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Aliens (1986), Gender Bending and the Space Sex Covenant with Death – Jay Dyer

esoteric hollywoodJay Dyer
21st Century Wire

“Game over, man! Game over!” Many consider Aliens to be the only sequel that surpasses the original, but I think that is very debatable. Everyone remembers the iconic gore and innards imagery from the film, but the propaganda aspects of the film are the real horror. The 1980s was the era when Reagan allocated money especially for recruitment in film (not that it didn’t exist before), with easy examples like Top Gun, Navy Seals, Iron Eagle, Little Nikita and many, many more. The Washington Post commented in 2011:

“In June, the Army negotiated a first-of-its-kind sponsorship deal with the producers of “X-Men: First Class,” backing it up with ads telling potential recruits that they could live out superhero fantasies on real-life battlefields. Then, in recent days, word leaked that the White House has been working with Oscar-winning director Kathryn Bigelow on an election-year film chronicling the operation that killed Osama bin Laden.

A country questioning its overall military posture, and a military establishment engaging in a counter-campaign for hearts and minds — if this feels like deja vu, that’s because it’s taking place on the 25th anniversary of the release of “Top Gun.”

That Jerry Bruckheimer blockbuster, made in collaboration with the Pentagon, came out in the mid-1980s, when polls showed many Americans expressing doubts about the post-Vietnam military and about the constant saber-rattling from the White House. But the movie’s celebration of sweat-shined martial machismo generated $344 million at the box office and proved to be a major force in resuscitating the military’s image.”

For those who research the topic and are published on it (like myself) this is not news. However, what you do find as you continue down this particular rabbit hole is how incestuously intertwined these seemingly disparate worlds always are. There is always a deeper link between Hollywood, the Pentagon and the intelligence agencies than you previously assumed, and the selling of war is only aspect of it the “liberal” mainstream media was happy to talk about only a few years ago. Nowadays, that seems to have been memory-holed, as the mainstream media would have us believe Red Dawn has gone operational, with Russkies running our “elections” (which are a joke anyway). The result is as follows:

“…An entertainment culture rigged to produce relatively few anti-war movies and dozens of blockbusters that glorify the military. For every “Hurt Locker” — a successful and critical war film made without Pentagon assistance — American moviegoers get a flood of pro-war agitprop, from “Armageddon,” to “Pearl Harbor,” to “Battle Los Angeles” to “X-Men.” And save for filmmakers’ obligatory thank you to the Pentagon in the credits, audiences are rarely aware that they may be watching government-subsidized propaganda.”


Only 6 years ago the Washington Post thought it newsworthy to discuss the fictional manufacturing of fabled enemies, yet magically by 2017 we are supposed to believe the Russians are coming – something as stupid as Red Dawn’s band of teenagers led by Patrick Swayze taking on (and defeating) the Soviet Army. If I recall, it was Patrick Swayze’s nuclear nostril flares and tears that sent the Reds cowering in fear.


I guess that is as believable as America’s boys sinking holes in ones on the moon, though – and that brings us to James Cameron. Given Cameron’s somewhat unknown pedigree prior to Aliens, with a couple good B movies under his belt, it’s curious he would be tasked with directing such a dizzying array of mega blockbusters, including the top two grossing films of all-time, Titanic and Avatar.

A perfectly titled summary for the relationship between the Pentagon and Hollywood.

Indeed, Cameron has also done blockbusters that presaged the “War on Terror” waged by CIA “heroes” like Arnold, in 1994’s True Lies. Indeed, True Lies in many ways functions as predictive programming for 9/11, as Palestinian terrorists called the “Crimson Jihad” plan major attacks across U.S. metropolitan areas (arguably satire). An interesting side note, the 2002 film Collateral Damage with Arnold was also slated for a pre-9/11 release, yet postponed due to eerie “similarities” to the events of 9/11. E! Explains:

“Warner Bros. marketeers axed the trailer and delayed the release of this Arnold Schwarzenegger action flick after 9-11 because of its plot, which followed a firefighter battling terrorists who killed his family in an attack on a skyscraper. Also edited out was a plane hijacking scene featuring Sofia Vergara.”


Cameron’s films generally seemed to be fitted with the latest that DARPA has to offer (or so we’re told) in terms of cinematography technology, but it goes beyond that. Cameron’s films often portray military technology, weaponry and gadgetry far ahead of its time. Think, for example, of how audiences were wowed by the seminal goo in The Abyss (think also of the esoteric connotations of the Abyss mentioned in my Alien analysis), as well as the many examples of 3D imaging, holography and supposed brain-computer interfaces in Avatar – something DARPA is actually involved in. In fact, Avatars (or Fern Gulley with giant Smurfs in Space – Avatard) are pre-planned all the way to part 5 into 2025! Don’t worry, Wounded Warrior Project Jake Scully will still be dazzling audiences with his CGI DARPA-enhanced wheelchair tricks. PICs


With all that in mind, we can look back on Aliens with new eyes. Was Cameron already producing films with DARPA and military insights, in 1986? We know Terminator was a hit, and only a few years later in 1991 he would begin work on Terminator 2: Judgment Day, which premiered more cutting edge CGI for its time, as well as revealing possibilities for nanotechnology (if you recall, the Robert Patrick goo-bot super soldier was a silvery, mercury-esque nanotech).

Why didn’t you come as the Terminator Babe the first time?

Terminator 2 also revealed the actual Skynet agenda, which included the theme of the then largely unknown Internet! This is crucial as it forms of the most important, yet overlooked examples of predictive programming, in the notion of a future Internet of Things, ruled over by an A.I. Skynet – which is the actual plan for the real world. (Total) Recall as well the theme of T2is also mass depopulation – the very thing the bots are programmed for.

Aliens takes Ellen Ripley into the near future where the Weyland-Yutani Corp. still ravages the known universe under the auspices of “mining” and now, terraforming. This is curious, because it suggests the notion of geoengineering and controlling and altering planetary climates as a new hobby of the “Company” (again, an interesting name used in the films, which is also the term for the CIA). Like the original “Engineers,” the pale, buff giants that accidentally created their abortion known as mankind (and perhaps the Xenomorph as a bioweapon?) man has now advanced to the stage where they are approaching the abilities of the original Engineers, which includes planet-moulding.

In reality, Cameron is echoing what science fiction had long been revealing ahead of its time (in examples like Herbert’s Dune), that the biosphere could be altered and controlled. In other words, Teller’s geoengineering (which are all public programs decades old, yet still mocked by a large portion of the population).

Kubrick homage.

In this still dystopian phase, the Company has arranged a Maine attachment to “save” the colonists who appear to have been “accidently” attacked by another Xenomorph outbreak. What is interesting here is something Jay Weidner suggested to me that I never considered – throughout the franchise the Company seems to know what is happening on these worlds, and allows the cosmic mayhem to go down, almost as if they are all giant test tubes.


By the end of the series, we seem to get confirmation of that, as Ripley appears cosmically (or Company) chosen to be the first human to meld with the foreign Xenomorph DNA to form a wholly new being – a demigoddess of transhuman concoction, able to resurrect through cloning. The films pay many homages to Kubrick and 2001, but what is altered is that it’s not Bow-man that is shot out into space to achieve transcendence, now it’s wo-man that is the new aeon, or so Ridley Scott would have us think (think also of his awful G.I. Jane!).


Another prescient theme in Aliens is gender-bending. Ripley’s hair is noticeably shorter, while the Marine crew contains more than one grossly buff “chick,” as well as the comically un-relieving line from Frost and Spunkmeyer that the “Arcturian Poontang” they sampled could have been male or female. Paging Bill Nye – maybe the trans-scientism guy could cite this film as “scientific evidence” that aliens on other planets actually have “fluid” genders. If the sham of “Mars” and “Moon” rocks continues, as well as the many instances of NASA “discoveries” (which are all bullshit) continues, why can’t Aliens the blockbuster film be used as scientific proof? This was also my argument for The Martian – if we can arrange an 18 hole game on luna and that’s “scientific,” why can’t Bill Paxton fucking an Arcturian E.T. be scientific? Dark, alchemical sex magick covenant with the death that is the abyss-void of space!


READ MORE HOLLYWOOD NEWS AT: 21st Century Wire Hollywood Files

Jay Dyer is the author of the forthcoming title, Esoteric Hollywood: Sex, Cults and Symbols in Film from Trine Day.  Focusing on film, philosophy, geopolitics and all things esoteric, JaysAnalysisand his podcast, “Esoteric Hollywood,” investigates the deeper meanings between the headlines, exploring the hidden aspects of our sinister synthetic mass media matrix.




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