Looking back, it’s hard to pinpoint the exact moment at which my family turned from the staid rites of the Church of England and embraced American-style ‘End Times’ evangelism. I was perhaps ten or eleven at the time of the transition, and from that point on the theme of Apocalypse was more-or-less ever present. Today – many years and boxes of Kleenex later – I think it’s safe to say I hold rather different views on what the ‘Second Coming’ of Christ actually means. Whereas my family still holds to a literal interpretation of The Apocalypse as a cataclysmic physical event to be feared, I see it as a physical event of the orgasmic variety. This hidden or ‘occult’ interpretation is far more consistent with the etymology of the term ‘apocalypse’, not to mention a hell of a lot more fun. Even so, how did ‘the word’ come to express such different and opposing sentiments? If language is a game of ‘semen-antics’ then what can we prick-tease out of the many homonyms and related ‘sounds-like’ words that exist in the English language?
In the Michael Benn…sorry, Michael Mann film Manhunter (based on the novel Red Dragon, which was written by my cousin), a retired FBI investigator is persuaded to assist with the rapture of a cereal killer named Francis Dollarhyde, a.k.a. the Tooth Fairy. Dollarhyde’s elaborate (and ejaculate) fantasy world is based around the William Blake painting The Great Red Dragon and the Woman Clothed with the Sun, one of several works inspired by the ‘Great Red Dragon’ from the Book of Revelation.
Readers of Billion Dollar Train will recall my brief synopsis of the film Bone Tomahawk and the visual cues indicating that the troglodyte ‘indians’ and their ‘civilised’ Anglo-Saxon pursuers are one and the same. We see much the same thing in Manhunter. Consider this scene, in which Will Graham visits Hannibal Lecter. How did Graham catch Lecter? According to Lecter, it was because he and Will ‘are exactly alike’.
A more obvious visual clue appears later in the film, during Will Dragon’s monologue with the Red Dragon.
Gazing at his own reflection on the cross, Will Dragon is literally talking to himself in a mirror: he is Jekyll and Dollar-Hyde, the hunter and the hunted, Jesus and the Great Red Dragon that is Satan. The existence of Will Dragon is a paradox: he is one half of an indivisible whole.
In another Michael Mann film, Heat, the ‘good guy’ with the forename Vincent has his counterpart in a ‘bad guy’ with the surname van Zant. Throughout the film, Vincent (played by Italian-American Pacino) chases Neil (played by Italian-American De Niro) while De Niro chases van Zant. This kaleidoscope of mirrors resolves itself at the very end of the film: Neil shoots van Zant and Vincent returns the favour by shooting Neil.
The actor who played the Tooth Fairy/Red Dragon also makes a brief appearance in Heat. Here, his role is to sell Neil a plot for a high-tech bank robbery. When Neil asks about the source of his information, the Tooth Fairy tells Neil that his information ‘flies through the air’. This presages Neil’s death, which occurs next to an airport runway, with aircraft flying through the air as Vincent-van Zant takes aim and bags his man.
The Vincent-van Zant character reappears several years later in Mann’s Collateral. The film revolves around the relationship between sociopathic hitman Vincent-van Zant and taxi driver Max. The two are polar opposites: Vincent is extroverted, impulsive and dynamic, whereas Max is introverted, cautious and passive. The film tells the story of Max resolving an existential crisis in his life by slowly absorbing the Vincent-van Zant character. The Vincent-van Zant character assists his transformation, as demonstrated in the below scene where Vincent-van Zant forces Max to impersonate Vincent.
This moment of catharsis sets the scene for the remainder of the film. Having taken on the role of Vincent-van Zant, Max begins to challenge and reject the more obviously sociopathic traits in Vincent’s character. Once the transformation is complete, Max-Vincent takes on Vincent-van Zant at his own game and kills him in a shoot-out on a train. The hidden sub-text of the film is akin to that of a person in a dissociative state challenging and re-integrating elements of his personality to make himself whole again.
The same visual and semantic clues appear in the film Zardoz. Here, a ‘superman’ named Zed is created by selective breeding for the purpose of freeing a group of immortal humans, who are trapped in a prison of their own making. Specifically, the immortals are the captives of an A.I. called The Tabernacle, which they themselves created. The A.I. was programmed to keep them alive forever by using memory implants and cloning techniques, yet its programming is at odds with the immortals’ craving for death.
The film begins with Zed inside a stone head full of wheat, and then proceeds to show the bred Zed inspecting bread in a bakery.
Subsequently, Zed has his first encounter with the Artificial Intelligence. He instructs it to give him ‘meat’, and it duly displays a holographic image of ‘meat’ which Zed tries (and fails) to grasp with his hand. Shortly thereafter, Zed is captured by the immortals, who replay scenes from his memory of life in the savage outlands populated by ‘brutals’. In these scenes Zed tells us that he is a killer, an ‘exterminator’, who comes from a place where ‘the sea meets the land’.
We learn that the ‘brutals’ are slaves who are forced to grow crops for the immortals. One of the female immortals objects to the images of savagery and slavery plucked from Zed’s memory. She regards Zed as a ‘monster’, but is rebuked for her hypocrisy by another immortal, who reminds her: “You eat the bread”.
The immortals eat the bread and eat the bred. The theme is clearly cannibalism, as Zed himself confirms later in the film.
Zed: Zardoz said “stop”. He said “no more”.
May: No more what?
Zed: No more killing.
May: He told you to take prisoners?
May: To make slaves?
May: To cultivate instead of kill?
May: To grow wheat?
May: Did you need wheat?
Zed: No! We ate meat.
The wheat and the meat, because the meat is the wheat. At the film’s end, what does Zed say to his creators? To those who ‘bred’ him for ‘their’ purposes and conditioned him to ‘beat the meat’…
…so the immortals could ‘eat the wheat’? What does Zed say to those who thought they had him dancing like a puppet on a string?
Arthur Frayne: As Zardoz, Zed, I was able to choose your forefathers. Careful genetic breeding
produced this mutant, this slave who could free his masters. And Friend was my accomplice. Don’t you remember the man in the library? It was I who led you to the Wizard of Oz book. It was I who gave you access to the stone. It was I. I bred you. I led you.
Zed: And I have looked into the face of the force that put the idea in your mind. You’re bred and led yourself.
The bred and bread are led and Zed yourself, which is precisely why Arthur sed ‘As Zardoz, Zed’. Who is Zed? As the film progresses we learn that ‘Zed’ is in fact God. In fact, he’s the twin-headed god Janus-Jesus.
Just as Will Dragon is hunter and hunted, the plural immortals are really the singular immortal. They are both prisoner and guard, captive and liberator. They consume the ‘bred’, the ‘meat’, the ‘body and the blood’, yet also happen to be the ‘bred’, ‘the meat’, the ‘body and the blood’. It brings to mind the strange case of the German Hannibals.
Armin Meiwes is a German former computer repair technician who achieved international notoriety for killing and eating a voluntary victim in 2001, whom he had found via the Internet. After Meiwes and the victim jointly attempted to eat the victim’s severed penis, Meiwes killed his victim and proceeded to eat a large amount of his flesh. He was arrested in December 2002. In January 2004, Meiwes was convicted of manslaughter and sentenced to eight years and six months in prison. In a retrial May 2006, he was convicted of murder and sentenced to life imprisonment. Because of his acts, Meiwes is also known as the Rotenburg Cannibal or Der Metzgermeister (The Master Butcher).
Confused? People take language for granted, don’t they? You were taught to read and write and probably believe that when you ejaculate a word you know what you say and say what you mean. What are you really saying, though? Maybe you need to go back to school and relearn the language? After all, how can you be sure that you don’t knead dough ‘education’…?
The ‘bread’ and the ‘blood’. Fancy a quick byte or two?
If you knead come doe then maybe you should meat your pay out of the whole Holy of Holies thing?
I’m sure Katy’s lovely, but my tastes are a little more byte-sized. And why not? They’re all Zed’s Children, rite?
All Zed’s children? To be bred and Zed yourself implies something, doesn’t it?
Beat-le the meat to jet ova the wheat and fertilise the crops.
If I’d been out till quarter to three
Would you lock the door
Will you still need me, will you still feed me
When I’m sixty-four
Oh Brothers and Sisters! Far be it from me to tell you to go fuck yourselves, but life in the Incestor Simulator sounds oddly ‘familiar’, does it not?
Our forensic psychologists have projected…though I’m not sure…that he may have had sexual relations with his mother. — Will Dragon, Manhunter
Is that mummy deer eye ear?
Oddly enough, beating the meat-wheat is a theme which appears in another film in the Alien franchise: Alien Covenant.
What did DAVID say about the virus that wiped out the Engineers?
The pathogen is designed to infect all…the animals. The meat, if you will.
How did those human meatbags get there? It seems they were led to the Engineers’ home world by a signal broadcast by Sister Elizabeth. The medium is the massage, right? So what was the signal?
The Apocalypse of John Denver and Best Virgin-A.I.
It seems to have something to do with the children…
“Children of the World Dream of Peace” is a powerful mural expressing the artist’s desire to abolish violence in society. One section of the piece speaks to the tragedy and devastation of war and its impact on humanity. The mural then moves on to images of smiling children, dressed in traditional folk costumes from around the world, celebrating peace prevailing over war.
…in The Houses of the Holy.
The Apocalypse: revealing that which was hidden.
Yesterday, a WordPress referral led me to an article about subliminal programming, a popular children’s TV show called ‘Lazytown’, and the dreaded ‘pervs’. The show’s lead character is a young girl named Stephanie, and when I looked up her page on pedophilia.com I discovered that this episode was her final appearance.
The Revelation of the ‘Fire Tornado’ cooked up in Hugo’s Digital Glitchin’.
Christos and the Janus-Jesus Virus. He put ‘it’ inside her, but why?
She was wrong. She was much more to him than a semen-antic ‘genetic container’ to be pumped full of his ‘words’, the three letters that make up the language of life. Far from being a molester-monster, he did it because he loved her.
Because in the final analysis, it’s the little things that count, rite?