Monday, August 30, 2021

What CLOSE ENCOUNTERS OF THE THIRD KIND(dir. Steven Spielberg) tells us about the Trajectory of Jewish American Experience from Leaders of People Power to Hoarders of Elite Power — HoloCovenant as the New Definition of Jewishness

Even though Jews have produced many influential thinkers in the 20th century, we can learn as much or even more about them through their use of popular culture. Granted, some degree of esotericism is necessary to decode the message. In other words, just like adults and children see things differently and laugh for different reasons when watching TV, it's likewise between Jews and Goyim when watching, say, a Steven Spielberg movie. For the goyim, it's just a big thrill ride. To Jews, it's a game of 'wink-wink, nudge-nudge, get it?'

Take CLOSE ENCOUNTERS OF THE THIRD KIND, the only movie that contended with STAR WARS for box office in 1977, the year following the Bicentennial. For most people, it was a grand sci-fi fairytale, like a Disney Movie for adults. And in many ways, the spirit of the movie seemed 'as American as apple pie'. But if ever there was a statement of 'We Jews Shall Inherit the Earth', it's this movie. The movie is at once mainstream-populist and Jewish tribal-elitist. It depends on who is doing the watching with which set of cultural references. A goy might go around saying "Did-you see it?", but for the Jew, it's a case of "Jew see it?" Jew know? It came out in the year of ANNIE HALL that won Best Picture Oscar.

The core source of Jewish Power is the force of prophecy. This potential is latent in all groups but failed to come to full fruition among most. Jews attained it to the furthest degree. (One might say Arabs did too with Islam, but Muhammad mostly copied and revised Jewish prophecies.) In the movie, the space aliens as cosmic power reach out to all humanity. They send signals even to Mexicans(who are mostly drunk), Mongols(in the middle of nowhere), and Hindus(who think Vishnu sang to them). (But apparently not to Negroes, thank Todd.) And among the called are white goyim as well. But the one who is mostly burning-bushed is none other than the Richard Dreyfuss character Roy Neary. Roy is like a Jew-Toy, and he's Neary to God. (As Pinocchio goes from puppet to a real boy, Roy goes from ersatz goy to a true 'Jew'.) So, even though there are two modes to its aura — nationalistic as space aliens choose America among all nations, especially the famed Devil's Tower(though not Mt. Rushmore), and internationalist as space aliens shine their rays and send signals to all peoples of the world — , the real blessing or cosmo-covenant is with Roy who, though not spelled out as JEW, is clearly Jewishy with Dreyfuss's physiognomy and pushy over-the-top performance. Roy stands for Jew as impassioned seeker, climber, and ultimate victor, the heartbreak kid. The two other notable Jewish or Jewishy characters are Lacombe by Francois Truffaut and Laughlin by Bob Balaban. Balaban represents Neo-Talmudism. His expertise is cartography, making and reading of maps, modern version of Jewish numerology. (Upon his realization that the space aliens' signals are coordinates, his colleagues roll a giant globe into a room to pinpoint the whereabouts. It's as if the world is being prepared for Jewish Possession: The World is Ours because the hidden covenantial code can be cracked and revealed only by us Jews.) Truffaut had his own awakening of identity — he grew up thinking he's entirely French but later discovered through a private eye that his father is a Jewish dentist. So, even though the grand ending is ostensibly about space aliens meeting with humanity, it becomes almost like a tribal Bar Mitzvah or Jewish Wedding where space aliens as cosmo-gods choose Jews Uber Alles. It's very much a closed affair, a Closed Encounter as well as a close one.

In preparation for the Encounter, the scientific community, the US government, and the military conspire to keep the public away. One military commander says: "What I need is something so scary it'll clear three hundred square miles of every living Christian soul." Now, there are two ways of making sense of the statement. It's just a figure of speech and has nothing to do with Christians — just scare the population away so that serious people can pull off a diplomatic coup with the aliens, a kind of like Olympics for the scientific community. And yet, even as the movie panders to goy audiences, including lots of Christians, it is indeed about excluding Christians and goyim from the blessed communion between cosmic power and the chosen. Of course, there are plenty of goyim, from top scientist to technician, present at the Encounter, but most serve as background to the Jews who command the center stage; someone even remarks that Albert Einstein wasn't only right but 'probably one of them(the superior aliens)'. Also, on the ground is some piece of metal that looks like a fallen crucifix, as if to imply Christianity is over and to be replaced by the new faith beamed across movie and tv screens dominated by Jews.

There are certain allusions to Jewish culture and history, some more obvious than others, like the broadcast of THE TEN COMMANDMENTS on TV. But some are easy to miss, like the difficulty Roy Neary's son has with fractions in math. For advice, Neary talks about fractions of the number 60. The six figure is likely a reference to the Shoah where supposedly 6 million died. Neary asks his son what one third of 60 is and demonstrates the lesson with a toy train set: One third of the train is exposed on the intersection, so how much would the train have to be moved to avoid a collision with an oncoming train? The son fails to answer fast enough, and the trains collide. It seems Spielberg was suggesting the Jews(and the world) didn't react fast enough in WWII, and many Jews got destroyed. The train itself is of course an allusion to the Shoah as many Jews were sent to the camps on rail.

While Roy and his son discuss fractions, another son in the background stands inside a baby playpen and fiercely attacks a blonde doll, smashing it to pieces. Spielberg uses the kid in child-play to channel his rage at the blond Aryan race. In a way, it sums up the essence of Spielbergism: Jewish Rage masked as child's play. Indeed, the kid's antics seem funny, even cute. Boys will be boys, right? But the scene is also disturbing as the boy keeps smashing the denuded doll until it's head comes off. It anticipates the murder of the nude pro-Palestinian German woman in MUNICH, not to mention all the anti-Nazi bloodbaths in Indiana Jones movies.
No movie director in movie history has been as violent and family-friendly at the same time. The fun-quality of Spielberg's movies(akin to amusement park rides), starting with JAWS(or THE DUEL), makes people forget how aggressive, destructive, and even blood-thirsty they are. Incidentally, the fact that the boy is inside a baby playpen could suggest that the Aryan Race must be snuffed out in the cradle. Or maybe it's a dig at Christianity, a subconscious wish to kill Jesus as baby, fantasy-accomplishment of what Herod failed to do.

Roy insists that the family should go see PINOCCHIO than go for Goofy Golf. Given golf's association with Wasp country clubs, Spielberg could have been suggesting that Jews should focus on taking over the mythic narrative(as Walt Disney did) than waste time with useless recreational activities. Golf is only for the players, whereas entertainment is for everyone. In golf, a player wins over other players, whereas in entertainment the creators of fantasies come to conquer all the souls of the world. They get to mess with the world like space aliens mess with humanity in CLOSE ENCOUNTERS.

Later, there maybe another allusion to the Shoah in the UFO conference. A government official asks just how is it that, what with all the many millions of cameras in the world, not a single irrefutable image of space ships/aliens has been produced? The figures given by the official is that 7 billion photos are taken each year in the US at the cost of 6.6 billion dollars of equipment and processing. Again, we have the figure of the SIX. It could be Spielberg is suggesting that not a single photo of a Jew being gassed by the Nazis exists, but the gassings took place. So, in a way, Roy's pursuit of the truth about UFO could be Spielberg's sublimated obsession about the hidden truths about the Holocaust, and of course, the HoloCovenant is what defines most Jews today.

But the most dramatic allusion to the Jewish Experience is the 'tower' as metaphor for circumcision. After the burning-bush encounter with a space ship, Roy Neary kept envisioning mountain-like figures and turned to crude sculpting to erect the shape of these visions. The result is something like a towering boner, but it's not quite right. Something is a bit off. And then, just when he's frustrated and about to give up, he goes about pulling at the 'tower' mound of his making, and the top comes off, and finally, the vision is complete. It's like the Covenant between Jews is about removal of the foreskin on the penis. That COMPLETES the Jew. Jewishness isn't just about the towering erection of man-meat but the sacrificial offering of the foreskin to God. And then, when Roy watches TV and makes the connection between the circum-tower and Devil's Tower(in Wyoming), he has to go to the American Sinai to realize the fullness of himself as the Chosen, the special one.

The TV is instrumental because it signifies the Jewish control of the Media. Once, the Jewish Book was the source of Western Spiritual and Moral Imagination. Christianity was an outgrowth of Judaism. However, it turned against Jews and made them out to be Christ-killers. One way for Jews to cope with this problem was insularity, but they would always be seen as outsiders, the Other. Another way was to assimilate into the goy world, but (1) it meant loss of rich identity & culture (2) there were sufficient differences between Jews and Whites(or Aryans) that made smooth assimilation impossible. In Germany, even assimilated Jews were targeted as subversive Semites. In the US, whites were happy to welcome and accept Jews as fellow whites, but Jewish supremacism didn't want to become one with sappy bland white culture, and furthermore, Jews became contemptuous of white weakness.

So, the third option was a new universalism, this time controlled by Jews. Marxism had appealed to many Jews as the new universalism that could overcome antisemitism — Karl Marx thought antisemitism would never go away as long as there was capitalism as Jews were the greediest and most compulsive practitioners of it. But as communism came to favor mediocrity and statist stasis over meritocracy and individual enterprise, Jews came to see it as chain-and-ball around their legs.

In the US, Jews favored Marx-Brothersism over Marxism. Make the goy laugh. Make the goy laugh so hard at Jewish wit and humor that they will see Jews as entertaining and endearing(even though much of Jewish American Humor was along the lines of Dumb Polack Jokes, i.e. at the expense of dimwit or bland white goyim, especially Wasps). Jews gained tremendous leverage as comedians. Woody Allen and Mel Brooks became household names. Jerry Seinfeld entered every living room and became like member of the family or personal friend. But the problem with humor is it favors irony, sarcasm, and mockery. Jews can make people laugh but can also be laughed at, and being laughed at isn't far from being ridiculed. Notice how many people soured on Woody Allen after a series of scandals. He became the joke than the joker. Also, as Jews gained in influence and privilege, they became more anxious about humor as edgy satire of power. Notice Jews don't care for the humor of 4Chan types, not even Babylon Bee that pokes fun at Jewish-led agendas like globo-homo and tranny-wanny.

This is where Spielberg has been so valuable in scripting and evangelizing a special brand of Jewish Power. He understood and mastered the power of myth at the psycho-popular level. Richard Dreyfuss's character goes from funny and ridiculous(often associated with Jewish Comedy) to impassioned, heroic, and ultimately quasi-spiritual. As Pinocchio turns from wood to flesh, Roy goes from an ordinary American terrestrial to a Cosmic Jewish prophet on the precipice of divinity. He becomes pop-Moses. In THE TEN COMMANDMENTS, the Aryan Charlton Heston took on the role of the great Jew, as he would once again in BEN-HUR, the ultimate message of which is Jews should accept Christ. But in CLOSE ENCOUNTERS, it is really the Jewish-looking Jewish personality of Richard Dreyfuss who takes center stage.
At once, he becomes both More Jewish and More American as the story moves along. How could this be? How could someone become more tribal and more Jewishy in a white Christian majority America and still come across as All-American? This is where Spielberg's genius pulls off the magic. The movie is such a visual-aural treat, like a biggest Christmas Tree ever, that the awed audience just swoons along(especially aided by John Williams' all-encompassing and all-embracing music) and fails to sense that something isn't quite right in the equation. The music and circus-like effects cast their spell on everyone, but what is really happening is the crowning of the Neo-Mosaic Jew as the new christ.

In JAWS, Dreyfuss played a side character. Roy Scheider who took the main role is also Jewish but didn't play the role Jewishy, whereas Dreyfuss did. In CLOSE ENCOUNTERS, the Jewish Dreyfuss takes center stage. He begins more or less as typically American but then becomes ever more Jewishy in his feverish search for his personal 'lost ark'. (Something similar happens to the Jewish character of David Mamet's HOMICIDE. Initially, he thinks little of his Jewishness but becomes more aware, more angry, even to the point of vengeful paranoia. He goes from cultural amnesia in all-embracing America to tribal awakening as a member of the Tragic Tribe.)

In earlier times, many Jews sought to prove their American-ness by trying to act white(and look white, especially the women with nose-jobs). Many altered the names to sound more Anglo. Many repressed their Jewish personality and tried to act genteel like Wasps. Being American meant having to suppress some of that Jewishness which came to be equated with uncouth vulgarity. Of course, some Jews played up their Jewishness to the hilt, but this was mainly in comedy. For many Jews, the social ideal was embodied by Kirk Douglas who didn't even look all that Jewish. For some Jews who couldn't repress their Jewish idiosyncrasies but didn't want to be identified as Jewish, radicalism was the solution. That way, they could act pushy and neurotic in the name of some Social Justice cause, thus creating the false impression that their difficult personalities had more to do with ideology than identity. Take Abbie Hoffman and Jerry Rubin, archetypal problematic Jews in roles as anarchists or socialists.

But as time passed, there was too big a gap between the real Jew and the idealized Jew. Most Jews didn't look like Kirk Douglas. If they resembled certain European types, it was more the Southern European. Many Jews looked more like Joe Pesci than Clint Eastwood. Also, the personality traits of Jews really came alive when unfettered from pressures to act 'wasp'. If Dustin Hoffman's character in THE GRADUATE exhibited some of these Jewish anxieties, FUNNY GIRL that came out a year later was like a declaration of Jewish Personality Emancipation. The first Jewish Emancipation was about laws and rights. In contrast, the Jewish Personality Emancipation was about the right, indeed the necessity, for Jews to FEEL and ACT Jewish. If Marx Brothers' Jewishness was obviously caricatures, the New Jewish Comedians were meant to be genuine Jewish personalities than mere cartoons. So, Barbra Streisand was about how the Jewess could be totally Jewish and be sexy. And Woody Allen was about how a Jewish comic could also be a serious artist and 'thinker'. Still, if Streisand and Allen remained unmistakably Jewish, distinct from goyim, the strange thing about Roy Neary of Spielberg's imagination is he is so indelibly Jewish and yet also vividly American. In a way, his apotheosis lends the impression that the Jew is more American than American because, all said and done, the true fulfilment of the American Dream came with the Passion(or the Obsession) of the Jew. And this minority-centric view of America eventually led to globo-homo as the New Normal, i.e. homo minority is more the true exemplar of Americanism than anything associated with straightness. And notice how globo-homo celebration and symbolism are as outlandish, ostentatious, and obnoxious as anything by Spielberg.

What is most instructive about CLOSE ENCOUNTERS is it provides us with an arc of Jewish History from Jews-as-social-climbers to Jews-as-kings-of-the-hill. Roy Neary's adventure and transformation from Ordinary Joe Populist to Extraordinary Jew Elitist reflects the trajectory of Jews from challengers of American Power to champions of it(in their own image... or shadow).

Like Roy Neary, so many Jews in the 60s claimed to be for the Little Guy, the small fish. They were for the workers. They were for the downtrodden. Their radicalism had an element of populism. Jews would stand and march with the have-lesses against the Power Structure of Wasp elites and the Military Industrial Complex. Jews attacked the FBI and CIA. Jews subverted trust in institutions and authority. Jewish activism back then was ostensibly for the little guy, the ordinary joes of America of all color. Some Jews even took up farming or opted to work in factories(at least for awhile to prove their bona fides). Jews demanded answers from the Power. Jewish assault on Wasp privilege was supposedly for all Americans. Not just for equal opportunity for Jews but for ethnic whites, Catholics, blacks, browns, and etc. Jews even made a big fuss about the poor American Indians. Jews made documentaries like HARLAN COUNTRY USA and movies like NORMA RAE in the 1970s.
So, even though Jews, as radicals, subversives, or climbers, were clearly distinct from other groups(who were less intelligent, capable, and driven with ambition), they operated in the clothing of Everyman. Saul Alinsky is a good example. And the ACLU claimed to protect the free speech rights and civil liberties of ALL AMERICANS, yes even for Neo-Nazis and KKK. Jews put on a big show of WE THE PEOPLE against Wasp-ruled America and the Military-Industrial Complex that was said to be perpetuating the Cold War and killing many innocents in Vietnam and Latin America. (But, of course, mum about the Palestinians.)

Through much of CLOSE ENCOUNTERS, Roy Neary is like a combination of Jewish radicalism and Ordinary Americanism(or the populism of the Ordinary Joe). He joins with other Americans(who look goy) against the government establishment that isn't telling the whole truth and carrying out a secret project(one that makes the Manhattan Project seem like an open house). Roy demands to know the truth. He serves as spokesman for other Americans at the UFO conference. He is with the People against the Government. There are times when the US government seem almost crypto-fascist Nazi-like, an American Gothic take on Leni Riefenstahlism. And there were reasons for Jews to be worried about statism. After all, the National Socialists weren't a bunch of libertarians. And the Soviet Union, which eventually became an enemy of Zionism and an ally of anti-Israeli Arab nations, was about state power also. And in the Sixties, Jewish radicals denounced Amerika as a police state.

Of course, during World War II, Jews couldn't get enough of FDR's warmongering statism to destroy Germany and Japan, but because many Jews were on the left, the Cold War not only brought the Republicans back to power but began to prosecute people suspected of pro-Soviet sympathies, especially in the aftermath of revelations about the Jewish Rosenbergs(who gave Stalin the Bomb), the 'loss' of China to Mao, and the Korean War. This set the grounds for Jewish trepidations about state power, and in the Sixties many Jews took to styles of neo-anarcho-syndicalism that fused with chaotic youth-pop-culture. Jews, who'd been pro-statist during WWII, became anti-statist during the Vietnam War. It was partly out of sympathy for the communist Viet Cong but also because it's deemed anathema for Jews to die for goyim. Jews hated being drafted to fight wars on behalf of non-Jews. Of course, Jews couldn't say, "We don't want to serve in the military because Jewish lives are too precious to waste on saving goy lives from communism", and so, they made a big fuss about how they supported the Anti-War movement to end the war and its slaughter of civilians.
In the early 70s, New Hollywood put out a bunch of paranoid movies. Partly, it was a reflection of Jewish Anti-Nixon-ism, but it was also part of the Zeitgeist as the Sixties had done much to shake confidence in US institutions. And CLOSE ENCOUNTERS reflects some of the paranoia in movies like PARALLAX VIEW and THREE DAYS OF CONDOR. Roy Neary is positive that the government is lying and treating people like stupid children. He demands an answer and takes the law into his own hands. He goes rogue vigilante, smashing through barriers erected by the government to get nearer to Devil's Tower.

It's Roy as People's Hero against the State. He seems to embody the populist spirit. But there's a difference. Whereas the essence of populism is 'leave us alone'(as in "Don't Tread on Me" on the Gadsden Flag), the essence of Jewish Nature is to intrude into the power center. Whereas most populists don't care what the state does AS LONG AS it leaves them alone, Jews want to peer inside and see what's really happening inside the power. Their motto might as well be, "Let Me Tread on You." This is why Roy goes further than the Goy in CLOSE ENCOUNTERS. Though plenty of goyim have also been beckoned by the space aliens, most of them don't make the connections or give up half-way. But Roy pushes all the way. Like the Negro staring into Harry Callahan's barrel of Magnum 44, Roy gots to know. Throughout the adventure, Roy suspects the government is up to something sinister. And Spielberg even includes a train scene as if to suggest the US government could be like the Nazis rounding up Jews. It's Spielberg's way of saying a country is all about WHO HAS THE POWER. Is the power pro-Jewish or anti-Jewish? Roy the populist hero acts against the state through most of the movie, and Spielberg was surely channeling Jewish paranoia that goes back to the so-called McCarthy Era and re-emerged during the Nixon presidency. Could America really be Amerika?

And yet, Spielberg offers a revision to the paranoia. What if the government, though far from perfect, is mostly good and has reasons to keep the project a secret? What if the superior space aliens wanted it that way, i.e. to meet with the best and the brightest than with the unwashed idiotic hoi polloi among the human species? Also, what if Roy and others chosen by the space aliens had to undergo a trial to prove their worthiness? It's like the race of life itself from the beginning. Every human life is the product of a single sperm winning the race over all the other sperms. And Roy is the winning sperm who makes it through Devil's Tower(as the giant circumcised Jewish Penis) and enters the space ship as cosmic womb. If Stanley Kubrick's 2001: A SPACE ODYSSEY had a Wasp being reborn as Star Child, CLOSE ENCOUNTERS alters the vision with a Jewish Guy as Spacenik. Even though the goy-controlled state once placed obstacles against the Jew, it was ultimately meaningful as the obstacles demonstrated the superiority of Jews who won the struggle to overcome them. Thus, Jewish challenge to the Power didn't so much prove Jewish commitment to equality as Jewish Superiority as the only people who could topple and gain mastery over the Wasps. Unlike National Socialist Germans who were determined to keep the Jews down at all costs, Wasps had a 'good sport' culture and welcomed Jews as the rightful winners and owners of America.

Roy, who'd been so anti-government and anti-authority through much of the movie, comes to feel that the state had been right all along. This special moment cannot be for all the world. Too many people are idiots, boors, retards, undeserving of the cosmic-covenant. No, this encounter with cosmic gods must be for the best of the best among mankind. The brilliant scientists and the like. And even though he was an ordinary joe, just another working man, he too deserves to be there because he's proven his resolve and mettle through trial by fire, by running roughshod over all obstacles. He earned his marks, and he belongs among the best-and-the-brightest. In their company, he is no longer complaining about the government, the secretiveness, and the deception to the public. He comes to understand the need for secrecy and even duplicity by the powerful, at least if the powerful isn't nazi-like or anti-Jewish. As it turns out, state power in the US isn't filled with anti-Jewish Nazi-types but many Jews and Jew-friendly goyim. Also, as the superior space aliens choose him, a Jew or crypto-Jew, over all others, we must trust in the power because its ultimate manifestation is about the Covenant of the Jew and Cosmic Power. Roy's example suggests that Jewishness is so special that even a seemingly Ordinary Joe/Jew is among the very best, part of the natural elite favored by cosmic power. The whole spectacle is more fun than sneaking into a drive-in movie. 

Roy's transformation from Ordinary Joe populist to Extraordinary Jew elitist is illustrative of the change in Jewish attitudes, outlook, and values over the years. Jews, who used to challenge deep state institutions, are now their biggest defenders. Jews, who used to speak of civil liberties and free speech for all Americans, are now the biggest agents of censorship or censchwarzship. Jews who used to decry the warfare state are now the biggest warmongering imperialists on the basis that the 'adults in the room' know what they're doing. Jews who used to challenge the official narratives are now the biggest pushers of officialdom. Many Jews know the narratives are bogus but push them anyway because the dimwit goyim simply cannot handle the truth, or so they believe. It's like Roy becomes part of the powerful crew once he makes it over the mountain and is accepted by the best and the brightest.

Most Jews arrived poor to America in the late 19th century and early 20th century. They had no choice but to struggle alongside the working class and white ethnics. So, many Jews back then believed in the shared struggle alongside poor white goyim against the Wasp Establishment. Jews and the People vs the Power. But Jews were different from other groups. They were smarter and savvier than the Dumb Polacks, Greasy Italians, Drunken Irish, and the like. Indeed, they were even smarter than the ruling Wasp class. So, it was only a matter of time before Jews would not only outpace the white ethnics but wrest power from the Wasps. They had no choice then to shed their Ordinary Joe clothing and put on cloak of Extraordinary Jew. It's like Roy goes Royal.

The mother-and-son element of the movie reminds us of the Madonna and Child, but alas, the goy child is returned to Earth while the spaceship carries the Jewishy Roy to the heavens. It suggests Judaism is ultimately higher than Christianity, a faux-knockoff of Jewish Spirituality, albeit something Jews can draw lessons from in their neo-spiritual quest to conquer the world via modern mass media and entertainment. 

And so, we are now in the age of Covid. When Covid Hysteria broke out, the first image that came to my mind was the scene in CLOSE ENCOUNTERS where Roy figures the government is practicing psychological warfare to fool the public. Whatever threat Covid poses, what honest person can deny it's been vastly exaggerated and manipulated as political tool to hoodwink and control the dimwit multitudes(and even alter and pervert political processes, not to mention used for raking in massive profits).

Now, given that Steven Spielberg made CLOSE ENCOUNTERS, do you think he would side with the Covid Skeptics who are like Roy as Ordinary Joe? NO, because Spielberg is Roy-gone-Royal. He knows his Tribe has the power. His Tribe is smarter, superior, and wiser. His Tribe is more deserving of more money and more power. And so, just like Roy learns to stop worrying and love the power(that finally aids him in the fulfilment of destiny), people like Spielberg have stopped worrying about the power because they got all of it and intend to control us as dimwit hoi polloi who should just yammer about Big Foot and leave important matters to the Power, the adults in the room... the Jews.

Roy Neary from Ordinary Joe to Extraordinary Jew to New Christ


  1. Andrea,
    You are the Monday morning quarterback with a 140 IQ.
    David Duke isn't compromised. David Duke is a great man.