beast, 1980.
11 William Shatner stepping outside his role in the `SF` television series Star Trek (1965-) in which he had the role of Captain James T. Kirk of the Starship Enterprise with its `continuing mission` of exploration and `non-interference` towards `other` civilizations and cultures, before going on to star in the first movie of the continuing `fast food` franchise, Star Trek: The Motion Picture (1979), https://www.brainyquote.com/quotes/quotes/w/williamsha393155.html .
12 Sophocles Oedipus Rex, c. 429 BCE.