JUPITER ASCENDING JUST LIKE SPACE GIRL BARBARELLA
Jupiter Ascending is the title of a 2015 American–Australian space opera, which was written, produced, and directed by Lana and Andy Wachowski. The film can be generally described as being a cross between The Matrix, Star Wars and a politically correct version of Barbarella. Many of the visuals of the film appear to be heavily influenced by Roger Vadim’s Barbarella as well as by Terry Gilliam’s artistic style. Gilliam’s influence is obvious, since he has a small part in the movie as well. The film also cleverly utilises the UFO mystique concerning the now iconic Greys and UFO abductions.
The principle Barbarella character is Jupiter Jones, who is living her life as an ordinary cleaning woman, until she meets up with Caine Wise, an interplanetary warrior sporting Vulcan ears, though Lupine of hybrid source, who has been sent to protect her from being murdered by Balem of the House of Abrasax, the most powerful of the alien dynasties.
It is a shame that Jupiter Ascending takes itself so seriously, it would have been far better if it had the slick Barbarella humour of Space Girl.
The Barbarella Space Girl episodes were created by Tom Small, written by the Barely Political Team and Edward Einhorn, which stars sexy Lauren Francesca. As for the name of Balem, it is derived from the 51st Goetia spirit called Balam; whereas Abrasax is the name of Abraxas, who is a Gnostic deity, being a fusion of God and the Devil.
Anyway, it turns out that Space Girl, I mean Barbarella, damn it, sorry, Jupiter Jones is the reincarnation of Balem’s mother. Balem is essentially the male equivalent of Barbarella’s Great Tyrant, otherwise called the Black Queen of Sogo; she is the one who said; “pretty, pretty,” in a most sensual way.
The population of Earth are totally unaware that their far flung ancestors had been originally seeded upon the planet after the then dominant dinosaurs were purposefully eradicated by a technologically advanced seventh type Barbarella civilisation.
Countless other worlds throughout the universe have also been likewise seeded by the ruling families of trans-human and alien royalty who are somewhat akin to the Gnostic Archons, fused with Vampires, whose genetically enhanced butch stormtrooper soldiers have wings of Angels.
The trans-human Archon families seeded the Earth and that of other planets for the express purpose of later harvesting humans to produce a serum for the elite Vampires, which enables them to become immortal.
Balem has inherited an enormous serum refinery on Jupiter after his mother’s demise who, like jealous Jehovah seeks to harvest the Earth’s human population, so, he is none too happy that she has been resurrected as a Diana-Lucifera on Earth, since his mother rebelled against the continuance of harvesting humanity’s life-force, for an elite few in Heaven.
The themes of immortality, reincarnation and resurrecting the dead are the main themes of the Barbarella type movie, which is tied up with the planetary sphere of Jupiter.
The film’s focus upon Jupiter may in part have something to do with the Toynbee tiles (also called Toynbee plaques), which are messages of unknown origin found embedded in the asphalt of streets scattered around two dozen major cities in the United States as well as four South American cities. Perhaps it is a Dadaist joke, or a Surrealistic rebellion, or both, to go viral, of art meme.
Since the 1980s, several hundred of these tiles have been discovered. They are generally about the size of an American license plate (roughly 30 cm by 15 cm), sometimes considerably larger. The tiles communicate variations of the following inscription: TOYNBEE IDEA, IN MOViE `2001, RESURRECT DEAD ON PLANET JUPITER.
Toynbee’s idea” stems from a passage in Arnold Toynbee’s book Experiences, pp. 139–142: “Human nature presents human minds with a puzzle which they have not yet solved and may never succeed in solving, for all that we can tell. The dichotomy of a human being into ‘soul’ and ‘body’ is not a datum of experience. No one has ever been, or ever met, a living human soul without a body… Someone who accepts—as I myself do, taking it on trust—the present-day scientific account of the Universe may find it impossible to believe that a living creature, once dead, can come to life again; but, if he did entertain this belief, he would be thinking more ‘scientifically’ if he thought in the Christian terms of a psychosomatic resurrection than if he thought in the shamanistic terms of a disembodied spirit.”
Going by Tonybee’s quote he hadn’t figured on how far computers have technologically evolved, which may lead to individuals uploading (Ascending) their (Jones/John the Baptist/Head) consciousness into a (Matrix) virtual reality, at their eventual ‘Omega Point’ demise. As for the tiles usage of Jupiter, it can be seen as a possible allusion to an occult focus upon Jupiter’s planetary sphere, which is traditionally associated with the number, ‘four.’
The number four is also used to describe a level of civilisation’s evolutionary progress concerning the Kardashev scale. The Kardashev scale is used to investigate hypothetical technological levels of future human civilisation as well as possible extraterrestrial civilisations.
However, the Kardashev scale only describes three types of civilisation; our present civilisation is not even a first type. Although many extensions beyond the three types of the Kardashev scale have been proposed by theoretical scientists.
A type four Kardashev rating for a civilisation can control or use the entire universe. Such a civilization approaches or surpasses the limits of speculation based on current scientific understanding, its technology would be indivisible from magic.
A Type four civilisation is also capable of manipulating individual atoms, creating nanotechnologies on the atomic scale as well as creating complex forms of artificial life; wherefore overcoming death.
The ‘Omega Point’ theory of physicist Frank J. Tipler would presumably occupy this fourth level, as would the Biocosm hypothesis. Tipler’s Omega Point describes human personalities, being run as simulations within a universe, which has been transformed into a vast computer.
As a result, after the Omega Point has been reached, humans will have omnipotence, who are able to see all of history and predict all of the future.
Additionally, as all history becomes available, past personalities will be able be to run as (Tulpa) simulations within the (Maya) simulation, who are essentially the resurrected dead.
Tipler equates this Jupiter (Zeus/Jehovah) state with the Christian heaven. However, it may be a case we are already simulations within an ancestor simulation, being run by a future ‘Jupiter’ level civilisation, which has the capability to time travel browse, through their ‘eternally recurring’ simulation; whereby we are all the resurrected dead within a Matrix.
As an aside, Jupiter Jones is eventually swept up in the Angel wings of Cain Wise who had initially lost his wings for being a bad-boy lupine.
Cain is somewhat like the blind Angel named Pygar who helps Barbarella in her quest to save the universe from the Great Tyrant.
Pygar states in the Barbarella movie that he is the last of the ornithanthropes and that he has lost his will to fly; but Barbarella soon gives him the will to fly again by riding his rocket.
Barbarella is a cult classic, which transformed Jane Fonda into a Venus icon, though later considered to be sexist by many feminists; this would have been have been more so the case if her curvaceous form was being assaulted by the ‘fifty’ slimy ‘grey’ alien tentacles of Lovecraftian entities, seeking to devour her aroused flesh.
Whereas Jupiter Ascending has become a favourite of female science fiction fans who are no doubt fans of the Twilight saga, concerning a girl bound between necrophiliac Vampires and bestial Werewolves, which led to bondage Fifty Shades of Grey.
However, Jupiter Ascending didn’t go down too well with a larger audience who are presently living through the Orwellian war on terror after the Iraq conflict, though some to say it will become a cult classic, just like the space flick, Gravity.
But it will not be in the same league as Barbarella. When you have a film about techno Vampires, immortality and death, it invariably conjures up the opposite of erotica, since sex equals life and creativity. Jupiter Ascending was far too politically correct to depict erotic themes as to find in Barabarella, which had surfed the Make Love, Not War Hippy zeitgeist age of Aquarius, to also have a sense of Terry Gilliam humour during the era of the Vietnam war.
Overall, I liked Jupiter Ascending as well as all the other art movies by Lana and Andy Wachowski. The special effects and visuals are quite stunning of an updated similarity to Vadim’s Barbarella. But if a TV series of Barbarella ever gets off the ground, which of a production, is also Entartete Kunst politically correct, due to the Twilight pandering to Fifty Shades of Grey feminists, it will fall like a leaden Angel, without any wings!