Coronavirus: Black Magic Goes Viral? Part 2: A Vincent Price Double Feature

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By: H.B. Gardner

Current events have confirmed that we are indeed living the plot lines of two films starring Vincent Price.  If self-quarantine and social distancing has you losing your mind like the protagonist in an Edgar Allan Poe story, then you could do far worse than to delight in a diabolical double feature starring Uncle Vinnie.

Both films, The Masque of the Red Death and The Last Man on Earth are from 1964. But these films stand today, each to a certain degree, as prophetical and horrifically relevant to the present coronavirus / COVID-19 (or, can we now say -20?) global pandemic. Let’s take a quick, spoiler-free glimpse at these two films before looking deeper into our current plague.

The Last Man on Earth

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Vincent Price as Dr. Robert Morgan in The Last Man on Earth

The Last Man on Earth is a 1964 black-and-white post-apocalyptic science fiction horror film based on the 1954 novel I Am Legend by Richard Matheson.  I Am Legend was remade in 1971 as The Omega Man starring Charlton Heston, and in 2007 with Will Smith. Matheson later said the Vincent Price film was the most faithful adaptation of his book, but he also called the result “inept” and used a pen name for his screenplay.

Humanity is all but wiped out in a global pandemic, a bacterial plague, in which the dead, if not cremated, return as the vampiric undead. The infected are dying too fast and in such great numbers that they must be disposed of via burning pits in mass cremations. All alone, Dr. Robert Morgan (Price) spends his time hunting down the vampires during the day to pound wooden stakes through their hearts, and defending himself from within his home at night when they arise to attack him. Garlic and mirrors ward them off for a time.

In what appears to be an eerie coincidence to our current Coronavirus pandemic, Morgan hypothesizes that he is immune to the bacteria because he was bitten by an infected vampire bat when he was stationed in Panama, which introduced a diluted form of the plague into his blood. In an article shared below we will see the Wuhan coronavirus connection to the bat. Price’s character eventually meets another person and the potential for a cure using Dr. Morgan’s blood – which has built up antibodies to the virus – is attempted, just as is being considered now for the coronavirus. The Last Man on Earth is available to watch for free on Youtube, so what are you waiting for?

“…these films stand today, each to a certain degree, as prophetical and horrifically relevant to the present COVID-19 global pandemic.”

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No one is left untouched by The Masque of The Red Death!

The Masque of The Red Death

Vincent Price is indelibly linked with the macabre tales of Edgar Allan Poe, and this is one of our personal favorites. Price is elegantly evil (as usual) as Prince Prospero – a late medieval period character who is part Gilles de Rais and part Marquis de Sade. As a plague known as The Red Death ravages the land, Prince Prospero invites his privileged, decadent, aristocratic guests to a grand party where he promises protection from the disease without – and much debauchery within – his castle’s walls. But the prince is a serious Satanist longing to go beyond the limits of even his own depravity! He brings a young village girl – along with her father and a young suitor – to his palace as amusement for his guests. Even the prince’s wife gets serious about dabbling in the Dark Arts of Diabolism and Demonolatry.

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Hazel Court brands her breast with the first inverted cross in satanic cinema history! The Masque of The Red Death.

What strikes us here in connection with the Coronavirus is the sheer susceptibility of everyone – no matter how powerful or privileged – to the whims of bacterium! Leaders of nations, royalty, the wealthy, clergy, the religious, people of all nations and races, even healthcare professionals are all in the grip of pestilence when it arises because it has far-reaching effects upon every level of society. We won’t spoil the ending – or the inclusion of Edgar Allan Poe’s ‘Hop-Frog’ as a side story. But we highly recommend this one as – beneath it’s amusing, vulgar, psychedelic theatricality – it carries a deep truth.

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In an epilogue, the Red Death is seen playing with his Tarot cards with the girl who had escaped the massacre of the remaining villagers. Other similarly cloaked figures then gather around him, each wearing a different colour: the White Death, the Yellow Death, the Golden Death, the Blue Death, the Violet Death and the Black Death.

“Sic transit gloria mundi”

(Latin for “Thus passes the glory of the world”)

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90094919_10217946751479572_3704477505470595072_nCommunist Chinese censorship has far reaching tentacles…

…and pincers, and fangs. Actually, many political systems, governments and ideologies rely on fear and ignorance for fuel these days. In part 1 of this article: Coronavirus: Black Magic Goes Viral? we mused, in an admittedly “not-too-serious” manner, upon the Chinese sorcery aspect of Ku or Gu poisoning and how it relates to the Wuhan Coronavirus / COVID-19 as a pestilence born from humans  meddling with things they are unable to control. We would just like to reflect here upon the certain knowledge of communist China’s well known censorship and propaganda machines, its merciless suppression of anything outside communist party approval, and the control its almost limitless economical weight has over the entire world. Don’t believe everything just because you hear or see it on the nightly news, TV talk shows, or media. All of it is doubtlessly being promoted by big money; and these days the biggest money is in China. Look at history, consider what happened to Tibet, what’s been happening in Hong Kong and Taiwan and try – we implore you – to think for yourself. We know that is asking a lot in this day and age; but it is imperative.

“Look at history, consider what happened to Tibet, what’s been happening in Hong Kong and Taiwan and try – we implore you – to think for yourself.”

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The “Masque” of The “Red” Death

There is much to unpack on this topic but we would point those with a serious interest to the following links; and to the censored text to an article by Chinese researchers pasted below.

Link:

Yes, the Virus Came From Wuhan

“And what puzzles us most, in this storm of information, impressions, opinions, expertise, real or alleged, is that no one is asking China, a country with an already horrible record on humans rights and disinformation, to explain plainly what happens in those research centers, one at less than 300 meters from the Wuhan market and the other at only 12 km.”

Link:

Experts think bats are the source of the Wuhan coronavirus. At least 4 pandemics have originated in these animals.

“”Poorly regulated live-animal markets mixed with illegal wildlife trade offer a unique opportunity for viruses to spill over from wildlife hosts into the human population,” the Wildlife Conservation Society said in a statement.”

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“…in mid-February two Chinese researchers, Dr. Botao Xiao from South China University of Technology, Guangzhou, and Dr. Lei Xiao, from Wuhan University of Science and Technology, recognized bats as the real source of the infection. Interestingly, the paper has since disappeared from the international scholarly data base Research Gate, not the first such incident for texts from China the CCP does not like,”

The Censored article that disappeared:

The possible origins of 2019-nCoV coronavirus〉 (Botao Xiao and Lei Xiao)

The 2019-nCoV coronavirus has caused an epidemic of 28,060 laboratory-confirmed infections in human including 564 deaths in China by February 6, 2020. Two descriptions of the virus published on Nature this week indicated that the genome sequences from patients were 96% or 89% identical to the Bat CoV ZC45 coronavirus originally found in Rhinolophus affinis. It was critical to study where the pathogen came from and how it passed onto human.

An article published on The Lancet reported that 41 people in Wuhan were found to have the acute respiratory syndrome and 27 of them had contact with Huanan Seafood Market. The 2019-nCoV was found in 33 out of 585 samples collected in the market after the outbreak. The market was suspicious to be the origin of the epidemic, and was shut down according to the rule of quarantine the source during an epidemic.

The bats carrying CoV ZC45 were originally found in Yunnan or Zhejiang province, both of which were more than 900 kilometers away from the seafood market. Bats were normally found to live in caves and trees. But the seafood market is in a densely-populated district of Wuhan, a metropolitan of ~15 million people. The probability was very low for the bats to fly to the market. According to municipal reports and the testimonies of 31 residents and 28 visitors, the bat was never a food source in the city, and no bat was traded in the market. There was possible natural recombination or intermediate host of the coronavirus, yet little proof has been reported.

Was there any other possible pathway? We screened the area around the seafood market and identified two laboratories conducting research on bat coronavirus. Within ~280 meters from the market, there was the Wuhan Center for Disease Control Prevention (WHCDC). WHCDC hosted animals in laboratories for research purpose, one of which was specialized in pathogens collection and identification. In one of their studies, 155 bats including Rhinolophus affinis were captured in Hubei province, and other 450 bats were captured in Zhejiang province. The expert in collection was noted in the Author Contributions. Moreover, he was broadcasted for collecting viruses on nation-wide newspapers and websites in 2017 and 2019. He described that he was once by attacked by bats and the blood of a bat shot on his skin. He knew the extreme danger of the infection so he quarantined himself for 14 days. In another accident, he quarantined himself again because bats peed on him. He was once thrilled for capturing a bat carrying a live tick.

Surgery was performed on the caged animals and the tissue samples were collected for DNA and RNA extraction and sequencing. The tissue samples and contaminated trashes were source of pathogens. They were only ~280 meters from the seafood market. The WHCDC was also adjacent to the Union Hospital where the first group of doctors were infected during this epidemic. It is plausible that the virus leaked around and some of them contaminated the initial patients in this epidemic, though solid proofs are needed in future study.

The second laboratory was ~12 kilometers from the seafood market and belonged to Wuhan Institute of Virology, Chinese Academy of Sciences. This laboratory reported that the Chinese horseshoe bats were natural reservoirs for the severe acute respiratory syndrome coronavirus (SARS-CoV) which caused the 2002-3 pandemic. The principle investigator participated in a project which generated a chimeric virus using the SARS-CoV reverse genetics system, and reported the potential for human emergence. A direct speculation was that SARS-CoV or its derivative might leak from the laboratory.

In summary, somebody was entangled with the evolution of 2019-nCoV coronavirus. In addition to origins of natural recombination and intermediate host, the killer coronavirus probably originated from a laboratory in Wuhan. Safety level may need to be reinforced in high risk biohazardous laboratories. Regulations may be taken to relocate these laboratories far away from city center and other densely populated places.

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Note: We do not consider the Chinese people at fault for the viral contagion. It is the lack of transparency, censorship and disinformation of the repressive communist government that needs to be addressed.

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Coronavirus: Black Magic Goes Viral?

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By H.B.Gardner

In this article on a serious topic, we go a-musing on the themes of occult poisons, satanic plague, and an occult horror theory of the Nova Coronavirus (COVID-19) as a form of Oriental black magic …and the ancient Chinese idea of “Let your food be your medicine.”

“Bugs on a plate”. That’s one interpretation of Gu or Ku, the ancient Chinese ideogram pictured here. The actual strokes of the first character above depicts three “insects” in a “pot” or “bowl. The bottommost portion of the character is the same as for a bowl or dish such as one will find on a menu or in a cook book in Japan or China; but it may be more broadly interpreted as a vessel. The simplified modern form (on the right) depicts one bug in a pot or jar. “Bug” or “insect”  is a rather oversimplified term here as, in this case, the characters also encapsulate a wider range of creatures including snakes, spiders, worms,  scorpions, centipedes, frogs and other creepy-crawly “pests”.

The meaning of Gu or Ku has some various interpretations; but it mostly relates to a slow-working venomous poison of the black magical kind which we may loosely interpret as “Chinese sorcery” or “witchcraft”. This line of thinking may also lead us to extrapolate upon an esoteric interpretation of these Chinese characters as not so much as “bugs in a vessel”, but “worms in the belly / body”, suggesting a nefarious viral or parasitic invasion of the human body. To suggest our theoretical linking of such sinister connections between Chinese black magic and the COVID-19 or new coronavirus, permit us to endarken you on some  ideas in “traditional Asian medicine and sorcery” as we look for the Devil In the Details, and offer some interesting insight into some possible contributing factors to this confounding viral epidemic.

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“This art of black magic …is usually focused on poisoning at a distance, creating disease, controlling a lover or for causing death.”

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1932’s extremely racist The Mask of Fu Manchu (with Boris Karloff as the evil Chinese villain) has a scene with this type of Oriental Black Magic used for nefarious purposes. A “venomous serpent” is caused to bite a black slave whose blood is then drawn to be included in a magical serum to gain control over another character.

“Gu or Ku is an ancient form of oriental black magic in which toxins are concentrated in order to wield occult powers over others.”

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Oracle Script for Gu “Poison” or “Bewitch”.

This Gu or Ku is an ancient form of oriental black magic in which toxins are concentrated in order to wield occult powers over others. This has been depicted onscreen in 1932’s The Mask of Fu Manchu, starring Boris Karloff as the nefarious villain planning to conquer the world.yjimage

The Chinese ideogram itself dates back to the 14th century BCE Shang Dynasty bone oracle inscriptions meaning “poison” or “bewitch”. The typical method of this Ku sorcery is the collecting of various venomous or poisonous creatures such as snakes, lizards, centipedes, scorpions, and worms which are enclosed within a vessel in order to fight it out. The survivor in this death match – having killed and devoured the others – is then considered to be extremely potent in its toxicity by having absorbed the poisons of the others. This creature, the Ku, may then serve as a prized familiar spirit and/or as the main ingredient of either a love potion or toxic poison, usually administered in food or drink to an unknowing victim.

“Its a serious problem. Wild animal farming to supply exotic substances for “health tonics” for China’s wealthy elite – a “small percent” of China’s population which is nearly equivalent to the entire population of Japan.”

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Seal Script for Gu “Poison” or “Bewitch”.

This magical practice is reputedly often accomplished in the southern regions of China in the hot and humid season (5th day of the 5th lunar month),  which certainly provides an ideal condition for the growth of bacteria.

This art of vengeful black magic and it’s particular methods is usually focused on poisoning at a distance (in both space and time), creating disease, controlling a lover, or for causing death. Descriptions in antique Chinese texts report incidents of slow poisoning and death, sometimes weeks after imbibing the toxic dose. Medicinal antidotes are also often cited such as ginger and licorice root. (This makes visceral sense as, here in Japan, sashimi is served with pickled ginger as well as wasabi horseradish as condiments to aid the safe digestion of raw fish).

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The occult works of Kenneth Grant offer some knowledge on The Cult of the Ku.

“Descriptions in antique Chinese texts report incidents of slow poisoning and death, sometimes weeks after imbibing the toxic dose.”

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Above: Chinese coins depicting the 5 poisons.

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1964’s The Masque of the Red Death

COVID-19

The “New Bug” Going Around

Now, another mysterious virus has seemingly arisen to spread rapidly over the globe. With the SARS, MERS and Ebola outbreaks still fresh in memory, the recent news of the Wuhan Nova Coronavirus COVID-19 spreading outwards from China – with over 6,000 reported cases and causing over a hundred to die (update from original time of writing: as of March 17th there are now 7426 deaths reported globally); and the recent estimates pointing to the virus reaching its peak at the end of this April or May (at the time of writing) – we thought it of interest to outline the occult links to this issue because, in our estimation, there are always esoteric links to every imaginable and unimaginable phenomenon.

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Artist: William Blake. Women before a blazing cauldron with a child’s corpse. A magical attempt at resurrection?

There is no telling with 100% certainty where this coronavirus disease originated – whether from a fish and wild animal market in Wuhan, China as many have speculated, or from a nearby infectious disease lab where – much like the Ku spirit nurtured in a vessel containing centipedes and snakes – viruses are cultured and grown in Petrie dishes. We can say that – whether by accident or insidious design – this “New Bug“ has escaped its containment vessel and somehow managed to jump the species barrier.

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Dogs and bunnies for sale at a Chinese food market. This is no pet shop. Feces, urine, blood, pus, parasites etc.. are showered down from cage to crowded cage upon suffering animals.

Note that the viruses mentioned here have all been animal linked diseases. According to the World Health Organization (WHO)  SARS coronavirus (identified in 2003) is thought to be an animal virus from an as-yet-uncertain animal reservoir, perhaps bats, that spread to other animals (civet cats) and first infected humans in the Guangdong province of southern China in 2002. 

MERS = Middle Eastern Respiratory Syndrome came from camels in contact with humans. These are animal viruses which have somehow been transferred to humans.

The Ebola crisis that happened in Africa is also linked to bats.

“In China it is often the case that animals sold for food consumption in certain open markets are often crammed tightly together in conditions that most would consider unthinkable.”

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A Satanic plague is unleashed upon the world by a circle of wealthy elites in 1973’s The Satanic Rites of Dracula.

In China it is often the case that animals sold for food consumption in certain open markets are often crammed tightly together in conditions that most would consider unthinkable. Its a serious problem. Wild animal farming to supply exotic substances for “health tonics” for China’s wealthy elite – a “small percent” of China’s population which is nearly equivalent to the entire population of Japan. Consider the energy of whatever you imbibe or digest as literally in-forming the substance of your being. The food we consume has an effect on our entire system. This is both magical thinking and scientific fact.

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How about some bat soup?

“Let Your Food Be Your Medicine”

But it isn’t only for rare black magical purposes for which certain exotic creatures are sought as ingredients in Asian culture. There are also medicines and cuisine to consider! It seems to us no mere coincidence that the new corona virus outbreak happened to coincide with celebrations for the 2020 Chinese Lunar New Year holiday of January 25th! A holiday which sees the massive movement of people traveling to visit family and loved ones for special family gatherings …and special meals.

“China has a very ancient and venerable history of traditional medicine.”

The first thing to be understood is that – like most Asian and Eastern cultures – China has a very ancient and venerable history of traditional medicine. In China, one significant idea regarding one’s health is expressed as “Let your food be your medicine”. This is good advice in general. But the lists of rare, exotic ingredients for certain traditional formulae has sometimes led to the hunting and near extinction of certain species of animals such as the black rhinoceros, musk deer, tigers, snow leopards and all manner of rare beasts and birds in order to obtain portions of these creatures and their organs which are reputed to cure particular ailments or illnesses, or to give certain desired health benefits.

“This, in conjunction with the lists of exotic ingredients for traditional medicinal formulae, has sometimes led to the hunting and near extinction of certain species of animals…”

China Outbreak Lessons from SARS

Man looking at raccoon dogs (Yes, there are such things.) at a market in China.

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Fire burn and Cauldron bubble: European Witches adding a cockerel and a snake into a blazing vessel. Sorcery performed for fortune, fame and power, for cursing or for love, appears to be systemic to the human race.

It comes as no surprise that the epicenter of the current corona virus outbreak has constellated around a fish and wild animal market in Wuhan, China – a region which also happens to host a nearby disease lab. This market had all manner of beasts in cramped and dirty cages all stacked together in highly unsanitary conditions where their immediate slaughter for food could also be carried out. Blood, urine, feces, pus and the standard sicknesses, viruses and parasites natural to wild animals all blending and stewing in a melange of filth. This is not so unlike a giant Ku poison pot, an unwholesome alembic or Petrie dish, if you will. Which brings us back around to the poison magic known as Ku. The witches cauldron containing “eye of newt and toe of frog” appears to be a universal phenomenon. Sorcery performed for fortune, fame and power, for cursing or for love, appears to be systemic to the            human race.

“Witchcraft performed for fortune, fame and power, for cursing or for love, appears to be systemic to the human race.”

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Asian centipedes grow large and carry poison.

It is impossible to say how many people engage in the riskier food and health practices constellating about these potential centers of pestilence. But it is likely a smaller portion of the population which knowingly imbibes or absorbs these substances. A simple search online will turn your stomach to watch Asian men eating live baby mice or pretty young women tasting writhing centipedes, for instance. Far fewer are those who dare to dabble in poisons such as in Ku magic. But greedy and intemperate scientists and the administrative powers which support and finance them – not only in Asia but worldwide – know no bounds when it comes to dabbling in these unseen forces which are ever at the ready to exploit a weakness in the human immune system. While many folks are content to try an occasional exotic delicacy, the truly nefarious deeds are being done in labs and factory farms around the globe, with or without government approval. 

We must also admit the deplorable conditions of our own factory farming practices – and of puppy mills – in the good old USA and other Western nations. The wretched un-lives lived out by animals farmed and raised for meat, eggs, dairy and pets are also swarming with filth, disease and suffering beyond the limits of any diabolical horror movie. Until people wake up to these heinous practices, the suffering will continue and the chances for potential outbreaks of disease loom imminently over the land.

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Vincent Price meets The Masque of The Red Death (1964)

The Affair of the Poisons

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Catherine Deshayes, aka “La Voisin” was burned at the stake for being involved in poisoning and satanizing.

Sometimes an outbreak of magical poisoning may be the result of a more amorous type. There is always the possibility of passionate intrigue, occultism and love spells gone awry. Attempts at poisoning, or concocting aphrodisiacs or “Spanish Fly”, such as the Affair of the Poisons (1677 – 1682) is one famous example that scandalized the court of King Louis the XIV. The Sun King’s own mistress, Madame de Montespan, bought aphrodisiacs to remain in the king’s favor and performed Black Masses with Catherine Deshayes, a known fortune teller, poisoner and abortionist, known as “La Voisin”, who was later burned at the stake in 1680. Eventually the scandal and criminal cases surrounding The Affair of the Poisons led to the execution of 36 people while many others received life sentences or were sent to the galleys.

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Habushu is a liquor from Okinawa in which a venomous pit viper has been steeped.

Germ Warfare, Infectious Disease & Pandemic

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Great book on the Plague. Recommended reading!

Germ warfare is nothing new. It’s been going on for centuries. Throughout history, invaders have catapulted the bodies of plague victims over city walls. Wells have been poisoned with animal carcasses. The Black Death, which spread the Plague from Asia and wiped out 30% to 60% of Europe’s population in less than a decade, is a devastating example of the effects of a pandemic. We must ask ourselves if the world is due for another one – whether by nature or by design. Or perhaps certain systems of control and authority wish to reduce the surplus population by eradicating the weaker members of society, such as those with compromised immune systems. It is certainly something that has happened before. The medieval witch hysteria in Europe was sparked by the Plague and sections of society were quickly accused and executed.

 

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A satanic new plague is to released on the world at Dracula’s command! The Satanic Rites of Dracula (1973)

In Asia, where the serpent – often epitomized as the Dragon – is revered, even worshipped, as well as consumed as a sacramental or potency enhancing meal or beverage, there is definitely a different psychology at work than in the Christianized West. Christianity has long demonized the serpent as an emblem of evil. But the consumption of the flesh and blood of a deity is not unknown in the West as anybody who has attended Holy Mass or communion in a church should be aware.

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Black Magic 1975, Horror film from Hong Kong exhibits Chinese sorcery known as Ku.

Evil certainly exists but the concept of “sin” remains a foreign idea in East Asia; there is more a line of thought of  shamefully “missing the mark” or “failing to achieve” rather than the imposed guilt of “sin”. Christianity is a tree that has never taken firm root in Japanese or Chinese soil. And wherever it has taken root, it is invariably only surface deep and rather frail and sickly. In a way the West has infected the East with its religion just as coronavirus is spreading outwards from Asia.

Whatever the origin of the current COVID-19 outbreak, it is certainly linked to human contact with animal virus. Whether this happened by accident or on purpose (for the record we suspect the inevitable corporate greed and stupidity of humankind over the admittedly more intriguing occult means) the scorpion has crawled / the bat has flown / and the serpent has slithered out of the pot! And it is probably already too late to clap the lid back on.

Gu-Poison

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The Occult Influence of Alejandro Jodorowsky

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Alejandro Jodorowsky with his restored Tarot of Marseille.

Alejandro Jodorowsky is much more than an acclaimed firebrand of underground cinema. His unique career and work extends far beyond avant-garde film making and into writing, music, comics and graphic novels, performance, mime, surrealism, art, the Tarot, teaching, therapy, psychology and mysticism. Indeed, it is a difficult task to encapsulate the man with any one label as his pursuits bleed and merge artistically into one another in an organic, creative and surreal consciousness-expanding milieu where one finds an ever uncoiling universe constellating around him.

Unknown-1On his religious views, Jodorowsky has called himself an “atheist mystic”; a statement which just barely scratches the surface of this original and pioneering  Magician. He has a profound understanding of psychology and the traumas inherited from family, along with symbology, magickthe Tarot and spiritual alchemy – all of which has enhanced his work and – through his art – opened people’s minds to some of the deeper strata of human experience. This has not always occurred in a smooth fashion for the film maker. In fact, it has often been a struggle to have a wider showing of his work and there have been more than a couple of outrages along the way.

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Dance of Reality (2013)

Although not a “occult horror” film director in the conventional sense, Jodorowky’s films have caused controversy as they are often steeped in religious and occult imagery which has at times caused outrage or even been interpreted as blasphemous. His avant-garde cinematic productions such as  El Topo, The Holy Mountain, and Santa Sangre – along with the more recent The Dance of Reality and Endless Poetry – express a kaleidoscope of symbolism and psychological insight that are often beautiful, unsettling, breathtaking and disturbing – all at once.

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A plethora of mass produced crucified Christs – and The Fool who was their model screaming in the middle of them all – in The Holy Mountain.

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Skinned and crucified dogs carried by marching soldiers in      The Holy Mountain.

Santa Sangre

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Santa Sangre  (1989)

Santa Sangre (1989) may be labeled a drama / mystery,  but the surrealism of the story carries it into stranger territory. A young boy, the son of a circus knife-thrower, witnesses his mother’s arms being amputated in a spectacular way as she attempts to defend her heretical cult. She survives and he learns how to become her hands for her, even killing for her.

 

The Holy Mountain

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Jodorowsky himself plays the Magician in The Holy Mountain.

The Holy Mountain (1973) is a film only the ’70’s could have produced. Nothing else like it has even been attempted. It was almost impossible to even view the film for decades due to a distribution dispute, but is now widely available. John Lennon and Yoko Ono put up production money for this film. Originally, George Harrison was to play the lead role of The Fool but declined because he didn’t wish to have his bare naked ass getting washed to be projected onto the silver screen. It is a surreal, beautiful, and somewhat disturbing experience (much like life) as it follows The Fool’s Journey on the path towards mystical enlightenment. The archetypal planetary Forces are also impersonated – with all their flaws – in a 1970’s fashion which somehow feels timeless; but the surrealist imagery and occult symbols may leave any but those educated in the Arcane Arts rather baffled. Somebody commented that there is so much weird stuff going on in this film that you almost forget about all the nudity. A psychedelic shamanic trip into occult exploration.

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The Magician initiates his apprentice in The Holy Mountain.

Jodorowsky was famously set to direct a film version of Frank Herbert’s sci-fi epic novel Dune in the mid 1970’s,  but the $9.5 million production would have resulted in a 14 hour movie (featuring Salvador Dali and Orson Welles). The visionary project was aborted but the unmade film is claimed to have been an influence on other actual science fiction films, such as Star Wars, Alien, Terminator, Flash Gordon, The Fifth Element and Raiders of the Lost Ark. Jodorowsky’s tremendous influence is more widely known in the French and Spanish speaking countries and to a growing cadre of English language fans.

Tarot

Mr. Jodorowsky has spent a great deal of time studying the Tarot over the years and has even offered a marvelously colored “reconstructed” version of the famous Marseille pattern Tarot deck which he worked on with Philippe Camoin – descendant and heir to the guardians of the Tarot de Marseille tradition for centuries. This may be considered as the most perfect version we have of The Marseille Tarot pack. It is certainly the best colored one we’ve seen.

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Camoin Tarot website

You have never read a book on Tarot like this before! While some of the associations and interpretations Jodorowsky offers in his Way of Tarot book may surprise and perplex some who study and practice Tarotmancy or “Tarotology”, It is nothing short of genius and will be an exercise in psychological expansion and spiritual unfoldment for any serious occultist who spends some time reflecting on what is presented in the book.

Anyone wishing to go beyond Jodorowsky’s films and delve deeper into the mind of this occult genius must check out his amazing books The Way of Tarot and Psychomagic.

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Inspired by the Gods: Artist Rafael Espadine

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Rafael Espadine @ Dakshineswar Kali Temple near Calcutta

Rafael Espadine at the Dakshineswar Kali Temple near Calcutta, India.

Devil in the Details is proud to share this interview with Rafael Espadine, an artist and Philosophy student, researcher on the occult and ancient spiritual cultures. He works in the field of Indian culture in his native Brazil. He is also a fan of occult horror and was the first contributing writer to Devil In the Details with his thought provoking Suspiria inspired piece: Susanna Bannion (or the power that lies in a name). The pictures of artwork accompanying this interview are those by the hand of the artist, courtesy of Rafael Espadine. More of his fine art work may be viewed at his site: Spadini Arts , and @r.spadini on Instagram. 

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Hekate painting by Rafael Espadine

Devil In the Details: Have you always been creative or interested in art?

Rafael Espadine: My earliest recollections of myself and the world around me always involve art. My mom often says her womb is probably full of frescoes. She was and is my greatest sponsor, the first to ever buy me paints and canvases and papers etc. She is a ballerina and can draw and paint and sing very well, so I guess it’s kind of… Hereditary… (drums a rimshot).

Devil: How do you approach making a piece of spiritual art?

R. Espadine: For me sacred art has to be truly inspired by the spirit, touched by a bolt of light, emotionally and intellectually moved and it must bring a fresh glance into something that is by nature, timeless. Some of my best works came out of nowhere and involved physical reactions that could be compared to trance states. I like to be respectful to the spirit of the character or symbol being represented. I’m a lover of tradition and traditional iconography and my experience has proven to me that one can innovate in style and approach and yet retain the traditional spirit. I guess it is high time to leave fantasy art to RPG books.

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Ugra Tara (Kalika) – a fierce form of pregnant Kali. Original creation inspired by traditional design; by Rafael Espadine.

Devil: What are some of your artistic influences or inspirations?

R. Espadine: Artistically speaking my inspirations would be the Renaissance period and the Symbolists and Pre-Raphaelites, but I always go back to Pompeii’s frescoes and Egyptian art in general but mainly from the Ptolemaic Era. The timeless character exuded by ancient art is unmatched and a big part of my work pays tribute to such aesthetics. Oh, not to mention the East as Indian art has always fascinated me and the art produced during the Pala dynasty is my all-time favorite Indian art.

Devil: You are a culturally well-rounded individual and kind of a Renaissance Man. You also have an impressive singing voice.

R. Espadine: Oh, thank you so much for listening! Music is a big part of my artistic expression and I have always being involved with vocal groups and solo experiences. Dance too, as I have been exposed to ballet and practiced northern Indian classic dance (Kathak) but music, or better saying, the art of singing, is–in my humble opinion–, the only art you can truly carry with you in a most natural way that does not depend on external tools and conditions and that characteristic is amazing. The songs I managed to compose myself are usually short and inspired by ancient folk ballad tunes. Opera is where I meet almost a perfect combination of all those experiences and expressions and I am a coloratura aficionado.

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Oberon by Rafael Espadine; from his Instagram page.

 

Devil: Where else do you find the touch of Spirit?

R. Espadine: Besides the artistic inspiration, I would say the obvious: Nature is the highest inspiration. Subject wise I would say that mythology, fairy lore and witchcraft are my favorite subjects.

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Witchy Deity sculptures by Rafael Espadine

“Evil for me has always been a desmesure, an unbalanced excessiveness.”

Devil: When were you first drawn towards the horror genre? Through what medium?

R. Espadine: I guess I have always been fascinated with the supernatural and I see the horror genre, in cinema above all, as the only genre that deals with the subject in all its natural turmoil, especially of its darker shades.

Devil: Do you feel that the horror genre touches upon spirituality?

R. Espadine: Spirituality for me has never been a rigid experience, but a vivid dynamic one. I believe that the world of Spirit has a natural grip to our deepest emotions and I think that good supernatural horror is the best genre to induce that in a cinematic experience. We sometimes need extra doses of shock to question what we see around and inside ourselves and the symbolic language of supernatural horror can be a good way to cathartically express that.

Devil: What diabolical or occult horror films or books have impressed or made the biggest impact on you?

R. Espadine: The Exorcist is for sure one of my favorites. It is the Maria Callas of horror. I was lucky to read the book before I saw the film, and the book was a very impacting experience. Just the opening transcriptions of human atrocities would be enough as a glimpse into the problem of evil. However, The Omen had the biggest impact on me as a film in my childhood because the implications were easier to understand at that time. Later on I could understand better the so many substrata present in The Exorcist – including the political ones and even the possibility that poor Pazuzu had nothing to do with poor Regan… – but as a kid The Omen made me think and question deeper theologies (and also to look for a certain birthmark under my hair…). Even later on Rosemary’s Baby proved to be a most instigating root of that type of plot and a much more elegant and disturbing one. I like the depiction of the supernatural within the apparently ordinary life that doesn’t call for too much gore or CGI to convey the message.

“The Exorcist is for sure one of my favorites.

It is the Maria Callas of horror.”

Devil: What were your earliest religious or spiritual influences?

Rafael Espadine: As a kid I was never told that there were fixed parameters to be followed or a single universal true that should be blindly accepted by all. When I asked my mother “how God is?” , and she said “it is Energy,” to which I replied, “I’m gonna make a drawing of God”, which I did. The result was a drawing of a bearded strong man seated on a cloud… but naked and holding a trident, so I can only guess that there are things that we simply bring within ourselves to this world somehow.

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Roman Isis, From a statue of the Hadrian era (117 – 138 AD).  25cm high. Sculpture by Rafael Espadine.

Devil: How would you describe your present spiritual path?

R. Espadine: I am an initiate of, and in, many spiritual paths – all duly practiced, although not at the same time and not all continued. I have always tended to the mystic ways within the greater spiritual traditions – or the alternate ones. At this point it is clear to me that the ancient mystery and magical traditions are my stronger strands as they normally coexist without clashing and are more open to personal gnosis, although I also tend to like things traditional in essence as I do in art. Philosophically-wise, I would say that Buddhism and (Indian Tantric) Kaula metaphysics are the most compelling ones to me. I’m a nature lover and the acceptance of this world and nature as a whole and as divine in itself is a basic tenant to me. Despite all that, I have the strong impression that Art is itself a valid expression of spirituality and it can be a full-fledged spiritual path like any other and such an achievement is a main goal for me. Above all, if I should have a God that would be Nature Herself in all its splendor and darkness.

Devil: Now, a Devil In the Details question we wish to pose to any one we interview, as a way of getting different views on our diabolical horror theme. What do you consider evil in today’s society?

R. Espadine: Evil for me has always been a desmesure, an unbalanced excessiveness. Think of it: a nation trying to expand territory at all costs, a virus, a cancerous cell, an animal out of its environment, a mind that can’t focus in the present time, excessive worry, man trying to be superior to Nature, a person who tries to get a promotion at all costs, etc. It’s always related to expanding and having more and more and more. It was true in the past and it is true today. Knowing our place and our potentials and trying to reach and do more but only as much as possible and in harmonious ways is mandatory at all costs.

Devil: Thank you so very much Mr. Espadine. It has been a delight getting to know you  and we will certainly be keeping an eye on your artwork and other creative endeavors as something to look forward to.

Rafael Espadine: Thank you so much for this interview. It is a big pleasure to contribute to this website in any possible way since this is one of my favorite places on the internet.

Please view more of Rafael Espadine’s fine artwork at his website Spadini Arts and you can also find him and more of his art on Instagram here: https://www.instagram.com/r.spadini/

Hereditary : Decoding the Demon’s DNA

By: H.B.G.

Contains spoilers! (Viewed three times)

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Milly Shapiro makes an impression in an understated performance in Hereditary.

As fans of Diabolical and Occult Horror we dare to stare into the artistic abyss in an effort to understand why we find the theme so appealing. Is it an attempt at psychological self-analysis of the Jungian Shadow? Or is it a floundering fight to wrestle with our own inner demons?

Whatever the reason (not that one is needed), few such films  in recent years have had quite the impact that ‘Hereditary’ has had. While some have compared it with another icon of Satanic Cinema canon by calling it “this generation’s ‘The Exorcist’”  (Time Out New York) – others have ridiculed it for obscuring it’s more subtle elements beneath too much eye candy; or (more bizarrely) claiming that its “predictable” or “supernatural” ending ruined it (!). But in a film in which the supernatural and diabolical elements are the main plot point, what else should one expect, or want, from the ending of such a film? Should the ending be made more ambiguous via: Was it really the Devil or was it all just in her own head?

Why not have a supernatural ending? (Some of us like that sort of thing, you know). And with director Ari Aster‘s latest spiritual folk horror infused film ‘Midsommar’ set for imminent release (and timely Midsummer being the time for the Feast of St. John the Baptist – the famous decapitated prophet), we thought it  time to take a closer occult-geek look at Hereditary.

Let us allow our eyes to adjust to the Darkness within and see what we can read upon the twisted familial tree of Hereditary. Of course, if you have not yet viewed the film, this article will certainly spoil the movie for you; save it for after you’ve seen it.

The Opening Shot Sums It All Up

The opening shot of Hereditary has us looking out from a window of the Graham family’s home at the exterior of a treehouse – which itself is a kind of home in miniature.  It is built upon and supported by the trunks of mighty birch trees, a few of which have had their tops severed off  to form a base for the treehouse structure which is the site of the film’s climax. A fly buzzes around the window’s interior hinting that a germ of corruption is already present. The camera then pulls back to show us an artist’s studio where realistic miniatures are created in minute detail before settling on the interior of one of these miniature houses, steadily zooms in, and the action begins taking place from within a “miniature” house.

The miniatures featured in the story are the work of the artist / mother Annie Graham – played to Oscar worthy heights by actress Toni Collette. Annie tries very hard to maintain control over her world. Her work on miniatures is a reflection of this: Annie’s reality is being reduced to what she is able to hold and manipulate with her own hands, keeping a grip on what is largely beyond her control because, as we come to learn, there are potent occult forces at work.

The trees supporting the treehouse, with either their tops (heads) cropped off or appropriated trunks (torsos), could represent the disintegration and eventual overcoming of the family of four’s natural identity (see below for more on the significance of the decapitation motif). The cropped (decapitated) and appropriated (possessed) trees supporting a smaller house outside the family home could be the sacrifice of the Graham family’s individual lives to support an outside force, a daemonic element. This demonic element we come to discover is the demon King Paimon – an infernal spirit who appears in a number of demonic lists and magical grimoires. This treehouse is a refuge for “outsider” daughter Charlie Graham (Milly Shapiro); it’s a microcosm of, or spiritual battery for, the forces converging upon the Graham family.  Viewing  the treehouse as superseding the family tree element supports the parasitic or false identity element of demonic possession. This treehouse also calls to mind the Spirit houses of Asia and Pacific Islanders; and this treehouse is indeed a “spirit house” as we discover by movie’s end. The artificial house of geometric form and triangulated roof surmounts and replaces the sacrificed tops of God’s  and Nature’s birches; the family tree is capped with an artificial alien construct.

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Inspiration from the film’s final shot: This Xmas, switch up your nativity scene a bit and see if any of your holiday guests notice.

Miniatures, Mannequins and Manipulation

imagesThe mother-artist is a combination which on its own creates a dynamic tension (we know whereof we speak). Indeed, there is an automatic inner struggle for Annie to maintain a balance between supporting these two facets. She is a creator of artificial worlds in miniature. She creates miniature scenes: houses, a daycare, a hospital room, a funeral home, and – in a bizarre pseudo meta revelation – even a replica of her own planned exhibition; and she peoples them with perfectly scaled mannequins which she paints and positions in realistic ways. Annie is fighting to maintain a grip on her world, a world which is steadily and increasingly slipping away from her. The subtle cracks in the edifice of the Graham family are – like the demonic formulas scratched into the walls of the house – showing from the start. Annie and her family are themselves (like miniature mannequins) in the grip of much greater powers than they can possibly realize. It is as if they are themselves being artificially manipulated by the art of unseen hands as they move about their daily existence.

…And Mother

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An uncredited actress portrayed Ellen Leigh.

Motherhood is an essential thread throughout the story but not in the way it usually is represented. We come to suspect – and find unreliable – every mother figure presented in the film. The non-presence of Annie’s recently deceased and manipulative mother Ellen (portrayed by an uncredited actress) is a mysterious key to this occult force; a key we are unable to totally grasp until it is much too late. Annie’s mother  is a mere ghostly presence hinting at the the unspeakable. But the artifacts left behind by Ellen – the necklace with the charming demonic sigil, a disturbed family history recounted by Annie in a grief support circle, a book on demonic spiritualism, personalized hand woven mats with odd geometric configurations, photographs hinting at unsettling connections,  a black triangle on her bedroom floor, a mysterious note referring to their “sacrifices” being worth it in the end, etc. – all these elements are woven into a sinister diabolical plot.

 

On the Significance of Decapitation

There is a fair amount – and effective rendering – of decapitation in this film, and this is no arbitrary horror trope concerning the story’s psychological, spiritual – religious,  or demonic possession (or obsession) aspects. The head is the seat of identity and intelligence, and is considered the best part or member of the body – being indisputably essential for existence. One may survive without any other limb or member, or even a kidney or portions of other internal organs, or with implants to accompany the heart, etc.; but the head is naturally an absolute necessity for a person’s existence.

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Goddess Chinnamasta, Her name means She Who Cuts Off Her Own Head. She stands upon a copulating couple as She nourishes Her two handmaidens which are  aspects of Herself.                                                                                         Calcutta Art Studio lithograph, c. 1885

As a reference to the mystical insights of decapitation let us look East. In her book Chinnamastā: The Aweful Buddhist and Hindu Tantric Goddess, Elisabeth Anne Benard analyzes the myths and outlines the worship of the self-decapitating and blood drinking esoteric goddess Chinnamastā – one of a grouping of Ten Wisdom Goddesses (Dasa Mahavidyas). She recounts a few myths on the theme of decapitated and transposed heads – an important theme to Hereditary. Decapitation is largely interpreted in Asian culture as representing the annihilation of the ego, or false individual self (atman), to unite with the greater Self (paramatman). The Goddess Kali is often depicted as carrying a severed head; and some forms of god Shiva have him carrying the skull of creator god Brahma as a begging bowl. These also point to the dissolving of the false ego identity into The Absolute. The story of elephant headed god Ganesha is also of some relevance but let’s not get lost in Indian mythology here. Chinnamasta is a goddess of tremendous  esoteric significance we cannot even scratch the surface of here, but like witchy Hecate, She is a threefold goddess – of triple form. Hereditary gives us three generations of female energy through Annie Graham, her mother Ellen, and her daughter Charlie. So we are also supplied with the archetypes of the Maiden, the Mother and the Crone of contemporary witchcraft and goddess religion.

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Jan van Eyck’s Annunciation, from the 1432 Ghent Altarpiece, has an inscription streaming towards the Virgin and the dove of the Holy Spirit hovers above.

The young girl, the virgin, usually verging on maturity, as a vehicle for supernatural powers is a natural, almost instinctual,  device in human legend and storytelling. Modern horror interpretations abound (Carrie, Poltergeist and The Craft spring to mind). The character of Charlie Graham (Milly Shapiro) is a disarming take on the theme, and we are left nearly breathless about a third of the way into the film by her sudden and tragic demise.

3068817_0Charlie is apparently a special child, and like her mother and grandmother she has creative artistic gifts. Creative gifts which allow her to bring forth – to birth – art into the world. Her sketching and assembling of figures made from found objects turns  toward the macabre when she severs and collects the head of a kamikaze pigeon and sketches the bird’s head with a crown – indicating murky intimations of the dove of the Holy Spirit of the Annunciation of Maria – heralding the conception of a new incarnation.hereditary-17-gif-that-bird-lost-her-head-wtf-watch-the-film-saint-pauly 

As Peter (Alex Wolff) drives his sister Charlie and himself to a party, the camera lingers upon the fateful roadside post the first time they pass by; a shot in which the discerning eye will note the carved demonic sigil of King Paimon. The three formed Greco-Roman goddess of witches and witchcraft Hecate is also strongly associated with roads, and her shrines were sometimes posts situated at crossroads where masks may be hung to face in each direction the paths would lead. Then, when Peter and Charlie leave the party in a rush to head to the hospital, Peter swerves at high speed to avoid hitting a dead animal, causing his sister to… well, you know, lose her head.

“self decapitation echoes the Chinnamasta motif of sacrifice and feeding or nourishing her “children”.”

hereditary-64-gif-shes-losing-her-head-wtf-watch-the-film-saint-paulyAnnie Graham’s dramatic self decapitation in the final act (did you notice she had nabbed piano wire to accomplish this? It wasn’t until our second viewing that we realized what she was using to sever her own neck) is – in a sick and twisted way in this case – the mother’s ultimate sacrifice for the “betterment” of her children. This self decapitation echoes the Chinnamasta motif of sacrifice and feeding or nourishing her “children”. She is the sacrifice, the sacrificer and (somehow, we are left to suppose) a recipient of shares of some hellish sacrificial boon as her mother’s message implies.

Freud wrote about the castration symbolism of decapitation; but aside from vague intimations of viewing possession as a type of “impregnation” – relating it to genetics or fertility – to shoehorn it into the “hereditary” theme seems unrelated to our present topic.

A Restoration of the Head

The transposition or restoration of a decapitated head provides a vital note of mystical completion in the myths of Chinnamasta and elephant headed god Ganesha. For the Goddess it displays her ultimate power as being the embodied but transcendent energy of the sacrifice, the sacrificer and the receiver of the sacrifice, and as the force orchestrating the entire scope of the perpetual unfolding, sustainment, disintegration and recycling of manifested existence. As a goddess She can survive cutting off and replacing Her own head as a part of Her divine play (Lila). In occult horror we find supernatural manipulation of the head as ghoulish and threatening because it indicates the identity of the person you care about has been overtaken and possessed by a force majeure.

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Annie becomes a sick headbanger in Hereditary.

 

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The Exorcist still causes some heads to spin.

Mr Graham (Gabriel Byrne in another great understated performance) is informed that Ellen’s grave has been desecrated – a ghoulish fact he shields from his family. We come to find (late in the story) that not only has her corpse been stolen but the head removed and the rotting body laid out in the Graham family’s attic in a ritualistic way. By the climax of the film the grandmother’s head seems unaccounted for though her body, along with that of Annie’s, is positioned in an obscene act of hellish reverence in the treehouse. The headless bodies of grandmother and mother are brought into headless/egoless submission and surrender to the Demon King Paimon. tumblr_pe3372oydr1r0btqdo2_500But Charlie’s head (also apparently retrieved by grave-defiling cultists and brought to the treehouse) has been fixed upon a life sized, undressed  mannequin icon – reminiscent of those dressed saints and madonnas paraded through streets on holy days – as a kind of cult effigy and object of worship and devotion. This is echoing both Annie’s mini mannequin figurines and Charlie’s strange sculptures which she seems so preoccupied with fixing heads on. The undressed state of the icon reflects Chinnamasta’s own nudity which is known as digambara or “sky clad” as symbolic of the deity’s transcendent state and accounts for King Paimon’s cultists’ nudity.

A Mysterious Light (& Enlightenment)

Like the strange blooming iridescent light which haunts Susie Bannion in another form of spiritual possession in 2018’s Suspiria remake (directed by Luca Guadagnino), 2018’s Hereditary also signals an occult spiritual presence by the zara like pulsations of light which appear to the characters touched by the hellish forces. It’s a device to inform the audience that something outwardly imperceptible – but actually of a profound nature – is taking place within those who become demonically obsessed. Lucifer as Light-Bearer may also offer us a clue as to the occult enlightenment these dark entities (Mater Suspiriorum, King Paimon) offer to their respective protagonists.

These modern occult horrors, these new stories – these updated and thought provoking tales – are not mere horror films but stories delving into the deeper aspects of human suffering: grief, darkness and despair. For the past forty or fifty some years Satanic Cinema and occult horror has reflected (as in a mirror darkly) modern culture’s shifting attitudes towards the supernatural, religion, the occult, The Devil and the origins of “evil”. Are these most recent cinematic incarnations an artistic reflection of a wider acceptance of having to come to terms with the Darkness apparent within human culture and the human condition? Could this lead us towards greater Wisdom and Understanding? As Pinhead / the Lead Cenobite informs us when asked as to just what he and his kind are in Hellraiser, he replies: “Demons to some, Angels to others.” It’s really all about perspective isn’t it? Are demons and angels both not part of God’s divine plan? Is a demon just an angel in a dark mood, or on a dark mission?

Defenestration …again

We wrote an article not so long ago on the topic of defenestration, which is the act of jumping or being pushed from a window, as it appears in diabolical horror films; and now it appears that ‘Hereditary may be added to the list of films which portray a satanic leap of  faith as Peter Graham panics and jumps from the attic window – perhaps freeing his own soul (?), but with his body becoming a carnal vehicle  for King Paimon to appropriate, enter, possess and utilize. Demon King Paimon is thus finally embodied in his desired male form and crowned and adored by Joan (Ann Dowd) and the other cultists. Could his name Peter relate to Saint Peter? – Holder of the Keys to the kingdom of …well, maybe not Heaven but to Hell?  Or maybe as holder of the keys to the car? The vehicle to enter and transport one around as a demon does a corporeal form?

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Sacrifice

Sacrifice – in one form or another – is a perennial  theme throughout every religion. Life (and Love) is a perpetual flame which constantly needs to be fed in order to maintain itself. “Love dies without sacrifice” as Saint Marie Eugenie said. Existence itself can be seen as a kind of ritual enacted where life is in fact constantly poured forth, killed and consumed in a ceaseless round of birth, consumption and recycling death upon the bloody altar of Mother Earth and Her inhabitants. And sacrifice is what a parent does to ensure the survival of their young. The legacy left by Annie’s mother warns of sacrifice but also promises of some reward to be reaped. By destruction – through sacrifice – a sort of hellish revivification is activated.

“Love dies without sacrifice” as Saint Marie Eugenie said.

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The film’s title implies how a demonic entity may transmigrate from grandmother  to granddaughter to mother to son. It’s a family issue; a trait carried in the blood as a vehicle for a spiritual entity that is pumped and recycled until the opportune avatar is achieved. As Dracula observed long ago: “The blood is the life”. Mr Graham the husband / father is the only family member who is not called to be a vehicle for the entity known as King Paimon, as he is the only one not blood related to Annie’s mother, and so he serves as the final barrier to be sacrificed, sending Annie completely over the edge and into the Abyss.

As Dracula observed long ago: “The blood is the life”.

MV5BNjYwZjkzZWEtYmFjNC00YzA5LTg2NzAtYWQyZmQxZTliNmRlXkEyXkFqcGdeQW1yb3NzZXI@._V1_CR106,0,1705,959_AL_UY268_CR29,0,477,268_AL_The demon King Paimon is presented as an entity which hijacks the bodies of those it possesses until using them up to serve its own purposes. We are witnesses to seeing the demonic force obsess and possess members of the Graham family leading to it (the demon) obtaining its targeted host at the finale. The father, not being blood related to Annie’s mother, is spared the “Hereditary” possession and becomes a mere casualty, a burnt offering made of love, a sacrifice to the greater evil.

In Conclusion: “Demons to Some, Angels to Others”

large_hereditary_ver2Should we have been left with a more ambiguous ending in which the supernatural and psychotic elements could be left up to personal interpretation? Should we have been left guessing if Annie Graham is, after all the spooky ephemera, merely another hardworking American mom in a psychotic midlife crisis? Observing the long-standing successful Unholy Trinity of Satanic Cinema (Rosemary’s Baby, The Exorcist, The Omen) we see that the stories in the first two films ultimately depend upon a belief in the manifestation of the supernatural or diabolical elements – although Rosemary’s Baby keeps the viewer in suspense between belief in the Devil and suspicion in Rosemary’s state of mind – until the final reveal at the climax of the story (or did before it became a well known horror sub-genre of its own). The original ‘The Omen’ left the viewer in doubt as to whether it was all a shared delusion or an actual satanic conspiracy (however, in every Omen sequel or remake thereafter, the presence of a supernatural diabolical force was depended on and taken as a given). It is all pointing us towards a collective revelation, an Apocalypse – a rending of the veil of our delusion by material existence – as human kind awakens to its true spiritual nature – and to our unique and privileged position as stewards and caretakers of this planet and all it’s lifeforms – in all it’s horror and beauty – in all it’s Darkness and Light.

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Thanks for reading.

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