Holywood's Satanic Agenda (22): V For Vendetta

2006's future dystopian sci-fi political thriller V For Vendetta has a familiar premise: the rebel (terrorist/freedom fighter) taking on the tyrannical government heroically and thus reigniting the populace with the long suffering spirit of freedom.

The problem with this set up, the reason it's so subversive, is that it's so applicable to the situation today. Most, maybe even all, governments are corrupt and oppressive at some time or another. But there are two inherent faulty assumptions built into this application: 1) that these corrupt governments continually reform organically (What, they're going to try Marxism again?) and 2) that there is no further agenda beyond the formation of the dictatorship itself.

These points we will take up at the end of this report; however, the reader may be interested in a recent report on The Revenge Drama which hits the highlights on how people are manipulated into aggression.


The film opens with a short piece from 1605 featuring Guy Fawkes getting caught and hanged for the "Gunpowder Plot." Evey Hammond, providing the voice over, tells us:

"We are told to remember the idea and not the man. Because a man can fail. He can be caught, he can be killed and forgotten. But 400 years later... an idea can still change the world. I have witnessed firsthand the power of ideas. I've seen people kill in the name of them, and die defending them. But you cannot kiss and idea, cannot touch it or hold it. Ideas do not bleed. They do not feel pain. They do not love. And it is not an idea that I miss. It is a man. A Man that made me remember the Fifth of November."

The viewer will be practically beaten over the head with the notion that the hero of the film is not a man, but an idea. Hmm... where have we heard this before? Here (1.6)

"Political freedom is an idea but not a fact. This idea one must know how to apply whenever it appears necessary with this bait of an idea to attract the masses of the people to one's party for the purpose of crushing another who is in authority. This task is rendered easier of the opponent has himself been infected with the idea of freedom, SO-CALLED LIBERALISM, and, for the sake of an idea, is willing to yield some of his power. It is precisely here that the triumph of our theory appears; the slackened reins of government are immediately, by the law of life, caught up and gathered together by a new hand, because the blind might of the nation cannot for one single day exist without guidance, and the new authority merely fits into the place of the old already weakened by liberalism."

Now, this Guy Fawkes fellow and his comrades were intending to blow up the British Parliament in order to assassinate King James I, among others. Yes, the very same King James that adorns our KJV Bible (1611). This report is not too concerned with the plot nor the king--who has taken his share of slander recently--but anyone interested in a defense of King James might start here.

The only thematic material we need derive from this is the attempted overthrow of the religious establishment.


After Fawkes' hanging, we meet Lewis Prothero on the TV while Evey and V get ready to go out. Prothero is the "Voice of London," meaning a mouthpiece of the government, and is ranting about the demise of the United States--which, he says, was due to godlessness; the US is now the world's biggest leper colony because of God's judgment.

This, of course, sounds exactly like a TV religious personality. He has the appearance of a religious man, but as we can assume already, it will be revealed that he is a fraud. That's his whole purpose.

Now it could be argued that this characterization merely exposes the religious facade among most politicians today--Bush, Clinton, Obama, Carter, Blair, whomever, all claim to be Christians to give themselves a moral perch but act anything but. And we would be all for this kind of thematic expose--completely gung-ho--if that were truly what it was. But it isn't; as we'll see the religious connotations go much further than mere manipulative politicians.


Evey Hammond goes out late that night for a date of sorts and runs into trouble with some government "finger men" who try to rape her. But V shows up and prevents the attack. As he is about to punish one of the G-men/thugs, he quotes Shakespeare:

"We're oft to blame in this--'Tis too much proved, that with devotion's visage and pious action we do sugar o'er the devil himself." (Hamlet, Act III, Scene I)

This basically means that the religious facade is sugar coating for the devil; this theocratic dictatorship is really the devil in disguise. In terms of Gnostic cosmology, it was believed that Yahweh was actually Satan masquerading as God. There is some intended irony here too: most, if not all people, are wearing a mask of some sort or another; V, however, who wears a literal mask is the most upfront about what he really is, a villain.

On a similar note, recall the recent The Dark Knight, wherein the masked hero accepts the role of villain stoically for the greater good. Should we then sympathize withe the devil? Has he been demonized for his crusade against God? Has he/it been vilified for bringing gnosis and trying to set you free?

The answer to all those questions is No. He/it is the prince of deception.


V then invites Evey to join him for a show. From a rooftop they watch the Old Bailey building explode while V "conducts" an orchestra played through loudspeakers along the streets. The song, Tchaikovsky's 1812 Overture, is banned by the government the next day.

This juxtaposition between classical music and demolition suggests an "art of destruction" theme congruent with the "dashing assassin" V. This creative, or sophisticated form of destruction is an interesting bit of manipulation. If you were to watch the special feature on the DVD you would find the producer saying that the film asks the viewer to contemplate whether V is a hero or villain, or if his methods are sound.

That question may actually arise in a limited number of viewers' minds, but for most this dilemma will go by unnoticed. But the real fact is that the viewer's mind will be made up for him whether or not he experiences an ethical quandary with V. You see, this whole notion of "asking tough questions" is a crock of BS; it is merely an intellectual excuse to display whatever behavior you want on screen.

It the same with a musician who does something obscene on stage, then says he is "challenging social conventions." It's an intellectual rationalization and nothing more. So if you want your film hero to have all kinds of cool kung-fu moves and be handy with explosives and guns and everything else, and if you want to excuse his blood-spattering murders you must couch it with the implied disclaimer of "raising tough questions."

V is characterized as both the hero and the villain, but in whose eyes? The Hollywood formula is simple: confuse the issue, then provide leads to the answer. As we'll see, the viewers' sympathies are constantly directed toward V--as it is when his act of terrorism is masked by a masterpiece of music. This kind of propaganda is an attempt to realign your sensibilities.

The building being destroyed here--artfully, mind you--is the Old Bailey, the Central Criminal Court; this is a continuation of the judgment of the US motif spoken of only a few minutes before (by the fraud Prothero): here the place of judgment is being destroyed by the supposed "spirit of freedom" V.

Is that clear to you? The central location of judgment belonging to the fraudulent theocracy has just been destroyed by an anti-hero terrorist scored by Tchaikovsky. Again: confuse the issue, then provide the answers.

Prior to the detonation, V tells Evey:

"It is to Madame Justice that I dedicate this concerto. In honor of the holiday she seems to have taken from these parts, and in recognition of the impostor that stands in her stead."

Anyone familiar with this sort of subtext knows who the "impostor" is.


High Chancellor of the Norsefire theocratic regime is Adam Sutler (Adolf Hitler). "Norse" means north, making this the Northfire regime, which is probably a subtle allusion to the "mountain of the god's" to the north found in Isaiah 14:13:

"For thou hast said in thine heart, I will ascend into heaven, I will exalt my throne above the stars of God: I will sit also upon the mount of the congregation, in the sides of the north:"

The symbol of the Northfire regime is the Cross of Lorraine, the "double cross." On the surface this may appear merely as a substitute for the Swastika, but mating the oppressive theocratic dictatorship together with a symbol of deception we find a thematic continuity: the hoax of "religion."

The irony is that so many people these days think themselves enlightened for believing that the Biblical God is a dictator and that religion (Christianity) is oppressive without having any clue as to what's really going on: the religion they are going to get is the real oppressive dictatorship. But more on that later.


When V raids the BTV network to broadcast his message to the citizens, he is nearly captured by the police, but Evey helps him escape--getting whacked by one of the cops and rendered unconscious in the process.

She later awakens in V's underground lair.


The first thing the viewer notices is the mountains of books stacked to the ceiling.


Along with Evey, the viewer takes an inventory of V's surroundings. Along with the books, we find various forms of artwork as music plays in the background. These things are of course all banned by the government, and just having them is a crime.

From this visual sweep through the house, we get the impression that V is an educated, cultured, and sophisticated person who enjoys art, literature, music, and classic films. Unconsciously, this character build up guides the viewer toward sympathy for his cause; we are ostensibly asked to question his methods, but we are presented with a sophisticant who would surely have good reason for what he is doing. He isn't a barbarian, he quotes Shakespeare, he's intelligent, maybe he's right.

Compare this characterization with the terrorist in the film Deja Vu for example: he was a backwoods religious nut who lived in a swamp and farmed alligators (or something like that).

We also find the Gnostic theology in here: art represents man's creativity, ingenuity, progress and potential--things that come about after a society has developed enough to allow its citizens to explore the arts rather than work in fields to survive. V is the keeper of these banned things, the preserver of humanity's expression (also think of David in A.I. here). Risking his own safety to keep these banned items shows how important they are to him, and people like him.

Likewise, we see how unimportant they are to the theocratic regime; the regime is trying to suppress these things, i.e., to suppress the progress of mankind itself. This supposed oppression of mankind's development is a common theme covered here at NWOIB. The Norsefire's motto is:

Strength through unity, Unity through faith.

This basically means Strength through Faith. In other words, the strength of the theocracy depends on the faith of the citizens. In Gnostic theology, the demiurge demands faith while Lucifer (essentially) demands that you acquire intelligence.

In short, we find an all too familiar dualistic realm here: the big, powerful religious entity which thrives on ignorance, and the small, but intellectually superior rebel who will set people free from their prison of fear.


This is a vagina.

As Evey awakens, she finds V in the kitchen making here an "egg in a basket"--which we will see again later in the film, also prepared for Evey by someone hiding banned items. Both shots are way longer than necessary for a mere egg and slice of bread

The diamond is an alchemical symbol for the vagina representing birth, rebirth, transformation, change, et cetera. We already know that the ultimate objective of the Hollywood propaganda machine is the transformation of society as a whole, but in the film society is represented by Evey as the mother/womb of transformation.

Her name has a double meaning: first, she represents the "New Woman," like the Biblical Eve. She is a contrasting figure to Adam Sutler, who like the Biblical Adam, was created in the image of God--Sutler, we know, is the image of God in the film. It is Evey who is transformed in the film from a timid office worker to the fearless revolutionary by the end--the agent of change being V; remember that it was Eve in the Garden of Eden that was tempted by Satan.

Her name also alludes to the eve (evening prior) of the Golden Dawn, the dawn of the new age.


In the shot above we see a collection of butterflies on the wall. The butterfly is also a symbol of transformation from the raw form to the transcendent state--"getting wings" is symbolic of achieving divinity.

As for the identity of V himself, he needn't be considered a specific representation of Satan necessarily: the "spirit of antichrist" may be more appropriate here as it is emphasized throughout that he is indeed an idea. He has no name, no history, no face, and no memory; he is but a product of his environment.


Evey offers to help V, and dresses up in a schoolgirl costume as a plaything for a priest. Somehow it is arranged that Evey will substitute for the young girl to be delivered to Bishop Lilliman, a pedophile who is visibly distraught when he hears that his girl is a bit older than usual.

This pathetic man, appointed by Sutler to Westminster Abbey, is a grotesque reiteration of the hypocritical theocracy theme. In the above shot we see the bishop remove his crucifix and drop it into the hand of his assistant before entering the room. This indicates to us that he is religious in appearance only, but a scumbag in reality.


V kills the bishop. Leaving as his calling card a Scarlet Carson rose, thought to be extinct--like V himself and the "spirit of freedom" thought to be stamped out by the regime.

One may recall that in the film Daredevil a rose was used as an assassin's calling card; it's up to you to decide if this is a Hollywood cliche or something more. But also like the film Daredevil we see a supposedly Godly figure begging the devil figure for mercy--this just before V kills the bishop while again quoting Shakespeare:

"And thus I clothe my naked villany
With odd old ends stol'n out of holy writ,
And seem a saint, when most I play the devil."

Remember too how the Revenge Drama uses a hideous character to manipulate your aggression: the bishop is a fraud and a pedophile, he deserves whatever he gets, doesn't he? If Hollywood wants the viewer to sympathize with the vigilante, the viewer will know it.


Evey is later captured, and put into a small jail cell. Above we see her head being shaved; she is abused, left in solitary confinement, and humiliated. However she is strengthened by lesbian love letters passed through a hole in the wall and refuses to reveal V's location to the authorities.

Even threatened with death Evey refuses to rat out V. And then she finds that her incarceration has been staged by V to free her of her fear. When confronted with the threat of execution, Evey faced death, and was thereby freed from her fear. In the times of the Roman Empire, slaves shaved their head when freed. Having her head shaved as she entered the fake jail symbolizes the process of freedom she was set to endure to free her from the metaphorical prison of fear she had been living in in her daily life under the regime--the same prison we all presumably live in.


On the Eve of November 5, V has a showdown with the police. Adam Sutler is killed, then the cops all fire at V. He then recovers and says "My turn" before killing all the police.

We saw this same sort of scene played out in the more recent film Iron Man: the hero takes all that his adversary can give, then kills them; Ironman even says "My turn."


But, alas, V is mortally wounded, so Evey will have to continue on with the destruction of Parliament. V's body is placed into the subway car filled with explosives.

At this point Chief Inspector Finch, who had been following the case, catches up with Evey in the Underground railway just before she sets it down the tracks. But Finch doesn't stop Evey or the subway car. Why? because Evey tells him "[V] was right. This country needs more than a building right now. It needs hope."

So now the good detective Finch, a man of the law, has swayed toward the vigilante's cause.


As the clock strikes midnight and the 5th of November arrives, the city is over run with Vs. The soldiers stand down as the upper echelons of government are dead--the government has been decapitated--and no one is giving orders.

V is dead, but his spirit (freedom/antichrist) has spread like a virus and infected the people; because, as they keep reminding the viewer, ideas can't be killed. The masses here too have faced the threat of death at the gun points of the soldiers and are now freed from their prisons of fear. Things will be different now; this is a revolution.


Parliament explodes. Finch asks Evey, "Who was he?"

Evey: "He was Edmond Dantes. And he was my father, and my mother. My brother. My friend. He was you, and me. He was all of us."

It becomes pretty hard to not sympathize with a vigilante murderer who is all of us.

Now, in order to prevent comments like "Hey, what have you got against freedom?" it needs to be emphasized that there are two storylines here: the overt and the covert. The overt storyline is the corrupt dictatorship; people are highly receptive to this theme because of, well, corrupt dictatorships. It is the emotional and intellectual investment in the overt narrative made by the viewer that causes a susceptibility to the covert narrative: that of the rebellion against God, Christianity, the Bible, a hatred of religion, and so on.

This is the ultimate revolution: rebellion against God. This is the trick being constantly played out on screen. God, Jesus Christ, and Christianity are continuously symbolically portrayed as the fascist, oppressive, progress suppressing, ignorant, violent, tyrannical dictatorship.

Remember this:

"One does not establish a dictatorship in order to safeguard a revolution; one makes a revolution in order to establish a dictatorship." --Nineteen Eighty Four

This country, along with many others, is currently being pushed to the brink of revolution. This is intentional. These degenerate NWO rats know what they're doing, they've done it before. As bad as things are these days, the post-revolution dictatorship is sure to be much worse.

Matthew 10:28, "And fear not them which kill the body, but are not able to kill the soul: but rather fear him which is able to destroy both soul and body in hell."

Hollywood's Satanic Agenda (21): A.I.

Anyone who has read some of the film reports posted at right will recognize immediately what lurks beneath the surface of A.I.--basically, more of the same hidden motifs, but here with the artistic mastery of Steven Spielberg. Peeling back a Spielberg or Kubrick film is a rather unpleasant experience here at NWOIB; for, on one hand, we have great admiration for their expertise, yet we can't tolerate the underlying philosophies. Oh well, then.

The reader may want to read first the report on Stanley Kubrick's 1968 film 2001:A Space Odyssey, remembered mostly for the HAL 9000 AI computer, but less known for it's alchemical transformation of man theme.

The 2001 Spielberg/Kubrick production Artificial Intelligence is about an AI computer on a hero quest for alchemical transformation (lead to gold, man to gods, robot to real boy). So similar are the films that this might have been titled 2001's A.I.: An Earth Odyssey.

Any reviews on this film will inevitably tell you that AI is based on the fairy tale Pinocchio--and that is sort of true. While Pinnoccio forms the framework of the narrative, AI is actually based on the same theme that Pinocchio was: that of the alchemical transformation of the golem.

The golem is something we harp over quite a bit here--and you should too. Golem is the Hebrew word for unshaped substance or raw form (Psalm 139:16). God created mankind from the dust of the earth (Gen 2), then breathed the "breath of life" into him--the unshaped substance formed into the image of God.

The golem quest of AI is the search for transformation into god.


The film opens with this shot of a roiling ocean. The narrator tells us:

"Those were the years after the icecaps had melted because of the greenhouse gases. And the oceans had risen to drown so many cities along the shoreline. Amsterdam, Venice, New York... forever lost. Millions of people were displaced. Climates became chaotic. Hundreds of millions of people starved in poorer countries. Elsewhere, a high degree of prosperity survived when most governments in the developed world introduced legal sanctions to strictly license pregnancies, which was why robots, who are never hungry and did not consume resources beyond their first manufacture were so essential an economic link in the chain mail of society."

There's a lot of propaganda packed in here: global warming, population control, resource sustainability, bad humans and good robots.

But most of all, notice the allusion to the Great Flood of Genesis. We know that God caused the flood because of man's wickedness; but here man is guilty of a different kind of sin: greenhouse gasses. Mankind are carbon-emitting eco-terrorists and this next great flood is punishment for our environmental sins.

We find that we are treading on some "religious" territory right from the opening shot.


We then see the Cybertronics logo, whose "M" design seems to allude to the Egyptian deity Osiris. This might appear to be a stretch at the moment, but it won't later.


The Cybertronics/Osiris logo is Professor Allen Hobby's. He is the father deity of the film, and as the creator of the mecha robots, the Gnostic demiurge.


Professor Allen Hobby says, "To create an artificial being has been the dream of man since the birth of science." In other words, science has enabled man to become creators--like God.

His company Cybertronics manufactures purpose-built robots called mechas--the ones so essential for the survival of society; but Hobby wants to do something new: he wants to create a robot that can love.


A woman in the audience says it isn't that hard to create a robot that loves, the trick is to make the owner love the robot back. She asks, "If a robot could genuinely love that person, what responsibility does a person hold toward that mecha in return?"

She then says, "It's a moral question isn't it?"

Hobby, "The oldest one of all. But in the beginning, didn't God create Adam to love Him?"

Hobby's question implies that we too are purpose-built golems. We already knew we were on Biblical grounds, but now the parallel has been drawn between God and man, and man and mecha. The man/mecha narrative will mirror the God/man relationship.


This mirroring is visually communicated by the mecha Sheila applying make-up.


That shot then fades into a shot of a woman applying make-up in a car.

These people are Henry and Monica Swinton, on their way to see their son.


Their son Martin is frozen in a cryogenic pod awaiting the science to find a cure for his disease.


On the wall we see various illustrations of fairy tales, ostensibly decorations for the children. But Henry and the doctor stop for a chat by the wall giving us a clear shot of the naked emperor from The Emperor's New Clothes fairy tale.

This emperor is clearly an allusion to God: their perception of Him is vain, self-centered and insecure like the emperor; that is why He created his "purpose-built love robots," so to speak. And just look at what pain His vanity has caused.


Henry, an employees of Cybertronics, brings home the new love robot, David ("beloved"). He is just a normal mecha at first; in order for him to love, the person who wants his love has to enter an imprinting protocol.


Kilroy was here. Anyone wanting to speculate on the possible Kilory allusion might begin here.


At dinner, we get this unusual shot. It appears that David has a halo of light. David, we will come to learn, is the christos child. This shot is symbolic of his divinity.

Hobby, remember, represents Osiris. And now we see that David is a god-child, or Horus.


And that would make Monica the goddess Isis; ergo, we have the moon symbolism running throughout the golem quest. AI's pagan trinity archetype:

Hobby = Osiris
Monica = Isis
David = Horus


Monica (Moonica) decides to keep David. There is a procedure to follow that changes David from a mere mecha to a robot that loves her. This is a big decision as once David is imprinted, he can never be resold, only destroyed if she decides not to keep him.

On the imprinting protocol, we see that there is a list of words to recite.


We also see that David is sitting on a circular rug with numbers. Hmm... a circle of numbers and words to recite. This is magic.

While we don't care to look too deeply at the significance of the numbers or words, suffice it to say that this is a magical incantation to bring the golem David "to life."

Arthur C. Clarke, who wrote the novel 2001:A Space Odyssey, said, "Any sufficiently advanced technology is indistinguishable from magic."

After the imprinting, David now loves Monica and calls her Mommy. Recall that Monica did not give birth to David: this is a technological immaculate conception.


If there is any doubt, later we see Monica remove an old toy robot bear from storage, turn on its power switch, then set it down in the center of the same circle where it then stands up.


A problem arises when Martin somehow gets better and return home. He was frozen, but is now resurrected. These same events will be mirrored later in the film with David.

David listens nearby as Monica reads Pinocchio to Martin.


After a sibling rivalry begins, Henry and Monica realize that they must get rid of David. Knowing that he must be destroyed, she tries to return him to Cybertronics, but can't bring herself to go through with it.

David is expelled from the Garden of Eden. Monica drops him off in the woods and tells him to run for it. David recalls that the Blue Fairy turned Pinocchio into a real boy. He decides to find the Blue Fairy so he too can become a real boy then return home to his mother whom he is programmed to love.

Thus begins the golem quest . The hero quest narrative typically has three stages, or phases:

a) departure
b) initiation
c) return.


The alchemical moon will guide David throughout his quest. The moon is a symbol of transformation--especially in propaganda films: think of any werewolf film, the moon/biohazard connection in Daredevil, the moon and monolith in Kubrick's 2001, and so on.

First the moon appears as a balloon carrying bounty hunters who catch him and a pleasure robot named Gigolo Joe.


The robots are brought to the Flesh Fair, also symbolized by the moon. This is where mechas are made sport of in a gladitorial style arena to "celebrate" life.


David and Joe are set to be executed. During the initiation stage of the hero quest, the hero must face intense challenges, sometimes with assistance--here it is Joe.

The announcer tells the crowd that this little boy is the latest "in their grand scheme to phase out all God's children."

"We are only demolishing artificiality!" This is quite high-minded speech for a mecha hunter. Could he be referring to the purpose of this stage of initiation?

"Let he who is without sim throw the first stone." Here alluding to Christ's words, we get our obligatory religious nut without compassion; they are always anti-technology, anti-progress (recall the Human Coalition in Surrogates).

David pleads for his life, something mechas never do, and the crowd turns on the announcer.


After escaping from the Flesh Fair, and passing the first test of initiation, David and Joe follow the moon to the Rouge City.


The roads leading into the Rouge City pass through big mouths, as though they are being swallowed. This is, of course, akin to Pinocchio being swallowed by the fish as well and the Biblical Jonah.

Rouge City is a debauched underworld, a libidinous playground where Gigolo Joe learned his trade.


So it's quite strange to find a chapel there; this is certainly not a flattering association. This alludes to religion being some kind of base desire, like sex, a very low-level activity--as Joe describes it: they go in, fold their hands, stare at their shoes and sing.

At first, David thinks that this is the Blue Fairy.

Joe tells him, "The ones who made us are always looking for the ones that made them." Here Joe reiterates the film's mirrored narrative, he then mentions that he has picked up a lot of business out front.


Next they visit Dr. Know, who can answer any question. Dr. Know tells them she is "at the end of the world where the lions weep."

This is gnosis, or enlightenment. Compare the stages of transformation with films like Death Race, 2001, or Semi-Pro.


David and Joe later escape from the police in the amphibicopter. As they fly away, we notice they fly through a big pair of lips. They entered the Rouge City through a mouth and exit from one as well; this symbolizes their being spit out from the fish, or leaving the underworld.

The significance of this we find in Matthew 12:40, "For as Jonas was three days and three nights in the whale's belly; so shall the Son of man be three days and three nights in the heart of the earth."

The account of Jonah prefigures the death and resurrection of Jesus Christ. In AI, we have already established that David is the divine christos child, so we can expect that he too will die and be resurrected.


They fly to the end of the world, Manhattan.


The place where lions weep is Rockefeller Center. This is where Hobby and Cybertronics are located.


Here David learns that he is not special, just one more of many. He becomes enraged and destroys another David. And again we see him shot with a halo of light.


David is actually based on Hobby's own dead son. Professor Hobby/Osiris is David's father.

David asks him, "Is Blue Fairy here too?"

Hobby: "I first heard of your Blue Fairy from Monica. What did you believe the Blue Fairy could do for you?"

David: "Make me a real boy."

Hobby: "But you are a real boy. At least as real as I've ever made one. Which by all reasonable accounts would make me your Blue Fairy."

David then learns that he was a test to see if he could find his way back to him, this would prove that David was truly capable of love, dreams, and desire. David is a success because he has demonstrated the ability to fulfill his own independent desires rather than what he was told to do.


Professor Hobby explains the test as such: "Where would your self-motivated reasoning take you? To the logical conclusion... that Blue Fairy is part of the great human flaw to wish for things that don't exist, or to the greatest single human gift... the ability to chase down our dreams."

Professor Hobby, the Osirian demiurge god-father, is essentially telling David that his dream is unobtainable. David is as real as he's going to get, i.e., he never going to transform or see his mother again. This does not speak well for the Hobby demiurge: his vanity has put people through this emotional wringer with no payoff at the end! No transformation, no Heaven. The quest was for nothing. The promise of Heaven is merely a fairy tale.

Notice that this message is found using reason and logic.

After this realization, David jumps from Rockefeller Center trying to kill himself. David has invested so much in his religion that after his belief system is shattered, the only option is suicide.


After he is rescued by Joe, David uses the Police amphibicopter to go to the Coney Island Pinocchio exhibit.


There he finally finds the Blue Fairy. Even after Hobby tells him there is no Blue Fairy, he still continues his quest--his desire for his mother is that strong.


And there he sits begging the Blue Fairy to make him into a real boy.


We then jump ahead 2000 years. The flood waters have frozen. Humanity is extinct.


David is discovered by aliens. Recall that we saw early in the film a boy frozen under glass: Monica's son Martin. Now we see the same "cryogenic pod" with David.


David goes to the Blue Fairy, touches her, and she shatters to pieces. Now he finally realizes that she--and his dream of becoming real--was just an illusion.


The aliens learn that David is a mecha with a record of the extinct humans, therefore he is again a special boy, unique in all the world. They recreate for him a simulation of his old home. A Blue Fairy meets him there based on the records of his quest.

Notice that she has the wings of a butterfly--symbolic of the transformation from a crude form to an ascended form. "Getting wings" represents achieving divinity. Here David is resurrected, unique, immortal, and back in his utopia. David is the "enduring memory of the human race."


The aliens can resurrect Monica using a piece of her hair, but she will only be alive for one day. This alien tells David that they found "the very fabric of space-time itself appeared to store information about every event which had ever occurred in the past."

What they discover was the so-called Akashic record, or Jung's collective unconscious, the over-mind, a big aethereal data warehouse in the sky.


This is David's dream come true, back with his mother in Heaven. However, their roles are reversed now: at the start of the film David was brought home to Monica; now Monica is brought home to David. Previously, Monica/Isis tried to "resurrect" her son; now the son is resurrecting the mother. He wakes her up in the morning, makes her coffee, tells her stories, and tucks her into bed that night.

Her final words are, "I love you, David. I do love you. I have always loved you."

The narrator tells us, "That was the everlasting moment he had been waiting for."

David then lies with his mother and closes his eyes for the first time in the film as we are told for the first time in his life he went to the place where dreams are born.

Thus he has completed the final stage of the golem/hero quest (return) successfully and he is at peace.

So what you're getting while watching AI is a massive dose of Jungian psychoanalysis--a 2+ hour session. This sort of Hollywood archetype (symbol) therapy is predicated on the notion that you, like David early in the film, have a mental disorder which keeps you attached to an erroneous belief system--belief in God, Christianity, the idea of someday reuniting with Him. The purpose of films like this is to "heal" you of this disorder. This is the order of the new world: God is removed from the top position and replaced with man.

Thomas Carlyle on the power of symbols:

"In a symbol there is concealment and yet revelation: here therefore, by silence and by speech acting together, comes a double significance. In the symbol proper, what we can call a symbol, there is ever, more or less distinctly and directly, some embodiment and revelation of the Infinite; the Infinite is made to blend itself with the Finite, to stand visible, and as it were, attainable there. By symbols, accordingly, is man guided and commanded, made happy, made wretched."

For an explanation on how these symbols are imposed onto the viewers' unconscious, refer to our recent post Hollywood and the Third Commandment.