Britney in Green
Britney`s Oops I Did It Again video features herself in a red pilot`s suit on the red planet Mars and, as it`s `science fiction`, there are genre references. The first `Grand Master` of SF was the US writer Robert A. Heinelin (1907-88), who wrote Red Planet amongst other juvenile stories for boys. However, Britney`s red suited character corresponds closely to that of Heinlein`s `Poddy` in Podkayne Of Mars, the only novel length story Heinlein specifically wrote for teenage girls. The story has two endings; Poddy dies shielding a baby `fairy` from Venus in a bomb blast, or she`s injured shielding a baby Venusian `fairy` from a bomb blast. Britney`s red pilot`s suit in Oops I Did It Again is explainable:
`Podkayne Fries, born and raised on Mars, has just one ambition: to earn her wings as a starship pilot and rise through the ranks to command deep-space explorations.`
When Britney, in her red pilot`s suit, raises above herself in a white bikini dress a space suited astronaut who`s landed on her Mars, the spaceman looks down upon her `babe`. Descending inside a giant ring, Britney`s one of the `little people`, and so the `Babe` in the white bikini dress must similarly be one of the `fairy folk`. Britney uses a hook and winch to raise the spaceman, until he`s above her `baby fairy` in a white bikini dress, rendering him helpless to do anything but film her with the camera that `Mission Control` has attached to the side of his space helmet. The spaceman`s ineffectual helplessness at the hands of Britney underscores her protective role as the `body shield` of her `Babe` of Venus; just as Heinlein`s girl character in Podkayne Of Mars is Poddy shielding her Venusian `baby fairy`.
In a white bikini dress, Britney`s `baby fairy` in Oops I Did It Again lies languidly upon what seems to be a white counterpane, while surrounding her bed are the eight points of a star. She`s the `baby fairy`; the `star` at the apex of the tree in traditional Christian celebrations of the nativity of Jesus Christ, which commemorate the appearance of the `star of Bethlehem` that announces the Advent of the infant Messiah in the New Testament. In Lucky Britney appears as the `star` herself, but she`s surrounded again by her avatars wearing red, which suggests that she`s continuing in her role of body `shield` to her `baby fairy`, that is, her Poddy`s shielding her `star`.
In Glory Road (1964) Robert A. Heinlein`s `star` character is the woman named `Star` who, as `Empress of the Twenty Universes`, advertises for a hero in a newspaper ad. Together, she and Oscar Gordon, subsequently embark on a fabulous adventure, and she becomes Oscar`s bride. In Lucky Britney`s `star` wins a Hollywood `Oscar`, that is, she`s the heroine that`s shielded her `star` qualities so she`s able to win her Oscar.
The very first episode of Star Trek (1965-) was The Cage, which featured a character called `Vina`. Britney`s conceit is that actress Susan Oliver`s `star quality` is the `baby fairy` of Vina`s, which `star quality, if properly shielded, will win her an Oscar:
`... the landing party discovers a camp of survivors from a scientific expedition that has been missing for 18 years. Among the survivors is a beautiful young woman named Vina.`
The plot is that the alien race of Talosians keep Vina looking young and beautiful by means of their capacity to generate illusions through the power of their highly developed brains; although Vina is severely disfigured in reality. Captain Pike falls in love with her but leaves aboard the Starship Enterprise, so concluding the `pilot` episode:
`She has an illusion, and you have reality. May you find your way as pleasant.`
The `pilot` episode of Star Trek was later remade as the two part The Menagerie in which Captain James T. Kirk takes now heavily disabled Pike back to the Talosians and Vina. The closing address to Kirk slightly adapts the original ending:
`Captain Pike has an illusion, and you have reality. May you find your way as pleasant.`
Susan Oliver`s several roles in the Talosians` illusions required that, amongst other various guises, including that of the prototypical `Starfleet` blonde, she be seen as a green skinned `Orion` woman. Jestingly, she held up a placard at a Star Trek publicity event, enquiring of her `Oscar`.
Britney`s spaceman gives her a gift in Oops I Did It Again, of which she enquires: `But I thought the old lady dropped it into the ocean in the end.` It`s an allusion to the blue heart shaped diamond dropped into the ocean at the close of the movie the Titanic (1997) by Rose, who`s love was betrayed by someone planting the jewel in his pocket and calling him a thief. Rose`s lover drowns when the Titanic hits an iceberg and sinks. Because Oops I Did It Again is `scifi`, the `heart of the ocean` jewel, as it is known in the Titanic movie, refers to the Talosians of The Cage in which Vina`s `Keeper` is depicted wearing a blue jewel.
The Talosian roles were all acted by women; although they appear manlike. Britney`s subject is `illusion`. In the British `scifi` series Dr Who, in which the central protagonist is a time-traveller, a Thal is a member of a blonde race of humanoids on the planet Skaro which is devastated by a doomsday weapon developed by the other humanoid species on their world, the Dal, who become Daleks after the holocaust, creatures directing their hatred for the Thal from inside machines, and whose vocabulary seems to consist of one word:
The Talosians are women with the bodies of men, that is, men with the `souls` of women that, according to the psychology of Carl Gustav Jung (1875-1961), is a psychological truism; because a man`s soul, which Jung calls the anima, is female and feminine. The Talosians perceive the necessity of preserving illusions, which is why Jung associates the anima with Buddhism`s `Maya`, the `goddess of illusion`. If women had their own penis, and they do as `futanarian` women, they`d be the species on planet Earth and the danger would be that men would become Daleks attempting to prevent them from living. The Talosians of The Cage in the Star Trek `pilot` episode are women because they represent the illusion that men are a species, whereas what is female inside of men corresponds to the `soul`, or Jungian anima, which in Hinduism is a sepaprate living entity with its own relationship with God. The anima, or soul, spins the necessary illusion that men and women represent species` love, whereas men aren`t of the same species but, existing as a parasitical `leech`, represent that which feeds upon woman`s `host womb`. In the New Testament of the Bible Jesus` disciples receive the Holy Spirit as their `teacher` after Christ`s death, Resurrection, and Ascension to heaven following Christ Jesus` crucifixion by the murderous torturers. The truth is that, without `God`s spirit`, men are bereft of that which can redeem them; because woman, and her `soul`, are the species on the planet Earth: and men aren`t. Dr Who`s Daleks are the epitome of the `soulless machine`, which is what a man is without a `soul` and its woman:
In the Bible the `hidden` woman of Revelation is depicted as being protected by the New Redeemer before she leaves to spread her `seed` amongst the stars and, presumably as a futanar woman with her own penis and `seed`, ultimately fight a war in heaven against the evil serpent`s `seed`, that is, men, before God creates a new heaven and Earth for her to dwell in forever, while the evil `seed` receive perdition.
In accordance with Poddy`s ambition in Podkayne Of Mars, Britney wears her her red jump suit in Oops I Did It Again to indicate her readiness to pilot her `starship`. In Revelation `the woman clothed with the sun and with the moon at her feet` gives birth to the New Redeemer. On Mars, Britney has the moon beneath her and the sun behind her, which means that the New Redeemer is he who keeps her. The wisdom of the Earth is to know that man and woman are one, which means that the woman is the man. Consequently, the wise man is he who understands that the woman with the penis, that is, the `futanarian` woman, is him. Consequently, the New Redeemer would be he who keeps that secret.
In the New Testament Jesus preached `love your neighbor as you love yourself`, because you are your neighbor. The preaching of the New Redeemer would be `love woman as you love yourself`, because you are woman, and she is a species with her own penis, while men aren`t; because they can`t reproduce independently. If they do not wish to be perceived as a `parasitical organism` upon woman`s `host womb`, men must accept that they are woman, that is, redemptive love for oneself as another. In shielding herself as Venus` `baby fairy`, that is, herself in a white bikini dress, Britney`s demonstrating that love for another as oneself, and love for woman as a species, necessary for the female pilot of a `futanarian` woman`s starship who must know when to `cloak`, and put up her `shields`.
Britney`s Talosian `heart` is the blue heart shaped diamond jewel which is the Thal `ocean`, that is, the ocean of life in which the Thal are blonde, blue-eyed, beautiful, and a `blue movie`. That`s why Britney`s spaceman in Oops I Did It Again films her as a `Babe` in a white bikini dress. Sex is life. The false illusion is that there`s more to life than love. Britney`s observation is that machines help us to love; even a camera. That`s what they`re for.
The spaceman with the camera from `Mission Control` has a hook put into his backpack by Britney and, herself in a red pilot`s suit, winches him above herself in a white bikini dress to where he films her.
For `Mission Control`, he `s a camera, but the analogy is `possession`. Anything that helps a person is something that a system that depends on demonic possession doesn`t want for that individual. If the camera is helping the spaceman, he isn`t a possession and so isn`t possessed.
Britney employs the spaceman as her camera, which is analogous to being possessed, as he`s become a possession of hers. However, if she`s helpful she`s from God. A demon is whatever takes away what`s helpful, which is demonic possession. The demonic lie is that I am possessed by what is helpful, because those who are demons want to be helped by what it is that I have.
If my camera`s taken away from me by Christians, it`s not because I photograph Britney Spears and so I`m being rescued by Christians from possession by the `demon of the camera`. The demons, that is, Christian businessmen, want my camera to help them, which is what `Mission Control` is. I won`t give up my self, so they possess it. Through coercion and, inevitably, violence if I don`t give up my self to `demonic possession`.
Britney`s spaceman in Oops I Did It Again is a symbol of the struggle between the `demons` of `Mission Control`, and the destiny of Britney Spears` star. As the red suited `pilot` of `Starship` Oops I Did It Again, Britney wants `directorial control`. Anything taking control away from her is a `demon`, and is a manifestation of `demonic possession`. `Mission Control` is a `director` that wants control of Britney`s `movie`. To save her and her spaceman, Britney must stop `Mission Control` from possessing him, and using him as a possession to possess her `movie`.
Oops I Did It Again demonstrates the spaceman`s `camera` function. In her red pilot`s suit Britney raises her astronaut to where he looks down upon her in a white bikini dress; as if he were upon a `camera gantry` on her `film set`. As the `camera` given to Britney by `Mission Control`, the astronaut represents the `demonic` aspect of men through whom the demons of `Mission Control` seek to possess Britney. It`s an analogy of relationships. Anyone who wants her `image` is a `demon`. To protect herself from `demons`, she must `pilot` her own `Starship`; as the beautiful `Poddy` wants to do in Heinlein`s Podkayne Of Mars. Avoiding `possession`, Britney`s `Poddy` won`t be `possessed`.