The War Of The Worlds
The lasting image from 2005`s War Of The Worlds is of Dakota Fanning, running down the street while rays from giant war machines from Mars annihilate her friends and relatives as she flees. The original text was written by H. G. Wells in the nineteenth century, and it was director narrator Orson Wells radio broadcast of 1938 that restored the story to prominence. The tale was presented as happening in `real time` and many people thought the story factual. There were a significant number of suicides, and Wells was criticized. However, the power of the technique was recognized and adapted for use by hypnotists who, using positive words of auto-suggestion on cassette tapes, were able to help people who, psychologically damaged by World War II, for example, found that they couldn`t live without `programming`. Orson Wells` War Of The Worlds radio `programme` preceded WWII by a single year, and the fact that it was perceived as real wasn`t lost on the propagandists. If a radio broadcast purporting to be the truth could persuade people to commit suicide, then the USA and her Allies would broadcast radio `programmes`. The 1953 film of War Of the Worlds coincided with the `Cold War` against the Soviet Union`s take over of Eastern Europe after WWII and the USA`s continuation of its `programme`:
`From the 1950s the export of American culture and the American way of life was heavily subsidized by the federal government and was coordinated by the United States Information Agency (USIA), which operated from 1953 to 1999 ... [and] the distribution of Hollywood movies were some of the activities designed to extract propaganda value from the appeal of America's way of life, particularly its popular culture and material success. From the 1960s the Voice of America (VOA) utilized the popularity of American rock music with audiences behind the Iron Curtain, using the music to boost the standing of the United States. While radio remained an important weapon in waging psychological warfare against the Soviets, broadcasting was also seen by American authorities as a means by which the United States could win hearts and minds throughout the world through a long-term process of cultural propaganda. Throughout the Cold War, the United States was also able to call upon the appeal of products of private and multinational concerns such as Coca-Cola, McDonald's, and others. The universal popularity of such symbols of “Americanization” testified to the success of this approach. Such "cultural imperialism" was designed to convert the world into a "global village" dominated by American values.`1
The core of 20th century thinking was `programming`. H.G. Wells` War Of The Worlds (1898) was textual, and the 1953 Hollywood film version was about the `Cold War`, that is, the Martian invaders were extrapolations of the `Communist threat` into the `alien menace`. The 2005 version is `sexual`, because the aliens aren`t perceivable as anything other than men`s extrapolation of what they want to do with Dakota Fanning. It`s the devouring imago, much ignored by psychology, but found in Revelation where the red dragon waits to devour the newborn New Redeemer. The dragon waits in vain and the New Redeemer is born to protect with his `scepter` the `hidden` woman of the Earth until she leaves to sow her `seed` amongst the stars. In heaven she waits for the serpent`s `seed` from Earth, that is, men, and there`s `war in heaven` in which the `serpent`s seed` (and the serpent, grown much since Eden) are `cast down to the Earth` where they await the final judgement of God who destroys the Earth and gives them perdition. God then creates a new heaven and Earth for the `woman`s seed` to dwell in. This can only be understood if woman has a penis of her own from which her `seed` can emerge, and as `futanarian woman` she does have her own penis.2
War Of The Worlds 2005 is the continuing war of men against women. The nineteenth century text written by H.G. Wells is a creative man`s perception that there`s a devouring imago to be feared, which is that of the `serpent`s seed`, that is, men, who want to devour God`s producer and product, who is Woman. Orson Wells` radio version of War Of The Worlds constellated the devouring imago in the mind`s of his listeners and they committed suicide. The principle is that the devourer can be `programmed`. The 1953 film version of War Of The Worlds is a `programme` that intelligent extrapolators perceive as being directed against US` fears over Soviet Communism. But, for cinema goers, it`s simply a constellator of the devouring imago, and so an attack on the USA from within and upon itself.
A historical analogy is Helen of Troy, where the Greeks are a Trojan Whore`s virus and she`s the Trojan`s Whore. The story is of how the Greek army deployed to Troy to force Paris to return Helen, the bride he`d stolen from Menelaus, the brother of Agamemnon, the king. They used a wooden horse as a ruse. The Trojans took the horse into the citadel when they saw the Greek ships leave and the Greek soldiers emerged, took over the city, and the ships returned. Troy was sacked, the people murdered or enslaved, and so they were they were the Trojan Whore`s, that is, Helen`s. It`s how the devouring imago functions.
A symbol for MacDonalds in Eastern Europe is a `wooden horse` because it represents `devouring`. War Of The Worlds isn`t about aliens or Communists. It`s about devouring. The genuine fear is what occurs in 2005`s War Of The Worlds in which Dakota Fanning is made the explicit target of the devouring imago. The story`s development is from text, which simply indicates that there`s a devourer imago to be feared, and successive extrapolations in radio, music, and film, present the devouring imago until, in the early 21st century, it`s clear that Woman is to be devoured.
The second level of critical interpretation requires the understanding that the devouring imago is what we have been taught to think of as the `hero`, and that the aliens are women who`re in the grip of men as the devouring imago of her own species. Rarely contemplated by psychology, it`s clear that the 20th century was coming to terms with the realization that the archetype of the heroine is what should be found within the dreams and unconscious impulses of the self, or conscious ego, because Woman is a species, and so the appearance of the `hero` is merely a constellation of the devouring imago as the Trojan Whore`s. This is why Babylon is described, in Revelation, as the `Great Whore of the Apocalypse`, and the `Mother of Abominations`, because she`s women who betray their own species in order to devour it, like men.
Many writers have observed that new work isn`t favourably received by Hollywood production companies, who prefer to make `safe` movies, and so we have a continuous remaking of `proven successes`, like War Of The Worlds, which focus on the function of the devouring imago, and that isn`t an archetype with a developmental function, as the soul or anima that is represented in the New Testament of the Bible as the Paraclete, emerging from the side of Jesus after being pierced by the spear of Longinus, the Roman centurion, at Jesus` crucifixion and death.
As `Second Eve`, the Paraclete`s `wisdom` is from the `fruit of the tree of the knowledge of good and evil` from the apple given to her by the `serpent` in Eden, whereas men are only the devourers of it. The Paraclete is the `tutelary guide`, sent by God after Jesus` preaching of `God`s love`, and men`s betrayal and torturing of Jesus to death after `marrying` him, in the Shakespearean (or even biblical) sense of `knowing`. Because men didn`t accept the guidance of God`s Holy Spirit, they`re Jesus` devourers if they continue to present the devouring imago as the epitome of heroism. This is why Hollywood is often described as Babylon. H.G. Wells` asexual text War Of The Worlds emerged in 2005`s screen version as misogynist hatred for young women`s pubescent sexuality, and reinforced Hollywood`s imago as the `Devourer of Souls`. It`s perspectival. Wells` War Of The Worlds is about the devouring imago, so it isn`t about Dakota Fanning`s `development`.
Hollywood movies are about the hero - or villain - as `devourer`, and the women who devour, or are devoured. The red dragon of Revelation waits to devour the New Redeemer who`s to `protect` the `hidden` woman with his `scepter` because men are the devouring imago and that`s what they`re for: devouring themselves. Every male child is a `villain` because it`s a devourer. Consequently, there`s no difference between dragon (villain) and newborn (hero) until the birth of the New Redeemer, who survives because he`s not a devourer or a devoured, and so is the hope of Woman, who doesn`t want to devour or be devoured. In Arabia`s 1001 Nights Sheherezade saves all the women by telling her nightly `cliffhangers`, and so prevents the powerful man who listens to her from beheading a fresh bride each day after the wedding. He`s the devouring imago and she`s the archetypal heroine that saves the women, which is what the archetype of the woman who gives birth to the New Redeemer represents in Revelation, the `hidden` woman guided by the `tutelary spirit` of God`s Paraclete who refuses to devour or be devoured.
The emergence of Woman as `heroine` in Hollywood invariably initiates a spate of remakes in which there`s a stereotypical devourment. In King Kong (1933) the prototypical AIDS` virus monkey, functioning as both hero (devoured) and villain (devourer) climbs to the tip of the Empire State building, where the dumb monkeys that are men have released it, and so King Kong prefigures the devourers` virus as terrorism, and the 9/11 planes, `two civil`, politely eluding protocols, and `hacking` the Twin Towers`, symbol of the USA`s air defence system. It`s The Girl, Phwoar! movie in which Fay Wray is rescued on the understanding that all the monkeys are her boyfriend, but not the one that tried to save her. He didn`t want to devour her, and she didn`t want to be devoured. So he was the enemy of men, and so was Fay Wray. Until she accepted that all men are her boyfriends, which is how STDs and AIDS are spread, and how men make everyone as stupid as monkeys with AIDS.
The analogy is of Gulf War I in which the Emir of Kuwait`s wife asked help from Barbara Bush, and Gulf War II in which some AIDS` monkeys munched into the `Big Apple` of New York, so initiating `apple munching` all over the Middle East. In 2003 virus-replicating devouring imago, that is, George Bush Jr., declared a `War on Terror` rather than a `War on AIDS`. Hollywood remade War Of The Worlds and Dakota Fanning took a `big apple` role against men as `Martian war machines`, and with supporting actor and hidden `serpent` Tom Cruise as the `heroic` devouring imago, began conducting a war of terrorism against the young woman, lest she develop immunity to their `plague aims` society.
In 1979 War of the Worlds was released as an `eat-em-up`, which is a more applicable description to what is commonly termed a `shoot-em-up`, which is the same `plague aim` of the `play game` society that gave us Pac Man. The `plague aim` of the devouring hero imago is to `shoot` heroine, because `plague games` addicts are the equivalent of `heroine junkies` where Woman is heroine and warfare is just an excuse to `shoot` some heroine, that is, Woman, who has built a civilization containing art and culture in spite of the imago of the devourer masquerading as a `hero`, and who`s `plague game` is to give her nascent Woman`s civilization the equivalent of AIDS and its monkeys.
H.G. Wells introduced his concept of the devouring imago in War Of The Worlds and, in The Shape Of Things To Come (1933) he predicted the beginning of WWII in 1940. In a `frame story` reminiscent of Sheherezade in its methodology, Wells claimed the book was an edited version of notes written by Dr. Raven, who`d had dream visions of history since 2106, and wrote down what came to memory after waking. The allusion is to the Paraclete as `the eyes of God`.
In Egyptian mythology, the evil Set dismembers the god Osiris, as a mnemonic for what `fragmentary recollection` means. In political terms, the story refers to the replacement of a social group with Osiris at the apex. But it`s couched as the murder of an individual because evil politicos murder rulers and their supporters. Christ`s exhortation to `love your neighbor` and accept `God`s love`, because every individual is a manifestation of `God`s spirit`, and it`s Christianity`s counter to evil egoism. In The Shape Of Things To Come Wells` `fragmentary` future society is glimpsable because the omnipresent Paraclete is `God`s spirit`, and she`s giving Raven glimpses of what`s happening as the Paraclete`s `bodily vehicles` are murdered. In The Shape Of Things To Come Wells is prophesying the role of the Paraclete, and the imago that devours Woman and her art, civilization and culture, that is, men as `plague`. In Revelation God`s a virus buster:
`Men gnawed their tongues in agony and cursed the God of heaven because of their pains and their sores, but they refused to repent of what they had done.`
The Martians `plague` Mankind in War Of The Worlds because they`re `God`s plague`, so there are many scenes of prayer in churches and other non-Christian religious centres in different parts of the world. Wells` `programme` is for repentance for Mankind. At the movies` end the Martians die of `the common cold`, and the `hand of God` is perceived. In Revelation men constitute `plague` because they carry the virus of the replicating devourer`s imago, and they constellate it in women`s minds until they succumb. In Dakota Fanning`s 2005 version of The War Of The Worlds the `aliens` are perceivable as women who`re possessed by the devouring imago of men. The movie has `developed` in accordance with Revelation. Tom Cruise is `virus` as devouring imago-constellating `false hero` to Dakota Fanning`s archetypal ` heroine`, and the viral organism that`s men`s collectively devouring imago is represented by the `Martian war machines`.
Tom Cruise is a devouring imago simply because that`s what men`s `hero` image is for; it`s their `Trojan virus`. Dakota`s the real heroine, because there are only heroines, and no heroes amongst the developmental archetypes of what Carl Gustav Jung (1875-1961) calls the creative contents of humanity`s collective unconscious. According to Jung, the soul or anima is the mediator of developmental images which, emerging from dreams or imagination, assist the individual to develop. Because Woman is a species and men aren`t, the devouring imago of the `false hero` indicates that humanity`s collective archetypes are Woman`s and not men`s. Men constitute an alien, hive mind.
In first Grand Master of Science Fiction, Robert A. Heinlein`s Starship Troopers (1959) men are involved in a War Of The Worlds style conflict with `the bugs`, arachnids representing men`s own devouring imagos. It`s paradigmatic. Everything that isn`t a devouring imago will be devoured by men, because that`s what they are. The Bible presents Resurrection and Redemption through acceptance of `God`s love` and adherence to Jesus` teachings of accepting the guidance of the Holy Spirit, but it`s mainly angled towards feminization and so is rejected by men who perceive of themselves as egos rather than individuals.
For Carl Jung individuals are individuated. In Jungian psychology, the anima or soul mediates the differentiation of the four functions of consciousness, that is, `Sensation`, `Thinking`, `Feeling`, and `Intuition`, which is symbolized by the fourfold cross of Jesus because men didn`t want self-actualization and so crucified him. The emergence of the Holy Spirit from Jesus` side is to guide humankind to that completeness of memory across lifetimes that the `Second Eve` represents. Her role as `helpmeet, guide, teacher, and comforter` indicates the fourfold nature of Woman and Jesus` path for Resurrection and Redemption. Jung called the process individuation, and so distinguished between egos and individuals. Resurrection and Redemption is possible for individuals but not for egos. Partly because Resurrection and Redemption is completeness of memory across lifetimes, which Wells` Raven was vouchsafed a glimpse of in The Shape Of Things To Come. Egoism is what the Buddhists call `the wheel of karma` in which egos experience reincarnation, death and rebirth in endless `fragmentary recollection` or glimpses of lives that they`re living, or have lived, while they`re murdered by the evil devouring imago of Set, god of egoists.
In War Of The Worlds Dakota`s development is under threat from the devouring imago represented by Tom Cruise`s `hero` as `Trojan whore`s virus`, that is, men as aliens symbolized by the Martian `collective` that seeks to `subvert` Dakota to make her `one with them`. It`s `scifi` of the Invasion of the Body Snatchers type in which women become a `Trojan Whore`s`, and the threat to Helen of Troy`s `Most Beautiful Woman in the World` story is perpetuated as the devouring imago, that is, men, continues to seek the replication of its virus in the psyche of Woman.
The metaphor of the AIDS virus is not misplaced because it`s believed by scientists to have emerged in monkeys, and the aim of men is to prevent civilization, through art and culture, from realizing that Woman is a species with her own penis, and men are her AIDS monkeys that don`t want intelligence for her. In War Of The Worlds terms, the `Martian war machines` are Woman`s AIDS from men, and her `hero` is an AIDS monkey who, in the guise of her `protector`, ensures that she`ll never leave Earth because the `alien` is her `protector`. Dakota accepts Tom Cruise as her `hero`, because she doesn`t see that the Martian `aliens` are extrapolations of men who are viruses. All the Martians die of the `common cold`, because the `Martians` are also women who`ve accepted men as their devouring imago `plague`, rather than the Paraclete.
In the video for her song Oops I Did It Again (2000) Britney Spears is `invaded` by a spaceman who`s `the plague` on her Mars. She`s the Paraclete because her name`s Spears. The Paraclete emerged from the side of Jesus as `Second Eve` and `tutelary guide` to completeness of memory across lifetimes. Jesus` side was pierced by the spear of Longinus, so causing the emergence of the Paraclete. Consequently, Britney Spears represents the Spears of Longinus, the Roman centurion, and Venus as God`s Paraclete.
Britney`s the Woman of Revelation on Mars who, `clothed with the sun and with the moon at her feet`, gives birth to the New Redeemer that protected the `hidden` woman until she was ready to leave Earth and sow her `seed` in heaven. There she`s prepared her `first stage` defence with her `Martian war machines`. She`s `alien` because she`s Woman, and on the red planet Mars she`s her red dragon of Revelation. She`s the devourer of all men who aren`t the New Redeemer, because they haven`t accepted her. The Bible describes the red dragon of Revelation as `Satan`, but Satan is a perspective. Jesus was Satan from the point of view of Rome`s Caesar, the Pharisees and Pontius Pilate, because he was perceived as a political enemy, and so God`s `heroes` were those men who `married`, that is, `spied` upon Jesus, in the Shakespearean sense of `knowing through closeness`, to betray and torture him Jesus death.
`Satan` is a label. But anyone can label others as `Satan`, and so `Satan` is what good people call evil, and what evil people call good. If men are a parasitical alien virus that enslaves Woman as God`s product and producer, that is, art, civilization and culture, in order to devour it, they`re `Satan`. However, once a moral perspective is achieved, it`s easier to define evil as evil, and then `Satan` is understandable as that which is good but the evil don`t want it, and so the evil apply the good people`s labeling. Having `married` it in the Shakespearean sense of `knowing`, they are prepared to betray, and torture it to death. Whatever good Woman has produced, she`s definable as `Satan` by Caesar, the Pharisees and Pontius Pilate because she`s Jesus` Paraclete and he was `Satan` to the evil. She wants to leave and use her own penis to `father` God`s own species, which is why she worships God on Earth, and men want to maintain her as a `meat slave`.
Pornography is where men express their true vision of her. They begin by admiring her fashions, persuade her to remove her bra for `glamour` shots, then her briefs for `nude` shots, show her naked with them in various sexual positions, torture her in BDSM, that is, bondage, domination, sadism, and masochism, and then kill her in `snuff` movies, which are what films like Scream and `PC` games like Pac Man are for, the devouring imago of men. What they don`t publicize is Woman`s penis, which she has as `futanar`, because that would threaten their `meat market`.
Futanar women aren`t pictured having sex with women without a penis, even at https://www.futanaria.com . They`re `corralled` within their `ghetto`, as the Jews were in Nazi Germany, in case they contaminate `normal` society. It`s a perfect analogy because, in order to be born a Jew, you have to be born of a woman, which effectively means that only women are Jews, and so `futanar` are Woman`s species, because they`re women with a penis, and that`s why men ghettoize her as `alien`. Alienated to prevent her from leaving their prison of Earth, men kill her there.
In Oops I Did It Again Britney Spears` spaceman notes `Oxygen ststus 98%.` She removes the spaceman`s helmet for a minute or two, which is the maximum for those exposed to high levels of oxygen, even in astronaut training where higher levels of oxygen are used to prepare for high altitudes where `blackouts` are anticipated. In her red pilot`s suit, Britney is reminiscent of the USA`s X `programme` test pilots that flew their planes into the stratosphere and often `blacked out`. The aim of the X-series was to have a plane that`d fly to the moon and planets, but it was cancelled because of the constant recurrence of `blackout`. Britney`s perception is that of the USA when the Twin Towers were attacked on 9/11 by `civil` aircraft. The terrorists had bought a ticket and declared their intention to visit the USA. Her spaceman is a `visitor` to her Mars, and she lives in a high oxygen content atmosphere because she`s a space pilot, whereas he`s subject to `blackout` because he`s from a `concentration camp`, that is, Earth, where women are `gassed` to death by Nazis.
The idea of Nazis in space is familiar from science fiction. In Robert A. Heinlein`s Rocketship Galileo (1947) a Nazi base is discovered on the moon by schoolboys who`ve refurbished a `mail rocket` to get them there. Oops I Did It Again is an electronic Britney `card` by `Yeah, yeah, yeah, yeah, yeah, yeah` mail. The boys find evidence of an ancient lunar civilization, and postulate that the craters of the moon were formed not by impacts from space, but by nuclear bombs that destroyed the alien race. When the base's Nazi leader shoots the pilot to keep it a secret, a trial finds it to be murder. Britney on Mars is in `pilot`s heaven` because she`s a woman, and so an `alien` murdered by men, space Nazis who`ll want to bomb her civilization, art, and culture. Because that`s what men`s devouring imago does. The `hero` of Rocketship Galileo is Cargraves, who mentors the boys, and whose name prefigures Heinlein`s central heroine of the 80s, `Gay Deceiver`, who`s a Ford aircar`s onboard computer that embodies as a woman. Heinlein`s conception with Gay Deceiver was of a vehicle that could access all fictions, which were created in accordance with quantum physics` perception of the possible existence of alternative worlds. In practice, Heinlein`s `continua device` was designed to prevent homosexuals from attaining access to the heaven he`d envisioned sharing with his wife, Virginia.
`Gay` people don`t produce anything, and so represent the spread of sterility, like contagion. The Nazi image is often `jokingly` defined as `camp`, which is definable as `artificially sexual`. Such `Gay` camouflage signifies a sterile `pattern` that doesn`t want life, and Heinlein depicts it in his novel The Number Of The Beast as the `black beast` which won`t leave him alone. The curious thing about Rocketship Galileo is a lack of explanation over why the Nazis want to keep secret the bombing of the `alien race` on the moon. Ordinarily, it couldn`t have been done, because that would`ve revealed them to the appalled watching Earth. But, with Gay Deceiver, Heinlein`s `continua device`, which functions also as a `time machine`, they could spread their `camp` contagion by travelling backwards or forwards through time to attack her, that is, Woman as `alien` civilization, art, and culture. Gay Deceiver would be the `plague game` of `artificial sexuality`, which disguises the `plague aims` of spreading sterility and death, and that`s what Cargraves` name signifies.
Britney`s Oops I Did It Again features bio-chemical warfare, which may sound strange but not if you`re aware of Marilyn Monroe in Diamonds Are A Girl`s Best Friend in which her male dancers surround her at the beginning of the song and shoot themselves with pistols. They immediately experience `Resurrection`, but in the Catholic Church suicide is an unforgiveable sin, so Redemption, which is completeness of memory across lifetimes, is impossible, and eternal perdition is their punishment. In Britney`s Oops I Did It Again Britney`s surrounded by her dancers, and the men collapse at her gesture while the female dancers continue. It`s `natural selection` in which the `fittest survive`, because Britney`s `red in tooth and claw`3 and women have breasts. Men don`t because they`re only for reincarnation, and not Resurrection, that is, they`re for the endless cycle of death and rebirth, which is the karma of those who are fertilizer and want enslavement and devourment for what they fertilize. Woman has breasts because it`s the feature of her species to have Resurrection and Redemption, and God offers it on her behalf as the Paraclete. If men reject Redemption through `God`s love` and `God`s spirit`, eternal unendurable pain is their punishment. Breasts are the sign of Woman`s nurturing, and her desire for what she nurtures to develop beyond fertilizer.
In the Egyptian myth of Osiris, Isis` remembering of Osiris is Resurrection and Redemption in completeness of memory through the power of the Egyptian`s equivalent of the Paraclete, but she can`t find Osiris` penis and so fashions anew. In some versions of the myth, Osiris` new penis is fashioned from Isis` saliva, which refers to DNA, the individual`s gene `code`, and what`s required for cloning, for example. Ancient Egyptian hieroglyphs are a `code`, but their `oral` language would be simpler. That`s why the myth is suggestive of `oral sex`. The penis speaks with the woman`s mouth, which is why oral sex is against the law as `sodomy` in a few states in the USA. It`s like the incest taboo, in Sophocles` Oedipus Rex, which is designed to prevent Oedipus from seeing that he`s his own father and mother, that is, he kills his own father because he doesn`t recognize him, and `marries` his own mother because he doesn`t recognize her. Either of which needn`t have occurred, if men hadn`t blinded him into unconsciousness.
Jesus` marries men in the Shakespearean sense of `knowing` in the New Testament, and he isn`t blind to them, or unconscious. He speaks with the mouth of his mother, because she made sure he was the `Perfect Man` uncontaminated by men`s semen. That`s why `oral sex` between men is `sodomy`, because homosexuals don`t want to speak with Woman`s mouth. They don`t accept the Paraclete, which is God`s offerer of Resurrection and Redemption on behalf of Woman as a species with her own penis. That`s why the futanarian woman of Revelation is `hidden`, because men would want to `know` her in `sodomy`. As `God`s species`, she`d lose her penis` ability to speak with `God`s mouth`, and the spoken Word of God is what God meant for her to be.
When Britney gestures and her male dancers collapse as if gassed, that`s exactly what it means. They`re the `corn` fertilizer. She believes in a product, or `crop`, without homosexuality, and men`re methane incarnations if all they`re interested in is being fertilizer, and making women reincarnate as `future methane`. She doesn`t believe in their `corn`. Their arse is talking and not their mouth, and that`s why it`s `the Fall`. In the science fiction of Britney`s Oops I Did It Again it`s when grown things return to the soil as fertilizer for the next series of Devour and Fart. The `Big Picture` is what it means to accept `God`s love` and `God`s spirit`, that is, Resurrection and Redemption. Britney, in Oops I Did It Again, is declaring herself for her own species, because she remains dancing with her female dancers, while the male dancers `fall`. Although the males are immediately `Resurrected`, as they were in Marilyn Monroe`s Diamonds Are A Girl`s Best Friend, here they`re irredeemable if they murder the Woman, or attempt to silence her, as the 9/11 terrorists attempted to do when they interfered with her `voice boxes`, that is, the Twin Towers of New York`s Adam`s apple, and Eve`s World Trade Centre, when Britney was beginning to sing and dance `God`s Gospel` to an Earth that wouldn`t accept `God`s Word` from the Paraclete as `Second Eve`.
Oops I Did It Again actually begins with the spaceman`s rejecting of her: `Whoah there horsey!` He discovers an `icon` of her in the Martian sands: `What the..?` Mission Control, observing through his space helmet`s camera, respond: `Cute. What is it?` The spaceman evinces surprise: `It couldn`t be..?` There`s a Mars quake as Britney`s internet explorer is activated by her icon. Mission Control is unnerved: `Mars Lander! What`s happening up there?` They`re clearly preparing for their future invasion as devouring male imagos, which is why the `icon` looks like a `cookie`. It alludes to the protocols a system requires before guests are admitted, which is why 9/11 was a terrorist attack. The planes were `civil`, but so were the Japanese before Pearl Harbour in 1941. Britney`s perception is that, if all men`re interested in is making the series Devour and Fart, they won`t even get a `cookie` and don`t bother asking her for a date in the future, because she treats guests well and, if they`re going to ignore protocol to attack her Woman`s Mars in the same way they avoided her nation`s protocols on 9/11, then `Mars Bars` are to be found in Earth`s prison, and Woman as a species won`t be spied out by men in God`s heaven, because Britney`ll be there and they won`t.
Oops I Did It Again is as Wellsian as H.G. Wells for prophesy. Britney`s spaceman gives her a gift referring to love and betrayal, because the scene begins with an announcement: `All aboard!` It`s an allusion to the Titanic movie in which Rose, the old lady, drops the jewel known as `the heart of the ocean` at the scene of the salvaging of the Titanic. Rose was betrayed by an ex-lover who, putting the jewel in the pocket of her new lover, framed him for stealing her heart. Her new lover was subsequently drowned, while showing people to the lifeboats. After the Titanic hit an iceberg, it began to sink. The Titanic was described as `unsinkable`, so Britney`s taking on the mantle of unsinkability in Oops I Did It Again. Because sinking women is men`s `game`. She`s a Wellsian, however, that believes in the prophesy of Revelation, that is, the unsinkability of Woman as God`s species.
Britney`s spaceman drops the jewel into her hands before she embarks: `Before you go...` It`s a gift for the journey, and she takes heart: `But I thought the old lady dropped it into the ocean at the end?` He replies: `Well baby. I went down and got it for you.` Britney`s the `well baby`, and her `heart`s jewel` is brought by the New Redeemer from the depths of her soul. H.G. Wells` stories are `sinkable`, because they have the devouring imago as their subject matter. War Of The Worlds and The Shape Of Things To Come narrate the danger of the devouring imago, and the devouring of the Paraclete respectively. In Oops I Did It Again Britney is constructing a `scifi storyline` in the style of H.G. Wells` prophesies and, because it`s about belief in God, it`s a story that`s inkable from the wellsprings of her heart, and `unsinkable` because she`s the baby of Revelation, that is, she can`t be devoured because God says so.
Symbolically, Britney`s spaceman is Jesus`, because he`s a `genuine hero` who gives her heart for the killing of her devouring imago. Oops I Did It Again is her emergence from the `well of loneliness`, and she`s writing it in her video as if she`s using ink from her soul`s well. In Hit Me Baby One More Time (2000) she sings: `My loneliness is killing me. I must confess I still believe. When I`m not with you I lose my mind. Give me a sign!` In Stronger (2000) she sings: `I`m stronger than yesterday. Now it`s nothing but in my way. My loneliness ain`t killing me no more. I`m stronger than I ever thought that I could be. Baby.` It`s a singles` chronology that represents a struggle to be born.
The archetypes of the collective unconscious contain the jewel, which is the lapis philosophorum or `stone of the wise` that, according to the developmental psychology of Carl Jung, confers immortality because it represents the culmination of the individuation process which Jesus, as the `Perfect Man`, represents. When Britney`s spaceman gives her the jewel she replies: `Oh, you shouldn`t have.` Men have devouring imagos, and they have to be fooled into performing acts of heroism. He doesn`t, and it`s a shared understanding that he accepts Jesus into his heart also. Jesus is the archetypal `hero` of Christianity who has to be activated in the psyche, because it`s the acceptance of God, and his `heroine` is his mother, the archetype of self-birth, which receives help from the Paraclete`s tutelary guidance after Jesus` Ascension to God and heaven.
In Jungian psychology, the spear is associated with `Intuition`, and so the tuition which the Paraclete gives is cleverly linked to the spear of Longinus which, cutting open the side of Jesus after his crucifixion and death, effectively releases the Paraclete to give the soul the tuition it needs in order to individuate. If `Intuition` is the function of the Paraclete, and the spear is her symbol, then Britney Spears symbolizes her omnipresence, and Oops I Did It Again is a Wellsian `message` of Revelation in terms understandable to those who have enough `Intuition` to accept the Paraclete`s tuition.
The Bible depicts Jesus as God`s genuine hero, because he`ll kill his dragon in Revelation, whereas men are fools, if they act heroically for anything but killing their own devouring imagos: `You see my problem is this. I`m dreaming away. Wishing that heroes they truly agree. I cry watching the days. You see I`m a fool in so many ways. But to lose all my senses, that is just so typically me. Baby.` In Jungian psychology, the four senses of hearing, sight, taste, and smell are associated with the four functions of consciousness in undifferentiated form, that is, `Thinking`, `Sensation`, `Feeling`, and `Intuition`, which have to be differentiated if the individuation process is to receive completion.
Completion of the individuation process is symbolized by the `heart of the ocean` jewel`s arrival on Mars in Britney`s Oops I Did It Again video. In the lyrics, she describes it as `typical` of herself that she `lose all her senses`, which is an allusion to Jung`s theory of psychological types, where he describes pre-individuated egos as `Thinking`, `Sensation`, `Feeling`, or `Intuition` types, because he observes that, in most cases, individuals have a superior function, with an auxiliary, an ancillary, and an inferior, which he associates with negative personality traits that the individual doesn`t wish to be seen, and so s/he takes great pains to conceal them, which is wise if s/he`s seeking individuation because this shadow or subconscious self can cause anger or hatred towards oneself or others.
Oops I Did It Again is the observation that men are fools, if they`re not heroes like Jesus because, if they don`t kill their dragons, that is, their devouring imagos, they`ll lose all their senses, and she`s wise enough to see that she`s not dreaming of any other hero but Jesus, because Jesus is `God`s hero`, that is, a genuine archetype of the collective contents of her unconscious self. Through belief in Jesus she can individuate by accepting Jesus` teachings, and the tutelary guidance of the Paraclete`s ancient wisdom. Her spaceman may fool some, but not her. He`d have to kill his own devouring imago to be a hero, and he wouldn`t be hers, because only herself or Jesus could kill her devouring imago.
In simple terms, Jesus is a `hero` archetype of God`s, whereas those who embrace the devouring imago are evil, and that`s why Jesus slays them in Revelation. Because they wouldn`t kill their own devouring imagos and accept Redemption. In Oops I Did It Again Britney admits that she`s `dreaming` when she wants heroes to `truly agree`, that is, she`s a `fool` who loses her `senses` because she recognizes from her dreams that her heroes are devouring imagos who`ll devour her psychological type. She has to be fooled into acting heroically, or she`ll succumb to devourment, which is why the Jesus archetype is important for her. The song Oops I Did It Again is, apart from that, her defiance of the devourer, on the understanding that she has a hero in Jesus:
... You think I'm in love.
That I'm sent from above...
I'm not that innocent.`
She`s wise because she`s been on the Earth for at least 2000 years since the time of Jesus, and if she`s the `Second Eve` then she may even be as old as Eve, who was created from Adam`s rib, according to Genesis, the first book of the Bible. In the prophesy of Saint John the Divine in Revelation, there`s war in heaven between the woman`s and the serpent`s `seed` and the woman` s seed wins. God creates a new heaven and Earth for Woman as a species, and the evil experience unendurable eternal pain. Because Woman`s a species, the Assumption of the Virgin Mary is God`s Assumption of Woman. That`s why God sent the Paraclete, because it`s God`s Assumption that Woman belongs in heaven. The red dragon of Revelation that waits to devour the baby is a sign that men represent the Consumption of Woman and, even if disguised, consumerism is enslaving a woman by giving her a washing machine that looks at her like a man leaving her for an episode of Space Nazis On The Moon.
3 Tennyson, Alfred Lord In Memoriam, 1850. The quotation refers to man: `Who trusted God was love indeed, And love Creation's final law. Tho' Nature, red in tooth and claw, With ravine, shriek'd against his creed.` Usually used in support of capitalism and fascism, the quotation actually signifies Woman`s nature, which is ruthless in support of her own species, and Resurrection and Redemption, because she`s God`s, and her nature goes against men`s.