That's Why it's Been Left up to Me and Me and Me.

Well, I'll Do My Best, 

but I can't make any promises. 

In that case, you'd better consult those 

All-Powerful superiors 

of yours for their advice.

Oh, I don't think that'd 

do any good --

At The Moment They're far 

from being All-Powerful. 

That's why it's been left up 

to Me and Me and Me.

Doctor Who - The Day of the Doctor - 

This time there's three of us

The Moment : 

You wanted a big red button.

(A red, rose-like button stands on 

a stalk above the Moment box.)

The Moment : 

One big bang, No More Time Lords. 

No More Daleks. Are you sure?

The Warrior : 

I was sure when I came in here. 

There is No Other Way.

The Moment : 

You've seen the men you will become.

The Warrior : 

Those men. Extraordinary.

The Moment : 

They were you.

The Warrior : 

No. They are 

The Doctor.

The Moment : 

You're The Doctor, too.

The Warrior : 

No. Great Men are forged in Fire. 

It is the privilege of lesser Men 

to Light The Flame, 

whatever The Cost.

(His hand hesitates over The Button as he

 recalls the sound of children's laughter.)

The Moment : 

You know the sound The TARDIS makes..?

 That wheezing, groaning. 

That sound brings Hope 

wherever it goes.

The Warrior : 

Yes. Yes, I like to think it does.

The Moment : 

To anyone who hears it, Doctor. 

Anyone, however lost.

VWORPP! VWORPP! 

(and, in Stereo, as well..!)

VWORPP! VWORPP! 

The Moment : 

Even you.

(Two TARDISes park themselves in The Barn. 

Enter The Doctors and Clara.)

CLARA: 

I told you -- He hasn't done it yet.

The Warrior : 

Go away now, all of you. 

This is for Me.

Perfect-10 : 

These events should be Time-locked. 

We shouldn't even be here.

The Chin : 

So something let us through.

The Moment : 

You clever boys.

The Warrior : 

Go back. Go back to Your Lives. 

Go and Be The Doctor 

that I could never be. 

Make it worthwhile.

Perfect-10 : 

All those years, burying you 

in My Memory.

The Chin : 

Pretending you didn't exist. 

Keeping you A Secret, even from myself.

Perfect-10 : 

Pretending you weren't The Doctor, 

when you were The Doctor 

more than anybody else.

The Chin : 

You were The Doctor on The Day 

it wasn't possible to get it right.

Perfect-10 : 

But this time...

The Chin : 

....You don't have to do it alone.

(They put their hands 

on The Button together.)

The Warrior : 

Thank you.

Perfect-10 : 

What We Do today is not 

out of fear or hatred. 

It is done because 

there is No Other Way.

The Chin : 

And it is done In The Name 

of the many lives we are 

failing to Save.

(He glances over at Clara, 

who shakes her head,

in the corner of his eye.)

The Chin : 

....what? 

What is it? What....?

CLARA: 

Nothing.

The Chin : 

No, it's something. Tell me.

CLARA: 

You told me you wiped out 

Your Own People. I just.... 

I never pictured you 

doing it, that's all.

The Moment :

 Take a closer look.

(It suddenly goes dark.)

CLARA: 

What's happening?

The Warrior : 

Nothing. It's a projection.

The Moment : 

It's The Reality around you.

(They are seeing Gallifrey at War.)

CLARA: 

...These are the people you're going to burn?

Perfect-10 : 

There isn't anything we can do.

The Chin : 

He's right. There isn't another way. 

There never was. Either I 

Destroy My Own People or 

let The Universe burn.

CLARA: 

Look at You. The Three of You. 

The Warrior, The Hero, and You.

The Chin : 

And What am I?

CLARA: 

Have you really forgotten?

The Chin : 

Yes. Maybe, yes.

CLARA: 

We've got enough Warriors. 

Any old idiot can Be a Hero.

The Chin :
Then What Do I Do?

CLARA: 

What you've always done. Be a Doctor. 

You told me The Name You Chose was 

A Promise -- What was The Promise?

(The Fighting seems to have stopped on Gallifrey.)

Perfect-10 : 

Never Cruel or Cowardly.

The Warrior : 

Never give up, never give in.

(The images vanish.)

Perfect-10 : 

You're not actually suggesting that we 

change Our Own Personal History?

The Chin : 

We change History all the time. 

I'm suggesting far worse.

The Warrior : 

What, exactly?

The Chin : 

Gentlemen, I have had 

four hundred years to think about 

this -- I've changed My Mind.

(He sonics The Big Red Button 

back into The Moment Box.)

The Warrior : 

There's still a billion billion Daleks 

up there, attacking.

The Chin : 

Yeah, there is. There is.

Perfect-10 : 

But there's something those billion 

billion Daleks don't know.

The Chin : 

Because if they did, they'd probably 

send for reinforcements.

CLARA: 

What? What don't they know?

The Chin : 

This time, there's Three of Us.

The Warrior : 

Oh! Oh, yes, that is good. 

That is brilliant!

Perfect-10 : 

Oh, oh, oh, I'm getting that too! 

That is brilliant!

The Chin : 

Ha, ha, ha! I've been thinking 

about it for centuries.

The Warrior : 

She didn't just show me any old future, 

she showed me exactly 

The Future I needed to see.

The Moment : 

Now you're getting it.

The Chin : 

Eh? Who did?

The Warrior : 

Oh, Bad Wolf girl, 

I could kiss you.

The Moment : 

Yup, that's going to Happen.

Perfect-10 : 

Sorry, did you just say 'Bad Wolf'?

CLARA: 

So what are we doing? 

What's The Plan?

The Warrior : 

The Dalek fleets are surrounding Gallifrey, firing on it constantly.

Perfect-10 :

 The SkyTrench is holding, 

but What if the whole planet 

just disappeared?

CLARA: 

Tiny bit of an ask.

Perfect-10 : 

The Daleks would be 

firing on each other. 

They'd destroy themselves 

in their own crossfire.

The Warrior : 

Gallifrey would be gone, 

The Daleks would be destroyed, 

and it would look to 

The Rest of The Universe 

as if they'd annihilated each other.

CLARA: 

But where would Gallifrey be?

Perfect-10 : 

Frozen. Frozen in an instant of time, 

safe and hidden away.

The Chin : 

Exactly.

The Warrior : 

Like A Painting.

Jack Parsons/Captain Marvel/ Jor-El :

Could be A Warning -- 

To show Us What's 

Going to Happen.

A sort of... remote camera 

view of The Future....

So that We can 

CHANGE it.

Someone Has FINALLY

Shown-up to Tell Us :

I Think it's Time We Stood-up 

for What We ARE.

Jeremiah Smith

SCULLY:

Plan 9 From Outer Space?

MULDER:

Yeah. It's The Ed Wood Investigative Method.

"Mr Bond, you defy all my attempts to plan an amusing death for you.

You're not A Sportsman, Mr Bond.

Why did you break off the

encounter with My Pet Python?"

"I discovered he had a crush on me."

This movie is so profoundly bad 

in such a childlike way 

that it hypnotizes My Conscious Critical Mind 

and frees up My Right Brain 

to make associo-poetic leaps 

and I started flashing on 

Hoffman and O'Fallon. 

How there's this archetypal relationship like 

Hoffman's Jesus to O'Fallon's Judas 

or 

Hoffman's Jesus to O'Fallon's Dostoyevsky's Grand Inquisitor, 

or 

Hoffman's Jesus to O'Fallon's St. Paul.

SCULLY: 

How about 

Hoffman's Roadrunner to O'Fallon's Wile E. Coyote?

(She grins and he laughs. On the screen, a body is rising out of the ground.)

SCULLY: 

Mulder...

MULDER: 

Yeah?

SCULLY: 

Do you think it's at all possible 

that Hoffman is really Jesus Christ?

MULDER: 

Are you making fun of me?

SCULLY: 

No.

MULDER: 

Well, no, I don't. 

But crazy people can be very persuasive.

SCULLY: 

Well, yes, I know that.

(They both smile as MULDER takes the hit.)

SCULLY: 

Maybe True Faith is really 

a form of insanity.

MULDER: 

Are you directing that at me?

SCULLY: 

(emphatically) 

No. I'm directing it at myself mostly, 

and at Ed Wood.

MULDER: 

Well, you know, even a broken clock is right 730 times a year.

“God is dead,” said Nietzsche. “God remains dead. And we have killed him. How shall we, murderers of all murderers, console ourselves? That which was the holiest and mightiest of all that the world has yet possessed has bled to death under our knives. 

Who will wipe this blood off us?”

The central dogmas of the Western faith were no longer credible, according to Nietzsche, given what the Western mind now considered Truth. 

But it was his second attack — on the removal of the true moral burden of Christianity during the development of the Church — that was most devastating. 

The hammer-wielding philosopher mounted an assault on an early-established and then highly influential line of Christian thinking: that Christianity meant accepting the proposition that Christ’s sacrifice, and only that sacrifice, had redeemed humanity. 

This did not mean, absolutely, that A Christian who believed that Christ died on The Cross for The Salvation of Mankind was thereby freed from any and all personal moral obligation. But it did strongly imply that the primary responsibility for redemption had already been borne by The Saviour, and that nothing too important to do remained for all-too-fallen human individuals. 

Nietzsche believed that Paul, and later the Protestants following Luther, had removed moral responsibility from Christ’s followers. 

They had watered down the idea of The Imitation of Christ. This imitation was the sacred duty of The Believer not to adhere (or merely to mouth) a set of statements about abstract belief but instead to actually manifest The Spirit of The Saviour in the particular, specific conditions of his or her life — to realize or incarnate the archetype, as Jung had it; to clothe the eternal pattern in flesh. 

Nietzsche writes, “The Christians have never practiced the actions Jesus prescribed them; and the impudent garrulous talk about the ‘justification by faith’ and its supreme and sole significance is only the consequence of the Church’s lack of courage and will to profess the works Jesus demanded.”

Nietzsche was, indeed, a critic without parallel. Dogmatic belief in the central axioms of Christianity (that Christ’s crucifixion redeemed the world; that salvation was reserved for the hereafter; that salvation could not be achieved through works) had three mutually reinforcing consequences: 

First, devaluation of the significance of earthly life, as only the hereafter mattered. This also meant that it had become acceptable to overlook and shirk responsibility for the suffering that existed in the here-and-now; Second, passive acceptance of the status quo, because salvation could not be earned in any case through effort in this life (a consequence that Marx also derided, with his proposition that religion was the opiate of the masses); and, finally, third, the right of the believer to reject any real moral burden (outside of the stated belief in salvation through Christ), because the Son of God had already done all the important work. 

It was for such reasons that Dostoevsky, who was a great influence on Nietzsche, also criticized institutional Christianity (although he arguably managed it in a more ambiguous but also more sophisticated manner). 

In his masterwork, The Brothers Karamazov, Dostoevsky has his atheist superman, Ivan, tell a little story, “The Grand Inquisitor.”

A brief review is in order. Ivan speaks to his brother Alyosha — whose pursuits as a monastic novitiate he holds in contempt — of Christ returning to Earth at the time of the Spanish Inquisition. 

The returning Savior makes quite a ruckus, as would be expected. 

He heals The Sick. 

He raises The Dead. 

His antics soon attract attention from the Grand Inquisitor himself, who promptly has Christ arrested and thrown into a prison cell. 

Later, the Inquisitor pays Him a visit. 

He informs Christ that he is no longer needed. 

His return is simply too great a threat to The Church. 

The Inquisitor tells Christ that the burden He laid on mankind — the burden of existence in Faith and Truth — was simply too great for mere mortals to bear. 

The Inquisitor claims that the Church, in its Mercy, diluted that message, lifting the demand for perfect Being from the shoulders of its followers, providing them instead with the simple and merciful escapes of faith and the afterlife. 

That work took centuries, says The Inquisitor, and the last thing the Church needs after all that effort is the return of the Man who insisted that people bear all the weight in the first place. 

Christ Listens in silence. 

Then, as the Inquisitor turns to leave, Christ embraces him, and kisses him on the lips. 

The Inquisitor turns white, in shock. 

Then he goes out, leaving the cell door open. 

The profundity of this story and the greatness of spirit necessary to produce it can hardly be exaggerated. Dostoevsky, one of the great literary geniuses of all time, confronted the most serious existential problems in all his great writings, and he did so courageously, headlong, and heedless of the consequences. 

Clearly Christian, he nonetheless adamantly refuses to make a straw man of his rationalist and atheistic opponents. 

Quite the contrary: In The Brothers Karamazov, for example, Dostoevsky’s atheist, Ivan, argues against the presuppositions of Christianity with unsurpassable clarity and passion. Alyosha, aligned with the Church by temperament and decision, cannot undermine a single one of his brother’s arguments (although his faith remains unshakeable). 

Dostoevsky knew and admitted that Christianity had been defeated by the rational faculty — by The Intellect, even — but (and this is of primary importance) he did not hide from that fact. 

He didn’t attempt through denial or deceit or even satire to weaken the position that opposed what he believed to be most true and valuable. 

He instead placed action above words, and addressed the problem successfully. 

By the novel’s end, Dostoevsky has the great embodied moral goodness of Alyosha — the novitiate’s courageous imitation of Christ — attain victory over the spectacular but ultimately nihilistic critical intelligence of Ivan. 

The Christian church described by the Grand Inquisitor is the same church pilloried by Nietzsche. Childish, sanctimonious, patriarchal, servant of the state, that church is everything rotten still objected to by modern critics of Christianity. 

Nietzsche, for all his brilliance, allows himself anger, but does not perhaps sufficiently temper it with judgement. This is where Dostoevsky truly transcends Nietzsche, in my estimation — where Dostoevsky’s great literature transcends Nietzsche’s mere philosophy. 

The Russian writer’s Inquisitor is the genuine article, in every sense. He is an opportunistic, cynical, manipulative and cruel interrogator, willing to persecute heretics — even to torture and kill them. 

He is the purveyor of a dogma he knows to be false. But Dostoevsky has Christ, the archetypal perfect man, kiss him anyway. 

Equally importantly, in the aftermath of the kiss, the Grand Inquisitor leaves the door ajar so Christ can escape his pending execution. 

Dostoevsky saw that the great, corrupt edifice of Christianity still managed to make room for The Spirit of its Founder. 

That’s the gratitude of a wise and profound soul for the enduring wisdom of the West, despite its faults. 

It’s not as if Nietzsche was unwilling to give the faith—and, more particularly, Catholicism—its due. Nietzsche believed that the long tradition of “unfreedom” characterizing dogmatic Christianity—its insistence that everything be explained within the confines of a single, coherent metaphysical theory — was a necessary precondition for the emergence of the disciplined but free modern mind. 

As he stated in Beyond Good and Evil: The long bondage of the spirit … the persistent spiritual will to interpret everything that happened according to a Christian scheme, and in every occurrence to rediscover and justify the Christian God in every accident:—all this violence, arbitrariness, severity, dreadfulness, and execution. 

Dostoevsky saw that the great, corrupt unreasonableness, has proved itself the disciplinary means whereby the European spirit has attained its strength, its remorseless curiosity and subtle mobility; granted also that much irrecoverable strength and spirit had to be stifled, suffocated and spoiled in the process. 

For Nietzsche and Dostoevsky alike, freedom — even the ability to act — requires constraint.

For this reason, they both recognized the vital necessity of the dogma of the Church. The Individual must be constrained, moulded—even brought close to destruction—by a restrictive, coherent disciplinary structure, before he or she can act freely and competently. 

Dostoevsky, with his great generosity of spirit, granted to the church, corrupt as it might be, a certain element of mercy, a certain pragmatism. He admitted that the spirit of Christ, the world-engendering Logos, had historically and might still find its resting place — even its sovereignty — within that dogmatic structure. 

If a father disciplines his son properly, he obviously interferes with his freedom, particularly in the here-and-now. He put limits on the voluntary expression of his son’s Being. forcing him to take his place as a socialized member of the world. Such a father requires that all that childish potential be funneled down a singly pathway. 

In placing such limitations on His Son, he might be considered a destructive force, acting as he does to replace the miraculous plurality of childhood with a single narrow actuality. 

But if The Father does not take such action, he merely lets his son remain Peter Pan, the eternal Boy, King of the Lost Boys, Ruler of the non-existent Neverland. 

That is not a morally acceptable alternative. The dogma of The Church was undermined by The Spirit of Truth strongly developed by the Church itself.

Watch for The Sign — Soon, All Prisoners Will Be Released.

At The Stroke of Midnight,

On New Year's Eve, 

of The Last Decade of The 20th Century --

America's LARGEST City, 

Is about to PAY for The Nastiness of it's Inhabitants....

When That Day Comes --

When The SLIME, Starts to RIZE....

"The Ti-TANIC Just Arrived...!!"

[ Better Late Than Never... ]

When GHOSTS Start Arriving, by The Boatload --

There's Only One Thing to DO :

"Sometimes, SHIT Happens,

SOMEONE      --

And Who Ya Gonna Call...?"

Well, I'd Like to Bust a Ghost or Two,

In Perfect Harmony -

Doh --

Ray...!

Egon...!!

Representation of Mahatma Gandhi's smaller statue of The Three Monkeys Bapu, Ketan and Bandar, at the Sabarmati Ashram in Ahmedabad, Gujarat, India.

Twin Pylons

“In Traditional Western occult symbolism, the gateway to the lunar realm of imagination is flanked by twin pylons, or towers. 

If you look at most versions of the tarot trump number 18, the Moon, you will see these towers. They represent the door that separates the world of fantasy from material reality.

The descent of the kabbalistic thirty-second path of the tree of life describes an apocalyptic event involving the merging of two distinct spheres: the earthly and the lunar. The lunar sphere is the imagination, the world of thoughts and dreams. The earthly sphere is of the mundane, solid and heavy. In short, not only does real life become more like a story, stories must pay the price of this exchange by becoming more real and allowing the rules of the material world to impinge upon their insubstantial territories.

I can think of no more potent image of this union of real and imaginary than the terrorist attacks on the World Trade Center on September 11, 2001.

How many times had we seen those towers fall? How many times had this soul-wrenching vision been rehearsed in our imaginations, and repeated in our fictions, almost as if we were willing it to happen, and dreaming of the day?

From the moment the towers were completed in 1973, they became a target for a sequence of imaginary demolitions.

King Kong was the first to climb them in Dino DeLaurentis’s pointless 1976 remake of the giant gorilla classic. They’d been smashed by tidal waves, blasted by aliens, shattered by meteor strikes, and pulverized by rogue asteroids. The terrible fall of the World Trade Center towers on September 11 had the curious inevitability of an answered prayer or the successful result of a black magic ritual.”

Grant Morrison, 

SuperGods

GUNDAN: 

There are 3 Physical Gateways and The 3 are 1. 

• The Whole of This Domain

• The Ancient Arch

• The Mirrors

DOCTOR: 

The thing is, it's not actually a physical gateway that I'm looking for. 

GUNDAN: 

All The Gateways are One. 

DOCTOR: 

Ah. So it is here — 

The Way Out

"Maury Gellman, the Nobel Prize-winner, got his Three-Quark-Model out of Finnegan’s Wake…. 

The Three Quarks are major characters in Finnegan’s Wake — 

The two twins who are opposites, and the third twin who is both twins combined, 

and still a third independent character."

pylon (n.)

1823, "gateway to an Egyptian temple," from Greek pylon "gateway," from pyle "gate, wing of a pair of double gates; an entrance, entrance into a country; mountain pass; narrow strait of water," of unknown origin. Meaning "tower for guiding aviators" (1909) led to that of "steel tower for high-tension wires" (1923).

pylorus (n.)

1610s, from Late Latin pylorus "the lower orifice of the stomach," from Greek pyloros, literally "gatekeeper, porter," from pyle "gate" (see pylon) + ouros "watcher, guardian," from PIE root *wer- (3) "perceive, watch out for." Related: Pyloric.

Thermopylae

narrow land passage along the Malian Gulf in ancient Greece, from Greek thermos "hot" (from PIE root *gwher- "to heat, warm") + pylai, plural of pyle "gate; mountain pass, entrance into a region" (see pylon). In reference to nearby hot sulfur springs. Often simply hai pylai "the gates." Figurative of heroic resistance against overwhelming numbers since the battle fought there between the Greeks and Persians in 480 B.C.E.

The River in The Middle of The Rock in The Middle of The River

Lorelei Ambrosia: 

Ross’ assistant and girlfriend. 

Lorelei, a voluptuous blonde bombshell, is well-read, articulate and skilled in computers, but conceals her intelligence from Ross and Vera, to whom she adopts the appearance of a superficial fool. 

As part of Ross’ plan, she seduces Superman.

RAW: Well, to start from Joyce.  Joyce was probably the greatest anthropologist who ever lived, and it’s a scandal that he’s not taught in all anthropology classes.  And it was through the study of Joyce that Joseph Campbell developed his unique approach to anthropology.  The first book he wrote after “The Skeleton Key” was “The Hero of a Thousand Faces”, and that book would be impossible without “The Skeleton Key”; “The Skeleton Key” gave him the monomyth, the archetype behind all the other archetypes that he uses in “The Hero with a Thousand Faces” and then develops in his later books like the four-volume “Masks of God”.  But Joyce was Campbell’s guide, just as he’s the guide to quantum mechanics in many senses.  Murray Gell-Mann, the Nobel Prize winner, got his three-quark model out of FW.  The three quarks are the three major characters in FW: the two twins who are opposite, and the third who was both twins combined and still a third independent character.  To understand thoughts like two twins who are the opposite of a third who combines both twins together, you’ve got to think in a Taoist way.  Like the joke: how many Zen masters does it take to change a light bulb?  Two: one to change it, and one to not change it.  Well that’s the logic of the Sham-Ham-Japheth relationship in FW, which is also the Bacon-Shakespeare-Raleigh relationship and the Tom-Dick-and-Harry and the many other types of trilogies in the human mind, including the Holy Trinity and Dogfather-Dogson-and-Co, which sounds like an English company name, but it’s actually Charlles Dodgson - Lewis Carroll - the two twins who are opposite, Charles Dodgson the logician and Lewis Carroll the fantasist are united in one body: a certain man, who was Dodgson part of the time and Carroll part of the time, like Dr. Jekyll and Mr. Hyde.  He wrote treatises on the pure mathematical foundations of logic with one part of his mind and he wrote “Alice in Wonderland” with the other part.  So Dogfather-Dogson-and-Co is Dodgson divided up into three parts, like the holy trinity - the Father, the Son, and - Coo! - the Holy Pigeon.

I: That’s like James Keys and G. Spencer Brown.  G Spencer Brown is a mathematician and James Keys is the expression that develops his anima.  He’s from England - Oxford I believe - have you ever run into him?

RAW: No, I haven’t.  But I’ve read “The Laws of Form”.

RAW : Joyce is so complicated.  There have been books written claiming that Joyce hated women, and the reason such books can be written is that Joyce’s characters are so complicated.  Every one of his female characters is marvelous and terribly flawed and full of imperfections, but that’s true of his male characters, too.  And so even though Joyce, to me, appears one of the great male feminists, his female characters are certainly not idealized any more than his male characters.  Joyce was the world’s staunchest enemy of idealism.

I: But they’re strong - the women are.

RAW: Yes, and they are tremendously flexible.  In the symbolism of FW, the woman is the river and the man is the mountain, and the mountain seems strong, but it’s kind of frozen, and the river is alive and dancing.  This is very much like the Yang and the Yin principles in the I Ching.  FW is isomorphic to the I Ching; I have an essay about that in the latest issue of “Semiotext(e)”.  It’s kind of hard to pursue verbally these mathematical symbols to show the full isomorphism.

SETH

Cain, Abel and Seth.

" Maury Gellman, Nobel Prize-winner, got his Three-Quark-Model out of Finnegan’s Wake…. The Three Quarks are major characters in Finnegan’s Wake, the two twins who are opposites, and the third twin who is both twins combined and still a third independent character.

In order to understand thoughts like that, two twins who are the opposite, and the third who combines both of them, you gotta think in a Taoist way – like the joke which goes : –

Q : ‘How Many Zen Masters Does it Take to Change a Lightbulb?’

Three

A : ‘One to Change it, and One Not to Change it.’

That’s the logic of the Shem, Ham, Japeth relationship in Finnegan’s Wake, which is also the Bacon, Shakespeare, Raleigh relationship, and the Tom, Dick and Harry, and many other types of Trilogies of The Human Mind, including The Holy Trinity. “