A Majority of People, BOYS, Have a Certain Psychological Relationship with Their Father —

"I wanted to show, if you like, the Human Dimension of Tremas -- and you can best do that by showing People That He Loves.

And, The Love of a Father for His Daughter is unequivocal;

whereas sometimes, the love of A Father for a Wife is -- less so.

So in a Child-Parent relation[ship], it was important to have that foil to show his Human Dimension, and maybe to give some idea of the nature of The Sacrifice he would make in electing himself, or allowing himself to be elected Keeper [of Traken]."

"The Patron creates The Propaganda - and what I wanted to do was go back to some of the Older Propaganda, which was consistant through ALL of The Societies, Mythology -

Which is to say, 

"What Do They ALL Believe..?"

Because all of this propaganda was created INDEPENDENTLY.

And what are these things which they ALL believe,  which is, Relationships with your Father, Relationships with your Society, Relationships with Your History, Relationships with The Gods - all of this stuff, it's old, but there were psychological motiffs that were created, through storytelling, primarily ORAL storytelling, that explained WHAT they believed in and WHO they believed in.

So what I wanted to do was go back and find the psychological motiffs that underlie that - those grow out of Popularism.

And to say that - not all - but a majority of people, BOYS, have a certain psychological relationship with Their Father -

And that's been going on through History, and trying to explain that to say : 

"We Know 

Your DARKEST SECRET. 

And Therefore, 

You're Part of US.

Because We All Know The SAME THINGS  - 

We Know What You're Thinking About Your Mother; 

We Know What You Think About Your Bother; 

We Know What You Think  About Your Father REALLY -"

— George Lucas

Metron Enthroned

“Metron was Kirby’s avatar of ruthless, questing intellect, whose Mobius Chair twisted through time and space to make him the god of couch potatoes, surfing channels, gathering information, without ever leaving the comfort of his armchair. 

Metron’s magic furniture seems less a wonder of supertechnology than a fact of daily life. 

As Kirby tried to tell us in his book of the same name, 

We are The New Gods,

just as We are The Old Ones, too.”

What's Happened, Happened, It's An Expression Of Faith In The Mechanics Of The World, It's Not An Excuse For Doing Nothing.

 

RIMMER stands beside the road with his thumb out, his back to the truck, which is approaching backwards. 

The box lying spins around and lifts itself into the open back of the truck.

RIMMER: 

There's a perfectly rational explanation for all of this.

 

TRUCK DRIVER: 

(In backwards speech) Tifl a tnaw uoy fi nwot otni gniog m'i. 

RIMMER: 

Then again, possibly not.

9 Ext. London street.

Shots of traffic in London, running backwards. We hear the conversations inside the van.

RIMMER: (VO) 

HOLLY, what the smeg is going on? 

KRYTEN: (VO) We're going backwards. 

HOLLY: (VO) 

It's perfectly consistent with current theory. Everything starts with a Big Bang, right? And The Universe starts expanding. Eventually, when it's expanded as far as it can, there's a Big Crunch, right? And everything starts contracting. Perfectly possible that time starts running in the opposite direction, as well.

During this last speech, shots of RIMMER and KRYTEN walking forwards in a crowd walking backwards, change leaping into people's hands from a busker's guitar case, a man sucking smoke from the air and putting it back into a cigarette, waist-down shot of a couple walking backwards.

RIMMER: (VO) 

So, is this Earth? 

HOLLY: (VO) 

Oh, it's Earth all right, only Earth where time's going backwards. 

Quite Frankly, Mordred, I’m getting a little •tired• of hearing about Your •Mother•....

“You were bound. 

My Mother sealed you into the ice caves for all Eternity.”

“There will be a reckoning, Ancelyn. 

I have sworn it. 

As for you, Merlin, My Mother has waited twelve centuries to face you. 

You will bow down before her this time.”

“This is no battle. 

‘Tis but a ruse, a diversion. 

My Mother hath summoned the Destroyer, the Lord of Darkness, Eater of Worlds. 

Look to your children, Merlin, for soon they shall be no more.”

“My Mother will destroy you.”

“Just between You and Me, Mordred, I’m getting a little tired of hearing about Your Mother....”

— Brig. Alistair Gordon Lethbridge-Stewart

“You just called me ‘honey’....”

“Yes, I •DID•, because, you gotta get WITH This —

Men and Women chase after each other, right...? 

RIGHT?!?!?”

“......yes, yes they do.”

MORGAINE: 

Then tell Arthur to face me with honour in single combat. 

Tell him to show himself. 

It's time he ceased hiding behind your coat tails, Merlin.

Time's Champion :

Arthur is Dead. 

MORGAINE: 

No. 

Time's Champion :

He's Dead, Morgaine. 

MORGAINE: 

Merlin, Prince of Deceit. 

Another Trick. 

Time's Champion :

No. 

MORGAINE: 

I..... don't believe you. 

Time's Champion :

Don't you? 

MORGAINE: 

It can't be. 

Time's Champion :

He died over a thousand years ago. 

MORGAINE: 

Arthur — who burned like star-fire. 

Time's Champion :

Gone. 

MORGAINE: 

And was as beautiful —

Where does he lie?

I would look at him one final time. 

Time's Champion : 

He's gone to dust. 

MORGAINE: 

Then I shall not even have that comfort. 

I shall never see him again. 

Arthur. 

We were together, in The Woods of Celadon. 

The air was like honey...

Time's Champion :

I'm sorry, Morgaine. 

It's over. 

(The Doctor removes the key from the nuclear missile firing controls and puts it in his breast pocket.)

Never Be Afraid of Who You Are

Five Ghostbusters

The One in The Middle — The Heart — is the one MOST vulnerable susceptible to corruption :

The One MOST Likely to Get Possessed.

Because (s)he has such relative Innocence, and Purity of Spirit.

“For me, having gone through the Abyss of Daath in the Thelema structure of initiation — having undergone that in a really experiential and exhausting way, I found myself in the Qabbalistic sphere of Binah, and the entire world suddenly looked very different and made sense in different configurations which re-energized the work I’d been doing.  

So, I decided to accept that the Aeon of Ma’at was coming down fast and I tried to align all my thinking with that, which provided me with a new bunch of metaphors and ways of framing the world. 

Imagine all this Division and Deconstruction was just a corridor we’re passing through. 

All the Fractioning and Separation —that’s typical of Horus. 

We can see The Hand of Horus in the Modern-Day tearing down of Monuments and Statues. 

He’s kicking The Fuck out of formerly stable Systems all around The World. 

That’s exactly what you would expect of This Spirit that Crowley said manifested first in 1913. 

But for me, I think he made his presence felt quite clearly on 9/11.

You can easily organize the evidence to suggest that there is an Aeon of Horus occurring now. 

Where Systems are being taken down, where everything’s being Questioned and Audited, and The Past is subject to major revision. 

So, there’s also some fun to be had in thinking 

“Ok, if this is actually playing out in some symbolic fashion, then 

What might The Aeon of Ma’at look like, artistically?’

And to me it looks like the rise of marginalized voices, it looks like more women coming into the discourse. 

It looks like Trans people coming into the discourse. 

It looks like all the opportunities for groups who were disempowered by the Patriarchy, who couldn’t speak before to have their say.

Ma’at – what would her signature disease be? 

Well it might be a distributed network, a viral malady that could attack all of Humanity. 

What would happen if She emptied The Houses of The Old Gods as a 

Show of Possibility? 

You remember at the height of the first lockdown, all the churches were EMPTY, all the sports stadiums were EMPTY, all the mosques were EMPTY, all the temples were EMPTY. 

So, The Dad God had nowhere to go.

In Britain, I know, and I’m sure in America, there was a strange uprising of praise for care workers. 

People would go out every Thursday here and bang on pots and pans and basically thank the nurturing spirt, this caring spirit, for its very existence. 

It was a very religious, ritualistic thing that we were all doing. 

That’s Ma’at right there. 

Then there’s mother nature with hurricanes tearing down borders, storms ravaging everyone’s homes. 

It all suddenly makes sense in a new context if you use the filter of Ma’at to look at The World. 

For me, I’ve found some creative applications for it, like in

Brave New World and the Wonder Woman comic that I’ve done.”

VIGO appears

EGON

Uh-oh.

RAY

Hold it right there, deadhead! 

You want a baby, go ahead and knock up some willing hellhound. 

Otherwise I'm giving you to the count of three to get back in that painting where you belong. 

One...

PETER

Two.

RAY

Three!

PETER and EGON fire

You got him! You got him!

VIGO deflects the beams to the Ghostbusters. They fall down. He snarls.

WINSTON

That was really stupid.

EGON

Ray? Can you move?

RAY

No. Are you okay?

EGON

No. Venkman? How are you?

PETER

I'm fine.

VIGO finds OSCAR

DANA

No... no! Oscar- please, do something!

PETER

Not so fast, Vigo! 

Hey, Vigo! Yeah, you! 

 

The Bimbo with The Baby. 

Anyone ever tell you the big shoulder look is out? 

 

You know, I have met some dumb blondes in my life, but you take the taco, pal. 

 

Only a Carpathian would come back to Life now and choose New York. 

Tasty pick, bonehead! 

 

If you had brain-one in that huge melon on top of your neck, you would be living the sweet life out in southern California's beautiful San Fernando Valley!

VIGO shoots paralyzing rays at the Ghostbusters

Oh darn. Oh, darn it!

VIGO

Now We Become One!

 

Music: Auld Lang Syne.

RAY

Where's that singing coming from?

WINSTON

The People Outside.

 

VIGO is in pain

Outside museum

LOUIS runs up.

LOUIS

Sorry folks! Excuse me! Ghostbusters! Wow!

gets his proton pack ready

I'm here with you guys.

Restoration room

EGON

He's weakening! The singing is neutralizing the slime!

RAY

I can move!

DANA

Oscar!

VIGO is blown back into the painting- PETER catches OSCAR

Oh...

EGON

He's back in The Painting!

PETER

All right, go find a shady spot. 

 

Viggy, Viggy, Viggy. 

 

You have been a bad monkey!

RAY goes up to painting

EGON

Uh, Ray? We'd like to shoot the monster. Could you move, please?

PETER

Ray?

WINSTON

Ray?!

PETER, EGON, WINSTON

Ray?!!!

VIGO enters RAY

VIGO

No! I, Ray, am Vigo, and Rule The Earth! 

Begone, you pitiful half-men!

EGON

Now!

 

He and PETER fire- WINSTON shoots his slime.

Outside

LOUIS fires.

Restoration room

RAY jumps away, leaving the floating head of VIGO. He goes back into the painting.

VIGO

No!...

explosion, bright light

Outside

The slime mold breaks up. Cheering.

MAN

That was great! 

I loved it!

LOUIS

I did it!... I did it! 

I'm a Ghostbuster!

Two Murderers

Richard III | Act 1, Scene 4 

SCENE IV. London. The Tower.

Enter CLARENCE and BRAKENBURY

BRAKENBURY

Why looks your grace so heavily today?

CLARENCE

O, I have pass'd a miserable night,

So full of ugly sights, of ghastly dreams,

That, as I am a Christian faithful man,

I would not spend another such a night,

Though 'twere to buy a world of happy days,

So full of dismal terror was the time!

BRAKENBURY

What was your dream? I long to hear you tell it.

CLARENCE

Methoughts that I had broken from the Tower,

And was embark'd to cross to Burgundy;

And, in my company, my brother Gloucester;

Who from my cabin tempted me to walk

Upon the hatches: thence we looked toward England,

And cited up a thousand fearful times,

During the wars of York and Lancaster

That had befall'n us. As we paced along

Upon the giddy footing of the hatches,

Methought that Gloucester stumbled; and, in falling,

Struck me, that thought to stay him, overboard,

Into the tumbling billows of the main.

Lord, Lord! methought, what pain it was to drown!

What dreadful noise of waters in mine ears!

What ugly sights of death within mine eyes!

Methought I saw a thousand fearful wrecks;

Ten thousand men that fishes gnaw'd upon;

Wedges of gold, great anchors, heaps of pearl,

Inestimable stones, unvalued jewels,

All scatter'd in the bottom of the sea:

Some lay in dead men's skulls; and, in those holes

Where eyes did once inhabit, there were crept,

As 'twere in scorn of eyes, reflecting gems,

Which woo'd the slimy bottom of the deep,

And mock'd the dead bones that lay scatter'd by.

BRAKENBURY

Had you such leisure in the time of death

To gaze upon the secrets of the deep?

CLARENCE

Methought I had; and often did I strive

To yield the ghost: but still the envious flood

Kept in my soul, and would not let it forth

To seek the empty, vast and wandering air;

But smother'd it within my panting bulk,

Which almost burst to belch it in the sea.

BRAKENBURY

Awaked you not with this sore agony?

CLARENCE

O, no, my dream was lengthen'd after life;

O, then began the tempest to my soul,

Who pass'd, methought, the melancholy flood,

With that grim ferryman which poets write of,

Unto the kingdom of perpetual night.

The first that there did greet my stranger soul,

Was my great father-in-law, renowned Warwick;

Who cried aloud, 'What scourge for perjury

Can this dark monarchy afford false Clarence?'

And so he vanish'd: then came wandering by

A shadow like an angel, with bright hair

Dabbled in blood; and he squeak'd out aloud,

'Clarence is come; false, fleeting, perjured Clarence,

That stabb'd me in the field by Tewksbury;

Seize on him, Furies, take him to your torments!'

With that, methoughts, a legion of foul fiends

Environ'd me about, and howled in mine ears

Such hideous cries, that with the very noise

I trembling waked, and for a season after

Could not believe but that I was in hell,

Such terrible impression made the dream.

BRAKENBURY

No marvel, my lord, though it affrighted you;

I promise, I am afraid to hear you tell it.

CLARENCE

O Brakenbury, I have done those things,

Which now bear evidence against my soul,

For Edward's sake; and see how he requites me!

O God! if my deep prayers cannot appease thee,

But thou wilt be avenged on my misdeeds,

Yet execute thy wrath in me alone,

O, spare my guiltless wife and my poor children!

I pray thee, gentle keeper, stay by me;

My soul is heavy, and I fain would sleep.

BRAKENBURY

I will, my lord: God give your grace good rest!

CLARENCE sleeps

Sorrow breaks seasons and reposing hours,

Makes the night morning, and the noon-tide night.

Princes have but their tides for their glories,

An outward honour for an inward toil;

And, for unfelt imagination,

They often feel a world of restless cares:

So that, betwixt their tides and low names,

There's nothing differs but the outward fame.

Enter the two Murderers

First Murderer

Ho! who's here?

BRAKENBURY

In God's name what are you, and how came you hither?

First Murderer

I would speak with Clarence, and I came hither on my legs.

BRAKENBURY

Yea, are you so brief?

Second Murderer

O sir, it is better to be brief than tedious. Show

him our commission; talk no more.

BRAKENBURY reads it

BRAKENBURY

I am, in this, commanded to deliver

The noble Duke of Clarence to your hands:

I will not reason what is meant hereby,

Because I will be guiltless of the meaning.

Here are the keys, there sits the duke asleep:

I'll to the king; and signify to him

That thus I have resign'd my charge to you.

First Murderer

Do so, it is a point of wisdom: fare you well.

Exit BRAKENBURY

Second Murderer

What, shall we stab him as he sleeps?

First Murderer

No; then he will say 'twas done cowardly, when he wakes.

Second Murderer

When he wakes! why, fool, he shall never wake till

the judgment-day.

First Murderer

Why, then he will say we stabbed him sleeping.

Second Murderer

The urging of that word 'judgment' hath bred a kind

of remorse in me.

First Murderer

What, art thou afraid?

Second Murderer

Not to kill him, having a warrant for it; but to be

damned for killing him, from which no warrant can defend us.

First Murderer

I thought thou hadst been resolute.

Second Murderer

So I am, to let him live.

First Murderer

Back to the Duke of Gloucester, tell him so.

Second Murderer

I pray thee, stay a while: I hope my holy humour

will change; 'twas wont to hold me but while one

would tell twenty.

First Murderer

How dost thou feel thyself now?

Second Murderer

'Faith, some certain dregs of conscience are yet

within me.

First Murderer

Remember our reward, when the deed is done.

Second Murderer

'Zounds, he dies: I had forgot the reward.

First Murderer

Where is thy conscience now?

Second Murderer

In the Duke of Gloucester's purse.

First Murderer

So when he opens his purse to give us our reward,

thy conscience flies out.

Second Murderer

Let it go; there's few or none will entertain it.

First Murderer

How if it come to thee again?

Second Murderer

I'll not meddle with it: it is a dangerous thing: it

makes a man a coward: a man cannot steal, but it

accuseth him; he cannot swear, but it cheques him;

he cannot lie with his neighbour's wife, but it

detects him: 'tis a blushing shamefast spirit that

mutinies in a man's bosom; it fills one full of

obstacles: it made me once restore a purse of gold

that I found; it beggars any man that keeps it: it

is turned out of all towns and cities for a

dangerous thing; and every man that means to live

well endeavours to trust to himself and to live

without it.

First Murderer

'Zounds, it is even now at my elbow, persuading me

not to kill the duke.

Second Murderer

Take the devil in thy mind, and relieve him not: he

would insinuate with thee but to make thee sigh.

First Murderer

Tut, I am strong-framed, he cannot prevail with me,

I warrant thee.

Second Murderer

Spoke like a tail fellow that respects his

reputation. Come, shall we to this gear?

First Murderer

Take him over the costard with the hilts of thy

sword, and then we will chop him in the malmsey-butt

in the next room.

Second Murderer

O excellent devise! make a sop of him.

First Murderer

Hark! he stirs: shall I strike?

Second Murderer

No, first let's reason with him.

CLARENCE

Where art thou, keeper? give me a cup of wine.

Second murderer

You shall have wine enough, my lord, anon.

CLARENCE

In God's name, what art thou?

Second Murderer

A man, as you are.

CLARENCE

But not, as I am, royal.

Second Murderer

Nor you, as we are, loyal.

CLARENCE

Thy voice is thunder, but thy looks are humble.

Second Murderer

My voice is now the king's, my looks mine own.

CLARENCE

How darkly and how deadly dost thou speak!

Your eyes do menace me: why look you pale?

Who sent you hither? Wherefore do you come?

Both

To, to, to--

CLARENCE

To murder me?

Both

Ay, ay.

CLARENCE

You scarcely have the hearts to tell me so,

And therefore cannot have the hearts to do it.

Wherein, my friends, have I offended you?

First Murderer

Offended us you have not, but the king.

CLARENCE

I shall be reconciled to him again.

Second Murderer

Never, my lord; therefore prepare to die.

CLARENCE

Are you call'd forth from out a world of men

To slay the innocent? What is my offence?

Where are the evidence that do accuse me?

What lawful quest have given their verdict up

Unto the frowning judge? or who pronounced

The bitter sentence of poor Clarence' death?

Before I be convict by course of law,

To threaten me with death is most unlawful.

I charge you, as you hope to have redemption

By Christ's dear blood shed for our grievous sins,

That you depart and lay no hands on me

The deed you undertake is damnable.

First Murderer

What we will do, we do upon command.

Second Murderer

And he that hath commanded is the king.

CLARENCE

Erroneous vassal! the great King of kings

Hath in the tables of his law commanded

That thou shalt do no murder: and wilt thou, then,

Spurn at his edict and fulfil a man's?

Take heed; for he holds vengeance in his hands,

To hurl upon their heads that break his law.

Second Murderer

And that same vengeance doth he hurl on thee,

For false forswearing and for murder too:

Thou didst receive the holy sacrament,

To fight in quarrel of the house of Lancaster.

First Murderer

And, like a traitor to the name of God,

Didst break that vow; and with thy treacherous blade

Unrip'dst the bowels of thy sovereign's son.

Second Murderer

Whom thou wert sworn to cherish and defend.

First Murderer

How canst thou urge God's dreadful law to us,

When thou hast broke it in so dear degree?

CLARENCE

Alas! for whose sake did I that ill deed?

For Edward, for my brother, for his sake: Why, sirs,

He sends ye not to murder me for this

For in this sin he is as deep as I.

If God will be revenged for this deed.

O, know you yet, he doth it publicly,

Take not the quarrel from his powerful arm;

He needs no indirect nor lawless course

To cut off those that have offended him.

First Murderer

Who made thee, then, a bloody minister,

When gallant-springing brave Plantagenet,

That princely novice, was struck dead by thee?

CLARENCE

My brother's love, the devil, and my rage.

First Murderer

Thy brother's love, our duty, and thy fault,

Provoke us hither now to slaughter thee.

CLARENCE

Oh, if you love my brother, hate not me;

I am his brother, and I love him well.

If you be hired for meed, go back again,

And I will send you to my brother Gloucester,

Who shall reward you better for my life

Than Edward will for tidings of my death.

Second Murderer

You are deceived, your brother Gloucester hates you.

CLARENCE

O, no, he loves me, and he holds me dear:

Go you to him from me.

Both

Ay, so we will.

CLARENCE

Tell him, when that our princely father York

Bless'd his three sons with his victorious arm,

And charged us from his soul to love each other,

He little thought of this divided friendship:

Bid Gloucester think of this, and he will weep.

First Murderer

Ay, millstones; as be lesson'd us to weep.

CLARENCE

O, do not slander him, for he is kind.

First Murderer

Right,

As snow in harvest. Thou deceivest thyself:

'Tis he that sent us hither now to slaughter thee.

CLARENCE

It cannot be; for when I parted with him,

He hugg'd me in his arms, and swore, with sobs,

That he would labour my delivery.

Second Murderer

Why, so he doth, now he delivers thee

From this world's thraldom to the joys of heaven.

First Murderer

Make peace with God, for you must die, My Lord.

CLARENCE

Hast thou that holy feeling in thy soul,

To counsel me to make my peace with God,

And art thou yet to thy own soul so blind,

That thou wilt war with God by murdering me?

Ah, sirs, consider, he that set you on

To do this deed will hate you for the deed.

Second Murderer

What shall we do?

CLARENCE

Relent, and save your souls.

First Murderer

Relent! 'tis cowardly and womanish.

CLARENCE

Not to relent is beastly, savage, devilish.

Which of you, if you were a prince's son,

Being pent from liberty, as I am now,

if two such murderers as yourselves came to you,

Would not entreat for life?

My friend, I spy some pity in thy looks:

O, if thine eye be not a flatterer,

Come thou on my side, and entreat for me,

As you would beg, were you in my distress

A begging prince what beggar pities not?

Second Murderer

Look behind you, my lord.

First Murderer

Take that, and that: if all this will not do,

Stabs him

I'll drown you in the malmsey-butt within.

Exit, with the body

Second Murderer

A bloody deed, and desperately dispatch'd!

How fain, like Pilate, would I wash my hands

Of this most grievous guilty murder done!

Re-enter First Murderer

First Murderer

How now! what mean'st thou, that thou help'st me not?

By heavens, the duke shall know how slack thou art!

Second Murderer

I would he knew that I had saved his brother!

Take thou the fee, and tell him what I say;

For I repent me that the duke is slain.

Exit

First Murderer

So do not I: go, coward as thou art.

Now must I hide his body in some hole,

Until the duke take order for his burial:

And when I have my meed, I must away;

For this will out, and here I must not stay.