The Stanley Kubrick film, 2001: A Space Odyssey was a visual and technical accomplishment, unparalleled at the time of its making. I recall watching it for the first time about 12 years ago in high school, and all that was apparent to me at the time was the concept of evolution towards an inevitable battle between man and machine. I watched it again several years later, and noticed gnostic elements that James B. Jordan had alluded to. Having watched again recently, much more was apparent to me, and it’s meaning is, in my analysis, Satanic. If you know about Arthur C. Clarke and Kubrick’s other films, it becomes clear why this is so.
But to 2001. In the first scene, we see an astronomical alignment, that, as I will seek to show, is ultimately of astrological import. Note that the sun is seen partially bright, and in the distance. And save yourself a lot of wasted time by avoiding the many youtube videos labelled “Kubrick” and “Illuminati,” which are shoddy, unstudied nonsense.
The actual first few seconds of the film before this scene are all black – and from this we are to know that we are seeing the obelisk that will appear throughout the film. In other words, the all-black screen is the obelisk. We are in the dark – profane and ignorant of the “light.” This obelisk represents Lucifer, xenophobia, the mysterious, the unknown, technology. The “illuminated” powers of the kosmos (fallen angels) have sent this black obelisk from heaven, where humanity is purportedly at the level of ape. There also may be a double meaning here, where the audience, who had at the beginning been shown to be in the dark, is not presented as like apes – dumb, unenlightened apes. This would show the disdain and hate for humanity those like Kubrick had (who was known to be a very nasty chap).
The film’s main theme, simply put, will be human evolution.
This may sound innocuous to many readers, but this actually cloaks a deeper, darker agenda – an occult agenda where man “evolves” to become God. Not, mind you, in any kind of Christian sense of redemption from death and participation in immortality and Resurrection, but rather in a blasphemous evolution where man literally becomes a new god.
In the Dawn of Man scene, the arrival of the black obelisk provokes fear among the apes and we then see the sun rise on the obelisk from an interesting angle.
The meaning of the pyramid without its capstone is that the “great work” of the secret societies and Freemasons is not yet complete. Here, the dark light is dawning on ape to raise him to man, in the great myth of evolution. One monkey discovers technology (a bone) and uses it for a weapon to protect his tribe, killing anteaters, and overcome rival monkeys. The other clan of apes lacks bones/weaponry, and loses. The fittest survive, we are told, in Darwinian fashion. War, then, is necessary for “progress.”
The monkey throws his bone into the air, and we fast forward millions of years into the future with man flying around in space in space ships. Man has progressively evolved to now defy gravity. We see ships and humans flitting and dancing about in space, no longer subject to the former laws that kept him earthbound. We see people, however, using the bathroom – still bound by their humanness. Man now has a moon base, to which a conglomeration of PhDs are in flight to solve a mysterious event that has arisen on Clavius – the moon base. Here, another monolith has been found giving off strange signals. This is reminiscent of the monolith that appeared in Seattle in 2001, as well as the bologna notion promoted by Freemason Buzz Aldrin that Mars’ “monolith” is a sign of intelligent life. Clarke and Kubrick both thought it was time to open people’s minds to the coming encounter with “alien life.” Kubrick explains:
“I will say that the God concept is at the heart of 2001 but not any traditional, anthropomorphic image of God. I don’t believe in any of Earth’s monotheistic religions, but I do believe that one can construct an intriguing scientific definition of God, once you accept the fact that there are approximately 100 billion stars in our galaxy alone, that each star is a life-giving sun and that there are approximately 100 billion galaxies in just the visible universe. Given a planet in a stable orbit, not too hot and not too cold, and given a few billion years of chance chemical reactions created by the interaction of a sun’s energy on the planet’s chemicals, it’s fairly certain that life in one form or another will eventually emerge. It’s reasonable to assume that there must be, in fact, countless billions of such planets where biological life has arisen, and the odds of some proportion of such life developing intelligence are high. Now, the sun is by no means an old star, and its planets are mere children in cosmic age, so it seems likely that there are billions of planets in the universe not only where intelligent life is on a lower scale than man but other billions where it is approximately equal and others still where it is hundreds of thousands of millions of years in advance of us. When you think of the giant technological strides that man has made in a few millennia—less than a microsecond in the chronology of the universe—can you imagine the evolutionary development that much older life forms have taken? They may have progressed from biological species, which are fragile shells for the mind at best, into immortal machine entities—and then, over innumerable eons, they could emerge from the chrysalis of matter transformed into beings of pure energy and spirit. Their potentialities would be limitless and their intelligence ungraspable by humans.” (source)
So, like Richard Dawkins, God as conceived of in the Bible is silly, but alien life is reasonable. Alien existence is “scientific,” whereas Christianity is a fable. And this is reasonable and “scientific” because billions of years means “life” will most likely randomly spring from muck and lightning somewhere else out there. This is nothing but a an absurd Gospel of its own. As St. Paul explains in Romans 1, when men turn from the true God, they inevitably worship lies and fables, deifying creatures and creation, as we see here with Kubrick.
Back to the film. As Dr. Floyd approaches the monolith to touch it, we hear an increasingly loud, eerie humming of voices that gives the impression of the demonic. As he touches it, the six astronauts hear a deafening, unending beep.
This beep, though is followed by the second astrological alignment, where we see more of the sun at the capstone of the pyramid:
Conjunction of sun and moon is connected to conjunction of male and female in the so-called “vesica piscis,” wherein we are given more Masonic mumbo jumbo as supposedly progressing us toward godhood. This is, of course, vanity and lies, as Scripture says in numerous places. Here, a Mason with his purported wisdom gives a completely bogus interpretation of the meaning of the name of “Solomon,” based on a completely different language. He falsely claims the Temple was really the Temple of Sol and Amon. No, the name Solomon is a Hebrew word שְׁלֹמֹה – and has nothing to do with Egyptian deities “Sol” and “Amon,” especially since “Sol” is Latin. You can now laugh. He does, however, tell us the meaning of the vesica piscis in his worldview – that of sun and moon in sexual conjunction. Typical pagan sex magic, which will figure prominently in proving my thesis about Kubrick in regard to his last film Eyes Wide Shut, which, as everyone knows, ends with a occultic sex orgy.
Again, back to the film. The next scene is the Jupiter mission, where man faces machine – the famous HAL 9000, where the oft-repeated lines of “open the pod bay door, Hal,” lay grounds for endless jokes and impersonations by 20 year-old pot heads. There’s not really much need to go into detail about this section, since it’s just about man overcoming A.I. “life” in the next step of evolutionary progress. Jupiter/Jove is the last “god” we had to “conquer,” and now mankind will go “Bey0nd the Infinite.” Jupiter/Jove, however, is often (falsely) connected by these bogus occultists and even at times by ancient pagans, with the Jehovah of the Bible. The God of the Bible, however, the Logos (John 1:1), made the universe and all that is in it. He is not some planetary ruler or demiurge, even though many pagans have associated God with Jupiter. However, in the minds of these pagans, man is destined to go beyond this assumed local deity, and conquer the stars (not that I oppose space travel).
This is why, when Dave turns off Hal, a bizarre sequence begins. Arthur C. Clarke, the author of 2001 explains that at this point man enters the “Star Gate” to what appears to be the next dimension. In this aether, Dave sees himself age and still subject to many bodily conditions, such as using the bathroom, eating, sleeping, etc. You can see now where we are going. The “evil” deity of Bible, Jehovah, who created matter and the human body, must now be overcome and transcended. He bound man inside this “evil flesh” and man must now seek the “alien” presences/gods in the kosmos (symbolized by the monoliths) to raise him from his crude flesh to pure spirit. In other words, we have rank and pure gnosticism. The ancient gnostics varied in their beliefs in many ways, but basically thought that an evil demiurge had imprisoned man in the flesh, while the good entity of spirit or nous (mind) is the goal of cyclical return man sought. One sees this basic Plato and the Greeks, as well as in the early Christian heretics, such as Marcion and Mani and his Manichaeans. The sequence of the “Victorian” Aether and the Star Gate is as follows:
Now there is an eye as a capstone atop the pyramid – it is man’s eye. Arthur Clarke called the huge space baby at the end “Star Child.” The meaning is that man has come full circle, and now creates his own universe – he is now God. Existence is a never-ending succession of man’s ascent to godhood and then as a god-child, he creates a new universe and progresses and grows with it, in a blasphemous reversal of Genesis 1, where the seas are separated from the land, etc. So basically every possible heresy and pagan view you can imagine is all rolled into one film. This makes 2001: A Space Odyssey a total lie; probably as much a lie as the moon landing – and this (though I’m unsure on this one).
However, in regard to Kubrick, one need only be aware of Eyes Wide Shut, which shows a more or less Satanic ceremonial orgy engaged in by wealthy masked attendees. I don’t recommend the film, but you get the idea from this video. Kubrick was, if we can gauge from his films, clearly a devotee of such paganism. There’s no need to extrapolate wild theories, it’s pretty obvious and in the open.
Further confirming this interpretation, Arthur C. Clarke says in plain language the film is propaganda to prepare us to accept the “inevitable coming” alien encounter ( 3 part interview). No, Clarke was a fraud and this is just propaganda used to prop up the evolution myth, which is nothing but ancient gnostic. For all of their hatred of creation and Genesis, the great irony is that Genesis identifies these fraudsters for us:
“1 Now the serpent was more cunning than any beast of the field which the LORD God had made. And he said to the woman, “Has God indeed said, ‘You shall not eat of every tree of the garden’?”
2 And the woman said to the serpent, “We may eat the fruit of the trees of the garden; 3 but of the fruit of the tree which is in the midst of the garden, God has said, ‘You shall not eat it, nor shall you touch it, lest you die.’”
4 Then the serpent said to the woman, “You will not surely die. 5 For God knows that in the day you eat of it your eyes will be opened, and you will be like God, knowing good and evil.” -Genesis 3.
It’s the lie of Satan, who promised man the ability, by nature, to replace the Creator and become God.
What was Arthur C. Clarke’s so-called Third Law? “Any sufficiently advanced technology is indistinguishable from magic.”
And so it is clear that once again Hillsong is under the influence of Luciferian doctrine, of the deification of man, without the Lord Jesus Christ, and it’s all done in plain view!