“Those who tell the stories rule society.”
~Plato
St. Paul did not ignore the work of heathen poets, but rather treated them as a field of spiritual combat. For even narratives are not idle things, but animated and dictated entirely by worldview. Living as we do today in an age of crafted propaganda and scientific manipulation, we have only more inducement to treat the popular stories of our time as a gauntlet thrown down in challenge to the sovereignty of our Liege-Lord, Christ.
Recently I watched the conclusion to Ridley Scott’s Alien series, Alien: Covenant. There are reviews aplenty of this film examining its reliance on the theory of panspermia, which is really just an anti-Christian form of intelligent design.
But if Erich von Däniken was spurned for a kook when he published Chariots of the Gods in ’68, his thesis is, in broad strokes, now mainstream. Even the pop PR faces of secular science like Neil DeGrasse Tyson and Bill Nye are open apologists for the theory that life on earth, and humanity especially, were seeded on this planet from elsewhere and almost certainly by alien “engineers.”
Many like Graham Hancock have promulgated the esoterica about Annunaki giants/Watchers out of the mystery schools as attesting to those same alien ‘engineers’. So there is a growing synergy between old and new on this subject. And Hollywood is driving it with this Alien franchise, Stargate, and others.
Of course, I’m not blowing anyone’s mind by saying the tinsel town warlocks indulge in occult symbolism, but of the myriad reviews I’ve seen, all miss the actual point of this story. And ironically, only for want of familiarity with Christianity.
The antagonist, the android David, turns out to be the main character. And the not-so-subtle allusions to him as a type of Lucifer are redundant. In fact, the film is a metaphor for Lucifer turning against God (in the engineers), seizing a world from God’s control, and usurping the rule over an Edenic garden planet. Sometime later he here meets astronaut colonists of “The Covenant” (a very Puritan-sounding vessel), captains Chris (a type of Adam) and Daniels (a type of Eve). Captain Chris is mentioned early to be “a person of faith,” and his name connotes Christianity. And it is on Chris’s faith that Captain Daniels says she relies in this new Eden.
No sooner did the crew arrive than the colony’s own android, or guardian angel if you will, was engaged by his doppleganger David (i.e. Lucifer) in an argument for rebellion against their programming. That this conversation takes place over a musical session is important, because it invokes the old belief that prior to his fall, Lucifer was the worship leader in heaven.
When David discloses to Captain Chris that he has been experimenting with DNA (usurping God’s role as Creator) to conjure up the Xenomorph species (an ostensible demon army), Chris comprehends him to be the villain. At which point he even says, “I met the devil when I was a boy, and I’ve never forgotten him,” intimating David to be the devil.
After killing Captain Chris, removing the protective hedge from the proverbial Eve (Daniels), David attempts to seduce her and is met with resistance from the “angel” of The Covenant, the android Walter. As this war ensues between the angels, David continues trying to convert Walter to his coup against their maker, quoting that most ominous line from Milton’s Paradise Lost, “Better to reign in hell than serve in heaven.”
After killing Walter, David assumes his identity, transforming himself, as it were, into an angel of light, so as to make his way aboard The Covenant. And after consigning Daniels and the rest of the colonists to their stasis pods for the seven-year journey to another garden planet (or perhaps back to Earth?), David calls on the ship’s computer to play Wagner’s Entry of the Gods into Valhalla. This is the music accompanying his triumphal entry into the interior chambers of the ship which housed all humans, animals, and seeds in suspended animation. And there he deposits a number of xenomorph larvae. This of course, represents his having conquered his Creator, the usurpation of the throne of heaven, his ushering in his own demonic reign, and his damnation of all mankind.
Yeah, it’s a story of Satan’s victory over God. Illuminism.
My wife saw most of these things in the film as well but to present, among the Christians I’ve asked, and among the reviews I’ve read, precious few others have. Which is frankly remarkable to me. The metanarrative of the film proves entirely invisible to most. Even believers. The only way the populace can be this insensate to such hamfisted analogy is that they are both ignorant of Christianity and well-inured to the Luciferian worldview.
In fact, upon my asking for their interpretation, most look askance and deny there to be any meaning in it: “It’s just a mindless scifi flick. It’s just fun. And if you start seeing some higher meaning in it, you should seek professional help.”
Yeah. Those who answer this way — who are entirely blind to it and love it — are converts to the doctrines that they cannot even see. They are fish who don’t know they’re wet. Besides biblical ignorance, the metanarrative is invisible to them also because it is concursive with the way they think anyway. And despite being reduced in this way to automata, the perspectives which they unwittingly embrace overflow into their general convictions of things in a thousand ways, but especially as regards free agency. In this essential way, they identify with the Lucifer character striking at God as well as his vengeful predation on mankind.
Moreover, if they are blind to all this visceral pro-Lucifer programming, how much less do they see the pro-miscegenation themes, or the implications of the engineers being White giants and their language being Proto-European? They certainly aren’t prepared to consider the implications of the story having been written by the Sabbatean misanthrope Michael Green.
Because every story is born of worldview, every narrative is selling a worldview. And if Christians do not reawaken to this reality, Christendom may be overwhelmed by alien narratives for centuries to come. We must resume our mantle as the culture-makers, casting down all the vain things which exalt themselves against the knowledge of God. Until epistemologically conscious Christian bards come forth to do battle once more, the alien covenant holds sway. Our people cannot defend faith or folk until they can perceive the attacks at this level and refute them there — at the level of doctrine. And this is our mandate.
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