The Yeah Pods That Go With Pod`s Eyes
The Yeah Pods That Go With Pod`s Eyes
Robert A. Heinlein (1907-88) was the science fiction writer who wrote the juvenile novel for girls, Podkayne Of Mars (1963), at the end of a period in which he`d largely written for an adolescent juvenile boys` audience beginning with Rocket Ship Galileo (1947) about Nazis on the moon defeated by American perseverance in the right, and Starship Troopers (1959), which ended the cycle of educational children`s books with a description of an Earth society paradoxically demonstrating fascism as the basis for defeating a fictional enemy in an interplanetary war waged by alien arachnoid `bugs`. Starship Troopers, which was made as a 1997 film with actress, Denise Richards, as a member of a cadre of pilots called `mothers`, begins with Juan `Johnnie` Rico`s joining the Mobile Infantry (M.I.) after the destruction of the Argentine city, Buenos Aires in South America. Although the enemy is presented as a given, in terms of the novel`s structure it`s fascist, that is, people die, which is what fascism and Nazism represent. Or, in other words, Heinlein`s aliens are an extrapolation of what fascism is, that is, people fight and are killed, because that`s what fascists want. The enemy is incidental to the ideology, which only requires a target, and anybody will do. In terms of the novel`s avowed sense of public duty, everyone serves, and everyone is served, because the monster eats.
Heinlein`s juvenile for girls, Podkayne Of Mars, features a girl, Poddy, whose avowed intention is to be a `pilot`: `Poddy Fries, free citizen of Mars, female. Future pilot and someday commander of deep-space exploration parties. Watch for me in the news.`1. She doesn`t want to be a `mother` amongst the pilots of Starship Troopers; foremost amongst whom is Denise Richards in the film Starship Troopers who, as Carmen Ibanez, drops her boy sons, that is, her poisons, onto the `bug world` of Klendathu in a symbolic `biological warfare` against a fictional enemy extrapolated from fascism, that is, everybody fights, everybody dies, because that`s what fascism wants: `When you battle 6 trillion enemies that will eat you alive, there are only two rules ... EVERYONE FIGHTS. NO ONE QUITS.` What the `tagline` for the movie advertising doesn`t say is that it`s fiction, that is, there aren`t any alien enemies, whereas the fascist ideological perspective is that everybody dies, because fascism won`t stop wanting them to, and Starship Troopers describes what fascist pograms are. After the 1933 German election of the National Socialist (Nazi) Party the fascists built `death camps` in which upwards of 20, 000, 000 Jews were killed by poison gas before being stacked like logs and burned in incinerators. It wasn`t an accident that the fascist symbol was the ancient Roman Empire`s fasces bundle of wood with an axe, which made a cross of wood for Jesus Christ during the Empire`s occupation of Jewish Palestine, and nailed him to it, where he died for teaching: `Love your neighbor as you love yourself.` (Mk: 12. 31) Jesus was killed because he wasn`t a recognizable fighter, that is, he couldn`t be killed by encouraging him to die, although he accepted that, when he went to Jerusalem, Roman fascism sought to kill him. Consequently, Jesus` role wasn`t as a suicide, but the Romans made it look like that, because suicide missions are a part of fascist ideology, that is, it`s martyrdom for a cause, although the truth is it`s being killed as a fighter, which is what fascism, as the ideological perspective of the pogromer, wants.
Jesus` subsequent Resurrection and Ascension to heaven defeats the pogromer, whereas in Starship Troopers the pogrom continues, that is, `the bug war` is incidental to the pogromer, who seeks the extinction of the human race, because fascism is an alien. The M.I. fighting to the death of the human species against `the bugs` is what an alien pogromer programs its pogromed race for. In simpler terms, the human race is programed by the alien pogromer to pogrom itself to extinction. The human species has accepted the program, and the pogromer`s warrings against it, as necessary to its defining of itself falsely as a species fighting to live, whereas it`s a race killing itself through acceptance of an alien pogromer`s programing its self-murder. Jesus` murder was made to look like the suicide of a martyr, because thereby the fascist Roman Empire could encourage more suicidal martyrs, who`d believe they were killed for a cause, whereas they were being killed, because killing is what fascism is for. The difficult part of the exposition is to explain why the Jewish `chosen people` of the Old Testament of the Bible, which is the Torah and Talmud, that is, their law and history, were pogromed by fascism. Because Jesus` mother was the Virgin Mary, that is, he was born uncontaminated of the `serpent`s seed`. In the book of Genesis, which is the first book of the Old Testament, before Jesus` teaching was accepted by Christianity as the superseding New Testament, the angel, Satan, was transformed by God into a serpent and placed in the paradise of Eden that was heaven on Earth where he tempted Eve, the first woman, to `eat of the fruit of the tree of the knowledge of good and evil`, which it was death to taste, saying to her and the first man, Adam, also created by God, and whom Judaism depicts as a hermaphroditic anthropos, that is, a male woman with `seed` of her own, `You shall be as gods.` (Gen: 3. 5) God tells Eve her `seed` will have `enmity` with the serpent`s: `You shall crush the head of the serpent with your foot but he will bruise your heel.` (Gen: 3. 15) In Christian iconography Jesus` mother is depicted crushing the head of the serpent with her foot, because Jesus uncontaminate is `woman`s seed`, that is, futanarian humanity. Consequently, Jesus` Resurrection and Ascension to heaven prefigures that of `woman`s seed` through the sexual reproduction of her own brains` powers to restore to her immortality in medical science and the technology to colonize the planets amongst the stars of heaven above the Earth.
In Britney Spears` promotional video for her pop song, `Oops! ... I Did It Again` (2000), she appears in a red pilot`s suit on the red planet of Mars where she`s visited by an astronaut wearing something very like the North American Space Administration (NASA) Apollo space program spacesuit worn by the first man on the moon, Apollo 11`s Neil Armstrong, on July 21, 1969, UTC: 2. 56, `One small step for a man, one giant leap for mankind.` She`s Heinlein`s Podkayne on Mars, `the Poddy beautiful,` whose song begins, `Yeah yeah yeah yeah yeah. Yeah yeah yeah yeah yeah yeah. I think I did it again. I made you believe we`re more than just friends.`2 She`s an advertisement for the Apple company`s `i-pods`, a brand of `phone, whose users were introduced to the `air pods`, that is, wireless earphones to listen to music and watch Britney Spears` videos on, a few years later. To Heinlein readers, the science fiction setting of a girl in a red pilot`s suit on Mars is obviously Poddy, and the video, which features `Mission Control` looking through the eye of the camera attached to the spaceman`s space helmet is a part of the `i-pod` advertising for Apple, although there was a brand of wireless earphone called Apollo 7, which is indicative of brand competitors competing through a pop video singing star`s audience, that is, `Oops! ... I Did It Again`, is consistent with Apple, and Apollo 7 wireless earphone advertisements, because of the appearance of the Apollo astronaut, who Britney Spears winches up above herself, after placing a hook in his backpack, to where `Mission Control` can see herself in a white bikini dress beneath. She`s clearly the `apple of her eye`, which is spiritual idiom for what should be most delighting to Eve`s `seed`.
Descending to her stage set for her song and dance routine in `Oops! ... I Did It Again`, Britney Spears is inside what looks like a giant`s earring, that is, she`s heir to the years of the giant, Heinlein, which suggests that, although her foot is smaller than Neil Armstrong`s, the step she`ll take isn`t. The lyrics of the song are about the relationship between men and women, which is conceived as a `game` in which men and women feign friendship: `I played with your heart, got lost in the game.` The reason for that is because men have been host womb slaving `woman`s seed`, which is called `futanarian`, at least since the days of ancient Greece where homosexuality in pederasty for war was the institution. Consequently, Britney Spears` `foot` is like Eve`s and Mary`s crushing the head of the serpent, Satan, because there`re two Britney Spears in the video. In her red pilot suit she winches the spaceman up as her `i-pod` camera to where he can see her Poddy in the white bikini dress, which suggests women can double, that is, reproduce without men. In her red pilot`s suit Britney somersaults through the air. Air Pod is transformed to stand in front of her spaceman wearing a white blouse and a black skirt with black boots. The spaceman gives her a gift, and Britney replies: `But I thought the old lady dropped it into the ocean in the end.` The allusion is to betrayal by men.
In the film Titanic (1996) Rose is 100 years old and appears at the beginning of the movie to drop the blue diamond pendant, `the heart of the ocean`, into the sea at the point where the oceangoing passenger liner, Titanic, sank on April 15, 2012, after hitting an iceberg. The story is of how the young Rose, actress Kate Winslet in the film, jilts the lover, Carl, she embarks with, and takes another, Jack. Jack finds the diamond in his pocket and Carl accuses him of stealing it from Rose. When the ship sinks, Jack drowns saving passengers, while Carl escapes with the men who`ve taken the places of the women and children. Because the women are the humans, the story is a figure of betrayal. When Jesus was caught by his disciple, Judas, being anointed with expensive perfume, Judas, who was known for stealing from the collection plate after a sermon, suggested the oil be sold to raise money, but Jesus demurred: `Leave her alone.` (Mk: 14. 6) Judas subsequently gave Jesus over to the Jewish religious police, the Pharisees, for `thirty pieces of silver`, because Jesus was `woman`s seed` and Judas didn`t want Jesus to sexually reproduce, which was why he was killed. In short, Britney Spears` `Oops! ... I Did It Again` is an explanation of why men are treacherous, that is, it`s a `game` played by men against `woman`s seed`, so it isn`t to be taken as anything other than something to be seriously escaped from. Britney`s Pods are the heir to the years of Heinlein`s impatience with the publishing industry`s promulgating ignorance of women.
The human species of `woman`s seed` has been manufactured as a single male brained creature wearing each others` clothes as a `TV` transvestite for making war to entertain the `serpent`s seed` since the first womb slaver, Satan, was described in the Bible as a male brainer for slavery in ephemerality and memoryless ignorance. In parasitology, the parasite that emerges form the host to kill it is termed `parasitoid`, which is what men are. Although the first television machine for the receiving of broadcast `TV` pictures to entertain the alien parasitoid devourer at home wasn`t invented by John Logie Baird until 1926, `woman`s seed` had by then been largely suppressed by Hollywood`s `Hays code` established by the President of the Motion Picture Producers and Distributors of America (MPPDA), Will Hays, in 1930: `... women, in love scenes, at all times have `at least one foot on the floor` (in other words, no love scenes in bed).` Although the `serpent`s seed`, that is, the `seed` of the fallen angel, Satan, is described as the womb slaver, Jesus` encounter with a man on the road near Gadarene is indicative of a further problem. The man told Jesus, `My name is Legion.` Legion was a figure of the Roman legions then occupying Jewish Palestine. Before Jesus cast the demon legion out of the man, it asked Jesus to be allowed to go into a herd of pigs, and Jesus agreed. The pigs ran off a cliff and into the water and drowned, because that`s what demon drivers do with their slaves. In other words, the Roman legions were demon driven, which is a consequence of host owmb slavery for parasitoid devouring by the `serpent`s seed` of men who embrace slavery, that is, they`re demoniacally possessive of their food.
Because the spirit of `woman`s seed` isn`t men`s, men`s spirit is demoniacal, which is why Jesus` teaching was that a Holy Spirit would teach after him. When Britney Spears raises her spaceman above her by means of a hook and pulley, it`s because he`s a wireless Apollo 7 earphone. The camera beside his space helmet is used by `Mission Control`, and in puppetry basic controls resemble Jesus` cross with strings attached to the hands and feet where the nails made the holes. Consequently, Britney Spears` hook in his backpack is a puppet control, that is, he`s wired, whereas before that he was a wireless earphone, Apollo 7, but with a controller`s voice, `Mission Control`. Britney`s descent inside her giant`s ear ring is by wires, which is a technique employed by puppeteers, like Gerry and Sylvia Andersen in the British TV puppet series, Joe 90 (1968-9), for example. Joe is a nine year old, who emerges from a spinning sphere with preternatural knowledge gleaned hypnagogically from the technology enclosed inside the sphere, which is to be used in his role as a secret agent.
Puppet `controls` are a metaphor for men`s control of `woman`s seed`, which doesn`t want to be wired, so Britney`s Pod`s heir to the hearing and eyes of the human species, and doesn`t want to be the eaten host of the alien parasitoid devourer, which in Christianity is symbolized by the cross upon which Jesus was nailed to make the holes in his hands and feet to which the control would be attached by strings for the puppeteer to use to control him. In short, Christianity is a puppets` religion in which the believers have faith that their strings will be cut, and then they`ll be free, which the secret agent character, Joe 90, satirizes. The Apple i-pod `phone with its wireless air pods is a metaphor for freedom from slavery to controls and wires. Britney Spears is the Poddy of Heinlein`s work in `Oops! ... I Did It Again`, because Pod didn`t want to be Carmen Ibanez, that is, amongst the `bunnies` eyed by the men in their cars, who want mothers to be spaceship pilots who`ll take their boy sons and drop them where they`d be killed in fascism so they won`t face the threat of having a rival for the women`s host wombs. Or, in other words, the men in their `buggies` are `the bugs` of Heinlein`s extrapolated `bug war`, that is, `spyware` attached to `woman`s seed` ensuring the continuance of the alien parasitoid`s devouring of the race before it can run and escape to colonize the planets amongst the stars far away from the speeders after them.
1 Heinlein, Robert A. Podkayne Of Mars, Putnam`s, 1963, Ch. 1, p. 3.
2 Martin, Max and Rami, `Oops! ... I Did It Again`, Oops! ... I Did It Again, Jive, 2000.
3 http://tvtropes.org/pmwiki/pmwiki,php/Main/FootPopping/ .