Weapons (2025) & Prisoners (2013) Esoteric Analysis With Based Lit Analyzer

the top fifty films of the twenty first century. I didn't really agree with the list, so I came out with my own and I put Prisoners at number two.

are are on there. A lot of people forget. The weird thing about the list is a lot of people look at the list and they totally forget what films were made in the twenty first century, because there's been a real dearth of great films made of this century, right, and and a lot of the great films tend to be pretty timeless, but movies maybe the twentieth century, tend

to be clearly put into a twentieth century category. And now we have in the last you know, twenty four to twenty five years, we have a whole bunch of films that are completely unlike anything I think from the twentieth century. And Prisoners is as a lot that it's sort of I don't know, you could place it in a framework of other films, but it is so dark and so new. There's something so new about it that

I think it really should be placed there. Weapons. On the other hand, I mean, we're going to get into it, so, but I think that I think that the way the films were executed is completely different, and that says something about the way that films are made. Now.

directors don't tend to. He has the same sort of template, but he reinvents his movies as they go on, and I think that Blade Runner twenty forty nine really was like a launch pad for the rest of these movies, because before that his I mean, when you go back to his early films like Insnd's if you've seen that one,

he was kind of an art house director. A lot of great filmmakers start off as art house directors, and then they go into his movies go into a real twenty first into the twenty first century, and into a kind of post apocalyptic or dystopian setting where we look at things with a brand new machine to them. I did not think that Arrival was Arrival was not in my top fifty. I thought Charlie Sheen's The Arrival was

better than a Rival. I thought that it was like again, like you said, it was a total propaganda piece, and you know, it had Jiji and Pang, you know, saving the world at the end of the Gnostic Egg, and it was too I think the reason it was not good, though, aside from all that, was that it was too sentimental. There was too much sentimentality, and the film was like sacarine and saturated, and that plays to a section of the audience. I think that sort of relies on that

sort of thing. But but the rest of the movies are hard. I mean, Sacario is like a sick movie. That movie is awesome.

There was a black lady in the front with a sleeping bag in the in the movie theater, and I was like, what is this? Is she living here or something? And then she like rolled up into the sleeping bag and she was all about she was like, was the Dune Worm.

and it was. So it's so much darker than you could have imagined walking into it for the first time. I mean, it really is pretty incredible. It's a pretty it plumbs the deaths.

It does end up being way darker. I think you could argue is it is a kind of a cult film, although the occult or the Satanic is not explicit in the film, because we end up thinking maybe they're just angry boomer atheists now who are going to teach everyone a lesson due to you know, the death of their of their their child. But then we have all these other elements that seem to come in, like mind control, a trauma based mind control, ritual abuse, the programming through mazes,

and the use of mazes. So it definitely goes, as you said, in a very dark direction. I think a few people noticed, and I'm not sure what to make of this, but Jillenhall does wear a prominent free Masonic ring in the movie as a detective, So so yeah, going into it, you think that it's one thing, and I think everybody was kind of surprised.

we go. We're going to have you know, everybody who's a Christian is some sort of evil idiot, you know, fundamentalist into the world prepper. It didn't exactly go in that direction. There's a little bit of it though, because of course, when the daughter is shown gone and she's disappeared, this sort of sends Hugh Jackman into a rage and he becomes a kind of vigilante where he wants to exact his own justice, his own venge. He's going to you know, waterboard and torture Paul Dano until Alex Jones

until he gets the information out that he wants. But the thing that I think rescued it from that anti sort of Christian perspective or anti fundamentals perspective was that, well, Huge Agmen is actually kind of right, right. It's almost like everybody who's kind of on the trail just kind of has a piece of the puzzle, and we as the audience are kind of on the journey of a maze, and so the movie is a kind of amaze and we're trying to figure it out, and we all kind

of have these pieces of the puzzle. But as we notice with Jillen Hall, which we'll mention in a moment, sometimes the things that are sort of the the key elements of the puzzle or the things that put the puzzle.

way out. So then we realize that there is one character who's made his way out of the maze, but it seems to be by design. Then we find ourselves in along the journey, like you were saying, with different pieces of it. We find that at one point Jillen Hall has nothing to do, so he, you know, he starts knocking on doors of all the offenders in the region and then he in the in the zone, and

then he finds this Catholic priest. Catholic priest is seemingly in his own maze of guilt and alcoholism and creeperdom, and he's face lying, face down in his own house. And then we go behind the fridge into an abyss. We find this this other section of the house that's in a basement, which is mirroring the later outside prison

under the car at the Demon Woman's house. But when we go down there, we see this guy tied up in a chair and we're wondering, who, wonder who is this and that so we learned that that guy is the guy in the picture who is the Boomerstock guy who has the medallion on with the Winnebago who went to the priest to offer his confession and says that he has on alived sixteen human people. We'll say, and so apparently there's there's even layers of creeps in the movie.

There's the creep and then there's the creep who is even worse that he left tied up down in the biss and he tries to tell the cops this is what happened, but he's also lost it. He's also kind of catatonic, like Paul Danna's character is. We see we see characters who return to the crime scene. We have the character who returns to the vigil. We have characters who return to the house. We have red herrings. But all of what's interesting about this movie is that it's

not like the normal. It's not like Sherlock Holmes the End detective story or a murder mystery where there are red herrings and we're supposed to think it's one person, and we we know the whole time it's not Hugh Jackman. But Jillenhall also seems to know that it's not him, but he still has to follow him, and by following him, he ends up learning the truth of who the character is.

He's like you said, he's also Hugh Jackman's character is also right, because this sort of is where I think the movie represents different layers of how complex humanity is. Because the main the reaction I think that most people would have right away when their kid goes missing is exactly what Hugh Jackman does. He goes insane. And that's one thing I think that show. It's sort of lacking that we don't see that in news stories. A lot of times. We don't see people a lot of times.

You know, you get the you get the dad of the person, and they come up and they're all calm, and they give a speech and it's been a day. In this one, Hugh Jackman is insane. He waits for Paul Dano to get released, and he attacks him physically in the parking lot. Then he goes and takes the law into his own hands because he thinks that nobody else is doing it. But then what what happens with that is that he ends up in his own prison

and he realizes. I think that throughout the thing that that there's a scene where he gets on his knees and he prays, and he's saying the Lord's prayer, but he can't say forgive us those who trespass against us because he's he's locked up, because he's got this guy who's locked up in a waterboard closet. And the again, the irony is that he himself is going to end up in almost the same exact pay.

between two worlds. And I think that's the deal with the occult symbolism and the you know, he's got a his neck tattoo, it's like it's not a black sun, it's not a sun wheel, but it's like a sun with a cross in it. And then he's got the Masonic ring. He's got runes tattooed on his Speaking of runes, he's got runes tattooed on his on his knuckles. And I think this shows that he's kind of a liminal character. He's like a psychopomp. He's he's marked, and he's coded

with occult symbolism. So he's navigating between the Christian world of Hugh Jackman's family life and the satanic world of the bad people. But he's our guide through the through the dark spaces of the film.

children to politicians and elites. Although this film doesn't directly implicate political figures, again, it just sort of bear bears similarities in parallels to some of these real cases. And I even mentioned the McMartin preschool case, which also I think could be perhaps an influence on the story, all of which is real, all which is very sused, especially when the FBI declassified the Martin case stuff, and a lot of what Ted Gunnerson had said was actually vindicated.

That there were tunnels, which the media and everybody made fun of, so that was all crazy, satanic panic stuff.

UH and astrological symbols. But the one that really sticks out is he has an Odell run, which kind of looks like a like a like a ribbon, you know, that you would tie on your on your lapel. It's

called the Odell run and it signifies heritage. And I think that this is also in political circles, can't I mean careful, but but his uh the rune signifies heritage, and that that that comes back into play when he's talking to the priest and he says that he grew you know, he spent three years in uh can Core a boy's home or something like that, so he knows what the priest is up to. He knows how to

navigate the world. He knows he also it's it's funny because we see him in this dark place, but we also see that he has something to unlock the way that these people are. In other words, he when he's talking to the wife, when he when he first I think one of the key scenes is that when he goes into the house to first talk to the wife, and the wife asked him if he has children. He doesn't answer the question, but he stands up and he says, I'm gonna find your daughter, and that makes him some

sort of charged character. He's a he's a marked care he's almost like a psychopomp because he knows how to navigate the world, but he also knows how to bring her out of it somehow, and we believe, we don't realize. I think till the end of the film that we believe that he's going to catch her. And this is

so unlike reality. It seems to be truthful but not factual because the the you know, when when someone goes missing for twenty four hours, it's like the twenty four hours is up, then the seven days is up, and we're almost never gonna find him, but we believe that he's going to find him, and then he does.

I would have stayed up all night. At the end of the film, he's still the case is closed and he's still up in the freezing in the cold. Afterwards, he's in the car. He's got blood on his face, covering one eye. He's you feel like he's blind. But he's still going to get the girl to the hospital. And he seems to be the only character which is different from Hugh Jackman, because Hugh Jackman's character becomes reckless

and starts to break his own code. You can feel with Hugh Jackman that he knows that what he's doing is wrong, and that he ends up in an unchristian place and that he's forgotten that the Lord says vengeance's mine because he he wants to do anything to save his daughter, but he crosses the line at some point. And the weird thing about that is that he's actually right in a way, because the Alice Jones character, it is funny every time his name comes up in the thing.

And I don't know if they knew. I don't know if they knew that because this is like twenty thirteen, so I don't know, but it seems like they would. It would be obvious that they would know what they were doing. But when he attacks Paul Dana's character in the parking lot, he's he tells him, you know, he was there with the girls. Later on he's singing the

Batman song. He finally ends up telling him secrets from his waterboarding closet, and he knows where they are, but it took him that far to get to to get something out of him, And then you're like, well, this guy's also locked in some sort of person if he's a Johnny Gosh character, which we find out he was taken from his home when he was little. He gets reunited with his mother at the end, but he's also

completely fractured in dissociated. He doesn't even seem to know where he is, but he also holds He also holds he's not just a victim in the movie Great. He is a grown man and he does make decisions in the film, even though it seems like he's completely out of his mind. So he may not face some sort of criminal justice, but he seems to face a divine justice in the film, which seems to work through Hugh Jackman.

labyrinth scenario. This triggers him to kind of eventually maybe come back to his actual core personality where he remembers the whole thing, and at one point he actually gives the information to Hugh Jackman about you know what's actually going on. I'm not saying it was good or right.

I'm just saying that this seems to be what's going on is that he kind of returns to that place of the cave or the labyrinth or the abyss or what the underworld, which is where we find out ultimately the kids end up being put in this underground place to especially my control them or trauma based my control them, to make them into these sort of controlled operatives of these two evil hippies exippies.

people like Hugh Jackman, and and she actually succeeds. For most of the film, she doesn't fully succeed, but in fact she succeeds to the point where she seems to break him, but he's but in the midst of prayer, and then later on he subverts his faith to return to her house as a carpenter by the way to say, oh, I'm here to do an act penance and charity, but it's simply to find his daughter. So there's a there's like a real there are layers of nuance and ambiguity

with with what's happening. I think one of the other key scenes is when Terrence Howard's wife they bring her to see what's happened. She sees this man they've made into a hell bound mutant. I mean, he's just totally broken, and her response is like keep going. Yeah, she she's horrified at first, but she says basically keep going. She she kind of I mean Terrence Howard has been helping Hugh Jackman with the thing, but she provides an impetus to keep going and keep doing what they're doing, which

is which is another layer. I think in the movie that is unforeseen and totally crazy. We never see that in movies. In fact, it goes so far that that Hugh Jackman ends up leaving the hospital running away. There's all sorts of things. There's the alcoholism right that that. There's the house. There's this father had committed suicide. There's there's the the relationship with his son. He ends up turning on his son in a way. He tells his son, you're gonna be the man of the house, but then

he turns on him. And you notice that when that happens, when he turns out of the house, he knocks over the girl's dollhouse as if their whole house has been UH toppled toppled over. There's the violation of the house where the guy sneaks into the houses UH. In this act of UH, he's trying to recreate the events that have happened to him. There are the snakes and the serpents,

that crawl over everybody. There's the relationship with Jake Jalen Hall between his boss where you know, this is a unique movie again because we always have the boss who's like, you know, you're you're five days from retirement, or who's like, uh, you know, you can't keep doing this, you're breaking theles, and this one he tells his boss, fuck you, I'm gonna you know, you should have done this, and I'm gonna keep doing what I'm doing. In the boss was like, okay,

I trust you, keep going with it. So, uh yeah, it's really fantastic. I mean, it's so long. It doesn't seem like it would be so long like that. How how are they going to catch these these kids and they the fact that one of them runs away and get saved by the way at the end of the movie, which mirrors the which mirrors the Desmalcian character who had run away and who is now recreating his life in this in this cult is another thing that we just don't see in films.

the center of the labyrinth. Greek mythology, you know, the subconscious, the unconscious, the.

said already, to various characters being imprisoned. They themselves are prisoners within this maze, and we are also on the journey, as you said with Jillen Hall, just to solve it, and the overall goal that this is, I think the big twist that nobody expected was these elderly hippies who had undergone I think they lost their son or something, but at one point they seem to have been sort of Jesus freak people, almost like maybe they were Jesus.

You know, the Jesus Revolution in the nineteen sixties, the Jesus People of California, who many of these hippies had converted through evangelical movements, is actually the origin of the

Calvary Chapel denomination, the vineyard movements. They all come out of the nineteen sixties and seventies Jesus People's stuff, and so we get the impression that maybe even these people were of that ilk and then they decided they turned a vendetta against God after that they had had something bad happened to their child and set them on this course to wake up everyone else that there's no God, which again really kind of only suggests Satanism to me,

because if you're an atheist and you've come to the conclusion there's no God and nothing matters, who cares about a quest? Why do you care about a quest? You know, to convince everyone else. You're not going to convince everyone else, right, So, a very serious, committed atheist would just assume that everybody's everybody's everyone's dumb, and they're going to believe their delusions.

There's no point or purpose really in exercising this vendetta unless there's something that you think you're getting out of it. But here they're not getting famous. They're not doing anything other than causing very heinous traumatic actions to happen, as quote, a war against God, which again suggests more of a satanic approach.

Getting through it, it becomes ugly, whereas going down the Nine Circles, crossing the Abyss into the Ninth Circle in Dante is beauty. It's it's hellish, but there's a kind of a terrible beauty to it. And two of the characters that he comes across in the Inferno are Minos and the Minotaur. And it's worth mentioning that the minotaur is at the center of the maze and his fed children,

so he doesn't kill Minos. And this this bring this brings to mind the Shining for me, because Jack is lost in the maze at the end of the Shining and he is trying to you know, DNA. He's trying to trap Danny in the maze. He becomes a beast character.

And the interesting thing about this movie is that the beasts are all hidden, and it has all the hallmarks of Book one of Paradise Lost, because Satan says at the beginning of the book that you know, the reason the serpent makes its way into Creation is because Satan hears about this thing called creation above them after the war and heaven, and so he makes his way up as the serpent to try and invert, subvert and pervert God's creation any way they can. They're gonna heap sin

upon them forever by doing this. And the person who is his confidant is beels Above. And in the scene where he goes into Bob's house and it's covered in mazes everywhere, he uncovers these snakes, black snakes all over the house, and he finds a beels Above pigs head in the sink. So there are flies, the Lord of

the flies. There are flies everywhere. And like you said, you know, it's sort of a red herring in the sense that we think that he has the children's clothes and accoutrama, and instead it ends up that that's what he was doing breaking into the house so he can recreate this. Also, they dig up the yard and they find mannequins with their faces caved in real satanic shit, which is obviously supposed to mimic what he saw in real life when they were in this basement of this house.

The other thing is that, unlike a lot of other movies where we have this sort of satanic ambiance atmosphere, like eyes Wide shut or something, where there's like a sheen to it, and we have these elites and they're all rich, this is full of working class people in rural Pennsylvania. It's all rainy, it's dark, it's gritty the whole time. And these are like normal, normal, steaming people.

So the war, the the satanic war that they're waging on these normal people, seems to be magnified in that sense. I think they don't they're not even around to see what the harm that they've caused with these people.

in Middle America in Weapons. And like you said, in both films, we don't have you know, high power billionaires that Tom Coomb is encountering in states with the Mask. We have working class people, grandmas. And so that's another element which I think makes it maybe even creepier in both films is because we have the presence and power of a kind of witchcraft you could say, at the local, Midwest, small town level, not at you know, Bill Harford's upstate New York invitation only elite party.

or make for a more truthful movie experience. But I think the there is something about the logistics of human life. And one thing I like about Prisoners is that it happens on Thanksgiving Day, we see Christmas lights come out. It all is linear. It takes place in a we have day to day suffering. When we see the woman in bed, you know, all knocked out on xanax or whatever, we know that she's been in bed the whole time, like she hasn't gotten up, which she finally gets up

it's been three days or whatever. In Weapons, I think what's weird is that when the children disappear and we start to see again, we see another carpenter sort of figure. We see Josh Brolin as this as a contractor. We see him go to this broken house again. The house. The house in films, in literature always serves as an exterior model of the character's inner psyche and how together they are. But it's like there's a scene where he's

sitting there and his wife comes in. He know's asleep in his kids bed, the kid's gone, he's pining for kid. His wife comes in and goes, I'm going to I'm going to work, and he's like okay, and he gets up and he goes to work. And it makes you wonder. It's like, well, you still have to live your normal life. You still have to keep living. You probably, you know, you can only be away from work for so long. You you gotta still pay the bills. But what does

it look like when you do that? And it seems that Josh Brolin does start playing detective like the other characters do, but there seems to be something lost, almost as if the characters are cold. They don't have the kind of burning fire to find the truth that they do in Prisoners. But maybe that speaks to the war that the witch is making on people, and and you know, or the way modern life, for contemporary life is cold. I'm not sure, but that one bothered me. That bothered

me in the movie. It bothered me that the you know, of course, the teacher lady goes straight to the liquor store and she's buying liquor and then she goes in the house. And but it bothered me, like, like how there's a knock on her door and she's like, who's knocking at the door. She walks outside, and she walks through the door and walks all the way to the street without looking to the left and right, like somebody could come into the house. Those sorts of logistical things

in movies really bother me. We don't have that in Prisoners, but we do have it in Weapons. But I thought Weapons, you know, I thought Weapons was a much darker and away movie because both movies involve children. It always bothers me in movies when you have characters who are playing children, and they are children, so you have to cast children

to play the children. But the only thing that the children go through the actors and Prisoners is like the little girl comes in on the wheelchair at the end, and she kind of says by and leaves, and that's we don't really see them much. The rest is about how people deal with the fact they're gone. But in Weapons,

we continuously see the children. I mean, you have children locked in this basement, You have children chasing the witch at the end, and then they use the children to tear the witch apart at the end of the film. I found that incredibly disconcerted.

do another film on that stream? I can't remember, impile, that's right. I didn't care for the second one. I did like Mission Impossible part of one of two. But I did like the the movie Long Legs. I thought Long Legs was really good horror movie. I thought Heretic with Hugh Jackman was good. I don't know if you saw that.

I covered the Rosemary's Baby book by Ira Leven along with Rosemary's Baby the film and then the sequel to sort of contrast them, and I think that I thought Long Legs was I thought Long Legs Was was crazy because it has the whole doll doll baby aspect and and the one thing that bothers me about that about that movie is they always shortcut movies where they have the half psychic FBI agent and it's her first day on the job and you give her the most difficult

It's like in Silence of the Lambs, Silence of the.

So It's crazy how that sort of predictive and you know, ends up the most freakish thing ends up being reality. I think that the two, you know, I thought Midsommar was was gross, but I thought that the two the two best horror. You know, I didn't like horror movies when I was growing up, and now I think we've found ourselves in a place where horror movies continuously end up being the most revelatory films, that they're the best done.

They're incredibly dark. But the difference with The Witch and a lot of these other films is that in The Witch, when you end up with the literal Witch's Sabbath at the Black Sabbath at the end of the film, there's this exultation that occurs from the Witch, like she's finally found the place, and she literally hovers into the air like a Goya painting, But we sort of know that she's gonna come to that place and we're horrified by it, versus other movies where they do sort of the same thing,

but we're supposed to have some sort of joy or exultation with the character instead of feeling horrified by it. I thought those were too really well done movies. Also, the thing about those movies is that they both end up with a climax where you don't imagine that they're actually going to go to the place where they go, and they do so. At the end of Hereditary when they they conjure pam on this prince of Hell and he is, you know, he's he's taken over this kid's

body and they're doing this magic ritual. You don't when you're watching the movie the first time. I don't think you imagine that they're actually going to succeed and go into this place that they do. So I think that it's a particularly I don't know, it's it's I think that that's a strange place to be in movies, and it's it's it's dark, but it's there's some sort of revelatory I think data that we get from from that kind of film. And Weapons also did that. I mean

it really, it really did go to that place. I wasn't sure how they were going to get to the way because when I went into the I didn't know anything about it, and I watched. We watched the first three minutes of the film, and I went, this is a witch.

I thought, Okay, this is gonna have something. The body language is gonna have something to do with m k Ultra or Phoenix a modern Phoenix program or something, or it's gonna be a witch and this looks like a witch, and it was.

I mean she's in other like student films and whatnot, but it follows which I thought was a really good horror film, and then she's kind of followed up with a consistent, like consistent horror movies, right, I mean the Guest horror movie, Watcher horror movie, Long Legs horror movie, significant other horror movie. And I don't know if you've ever ever saw God as a Bullet, but once again, this one is explicitly satanic cults and human trafficking.

there's a lot to be said. It's kind of getting into the minutia about actors in films, but there's a lot to be said about the the palette of a person's face, and she sort of has a blank canvas of a face that you sort of paint horror onto, you know, the reactions are slightly reserved. Julia Garner is a much more sort of wholesome looking person, so it seems to be that her thing is it's much more horrifying when she is subjected to what the thing that

she's subjected to. But they also are representative of most of America.

a lot of the films at least blonde. I think there is that, like harkening back to the archetype of like you said, in Hitchcock, you have usually the blonde subject of old horror going down, and there also might be interesting you know, who knows, there might be esoteric or occult stuff going on. I mean, if you go back to one of the earliest films that Julie Garners is in, she's in that class. That's also a pretty good cult movie. Do you remember, Martha Marcy May Marlene.

it's non it's not human. And so watching these two characters go through. What they go through I think is supposed to be anathema to a normal person's sort of you know, your year.

Flight of the Concords. In my view, these are, you know, great sketch shows and comedies, but I think for most people, probably Whitest Kuld you know, it's probably up there in like the top, you know, best sketch shows of all time. And he did I didn't even realize this until looking up for this film, but he had done Barbarians, which excuse me, Barbarian of twenty twenty two, which was a fun kind of ghetto horror based around an airbnb. That

was a fun one that Jamie and I enjoyed. But you can see, of course, in parallels between Barbarian and Weapons. And the reason I'm pointing out why he matters is because I mean, he wrote it, and I think he tends to kind of bring horror or his comedy into the horror. So I think that what we're looking at is a kind of a Grim's fairy tale again, because we have the witch and you know, the children being taken by the witch, et cetera.

every other possible thing. People were saying, oh, it's it's like it's likening everything to the school shooting phenomena of Columbine and this and that. I don't think I had anything to do with that, I think, and I don't know Krieger's own personal spiritual approaches or anything like that. I do know that before Trevor Moore died, why just kid, you know, was getting very conspiratorial in a lot of

their sketches. You know, they were referencing pretty much all the crazy conspiracy stuff that you could think of, and a lot of people noticed that one of their conspiracy sketches had gone megaviral before Trevor Moore died.

are the weapons that were actually concerned with. At one point, Josh Brolin has a dream where he sees an AK forty seven or whatever floating above a house, and a dream that's directing him to where the weapons are. And you know, in light of the things that have happened in the last week or two weeks, the wild events, Charlie Kirk and other things, this kind of a movie like Weapons is very.

you didn't. EXPECT i, MEAN i did Expect, witchcraft BUT i didn't expect the film to go in that. Direction Where as you, said it's a very dark. Ending but you fight weapons with, weapons AND i don't mean that you fight witchcraft with, witchcraft but you fight witchcraft with other spiritual, weapons namely with real.

from the memory of a of a more normal. Time, right they paint the person's car with which it's not really spoken of in any other, places and everyone seems to kind of be dead in a. Way everyone certainly controlled by the one thing that the nonlinear.

above the. House it was like a coin like he was on some sort of you, know, uh first person shooter game to find, perfect perfect point and and and one THING i, noticed and this was the REASON i thought it was incredibly dark and they they couldn't have known, this or it was predictive or whatever was That when we finally see the, witch she reminded me a lot of the video of the shooter of the school that happened two weeks, ago of The catholic. School remember they

made the. Video the guy made the video that was released at the same time as the shoot.

Phone it was it was purposefully. Satanic you, Know i'm not gonna say what he's doing in, it but you, know weapons that are marked with sigils and marked with marking weapons with AND ammo with memes seems to be the the contemporary equivalent of marking sigils on a. Weapon it seems to be the exact same, thing sort of magically and meme.

HUMAN i, mean he's, funny he's kind of a kind of a full character in the. Thing but even he gets controlled by The. Witch and it seems that by the end of the. Film the, problem one of the PROBLEMS i had was that there aren't any characters who are likable enough for me to see the vision of the film In AND i think that's that's probably, intentional that we don't like any of the. Characters it's it's a if The Whites, kids you, know is a has that famous sketch about The Big, nine then that is

a satirical statement on the darkness of the modern. World and and that is completely different in a way than this is because they are unwitting characters playing roles in the. Game AND i thought of the Black eyed, children like the kids IN. U. C a. G. E s in the basement of the, film the whole the sort Of vietnam aspect of, it the methed out people running around the city causing, havoc the, principle and The skittles. Relationship

the it sort of has. Everything AND i think that the the ultra violence in the film also was gruesome and. BOTHERSOME i think that if there's a symbolic purpose of, THAT i suppose would be to say that this is the kind of, stylized stylized ultra violence that really impacts the audience in the sense that this is the result of what these things. Are it's not just that people are.

Disappearing it's not just that people are running, wild but that it results in maximum, violence maximum corruption of the, body maximum, destruction and it's repugnant to look. At, so you, know there also doesn't seem to be much redemption in the. CHARACTER i wanted the drug addic character to have some sort of redemption even when he's breaking into the house and stealing the. SILVERWARE i was, like this character is still lower down on the totem pole than the other characters.

Are the schlub, COP i thought was a perfect counterpoint To Jake dillenhall's character And. Prisoners you, know one is like almost pure. Cop one is. Purposeful it seems like we're with him on the. Journey he's going to get the, people and the other one is cheating on his wife. Waking it's also funny in movies like the guy went out drinking one, night he stayed with this girl and now he's too hungover to even get the car and go do. ANYTHING i, MEAN i thought that WAS i

thought that was a little. Much, YEAH i mean, NO i JUST i think that the characters were and AGAIN i think that that's probably. Purposeful that the characters are completely. Controlled and if the movie says anything it's. That if it says one thing to, me it's that in a world Without, christianity the. Characters, Ultimately witchcraft is ultimately about characters finding a. Thing it's a sort of a lens through which we see that people worship. Themselves they want

to be, empowered so they find. Power they find power over other, people and they find power over the most helpless, people which is sort of what happens in the film UNTIL i guess it turns on.

secret and they know what they. Did but When Josh brolin when the guy's running towards the lady and then he crawls under the. CAR i was glad that he finally not like kicked the guy in the head or, whatever you, know and and saved her and then she ran into the BECAUSE i kept, thinking this guy is gonna end up being another soy who does nothing in a, film which is such a contrast for A Josh brolin.

Character norm McDonald pointed out That Josh brolin when you see the Movie Hail, caesar That Josh brolin was the archetype for the. News you, know he had a chisel. Jaw you, know he seems to be the strong, characters like knocking people, around And George clooney was the soy character of the. Movie he gets like thrown into a. Corner SO i was glad that he didn't end up being. That but you're, right they do work together in the.

FILM i JUST i WAS i was really disturbed by the way that that That alex the kid was treated in the. Movie that he's forced to sit there and watches the forks in the face and all that, stuff and he's got to go to school and you, know he's he has to live his normal. Life, well he's got this witch at. Him that's probably entirely truthful.

begin to speak. Again so they were healing after this traumatic. Event and the film might not have been intinduing to talk about, this but it did make me think about how the younger you go with kids the internet and living on the, internet being raised on the internet is really and not reading is impairing people's communicative and thinking

and critical thinking. Abilities and so if we think about this as a story about how we're actually in a spiritual warfare against evil, entities then you, know to young children like The alex, characters who are essentially innocent that are exposed to and see all this, trauma it's kind of the way in the world that young kids are seeing right, now, right so they're seeing an insane of traumatic.

World H and AS i think the film is trying to, say even if it doesn't explicit in A christian, way is that you're really only going to be able to be evil or spiritual evil with a spiritual.

younger people who were forced to cover their. Face and you, know and anyone knows that teenagers who have something terrible like this happening at home often do not. Speak they they're just completely silent and blanket. Expressionist and one of the most alarming things that CAN i think happened to, children and that it seems to be that kind Of both things happened in the, movie which was which was interesting because The witch character is so dynamic and, loud,

like she looks. Loud she looks is a loud looking. Person AND i think it like most most horror, movies.

Street women are told that all the, time and we see that's increasingly gone away because we're supposed to trust people no matter, what because if we see that they don't look a certain, way then then we don't trust. Ourselves and SO i, mean look at the bus incident that just, happen you, know that's that's exactly what this

ends up sort of. Being and so when The witch shows up at the school and she's got her nephew who is a grown man who's not saying, anything and the aunt is saying is saying, everything and she's this loud clown like. Character all of the characters in the movie kind of they just go with. It they don't they they have no recourse in terms of their, being in terms of their, politeness to cross any sort of social boundary or social. Line but we could we continuously see.

That now those sorts of. Things you have to trust your. Gut you have to you, know if the person looks like long, legs you, know you should just what's the morment just assuming they probably.

yeah it recalls. THAT i think that's what's going. On but also in reality, AGAIN i, mean there are, people whether we're talking about actual satanic, witches cults and, networks or the overall vampiric nature of our, society feeding on, uh the the, youth feeding.

i was. IT i was. IT i met a ninety one year old lady at church the other day with the same birthday as me and asked, her you, know we were just talking and she she's ninety one year. Old lady said to, me, well they keep talking about life extension drugs and HOW i can live. Forever BUT i Think i'm just going to count my blessings to the end of my. Days AND i was, like, yeah you don't. Try you don't strike me as the Transhumanist Peter teeal type. LADY i think IT'S i think you're.

THAT i was reading A Tacitus Suetonius RICHARD. J, evans and one of the things that struck me is, that for, instance we all know that when reading history it's almost impossible to get a pure account of events in history a truthful account, now and that's because there's almost always a, disclaimer there's almost almost always a pseudo moralistic disclaimer about the thing that you're, reading and look at it in the light of this instead of what they used to,

have which were first person. Accounts so this is a kind of pseudo first person account of. Events and each of the poems is many of them are in a person's, name so they are. PERSONA a lot of them are in the first, person and they go into all sorts OF i think situations of especially with megalabani as sort of the guiding. Word BUT i JUST i see that you, know the book was number. ONE i was the number

one living poet On Amazon poetry for about two. Days everybody else ahead of me had been dead for four, hundred five hundred, years and SO i think that ironically says something about the state of. Literature you talk about literature a lot on your share and especially in your essays on your, website AND i think that it's important that we look through the lens of sometimes of a kind of fictional historical fiction or or parables for the

thing in. Parallel so sometimes it's difficult to look at specific events from what we, read because we can't get anything truthful, anymore so we look at them in. Parallel SO i WOULD i hope people will buy. It it's Called, runs and you, know runs came up. Today they've been these sorts of things come. Up but they Are runs are sign posts Of nordic vocabulary where letters are imbued with the kind of spiritual potency and in a pagan.

Sense and so because the book partly takes place In germany in the mid twentieth, century those things are kind of sign POSTS i think for the human spirit and where we are.

it's this, one it's a full on. Cult so there were and runs and these sorts of things also coming to, play including, witchcraft WHICH i didn't expect Because Boba yaga Who's John, wick but also a manifestation of this sort of feminine divine assassination justice Through Anna. Dharmas so it goes in some odd, Directions that's What i'm trying to.

Say But runes and witchcraft popped up there THAT i didn't, expect AND i also wanted to, mention as the super chat here says From jeff Ten, dollars the point made about the substitution of memes fort runs is an excellent.

Observation thank, you. Gentlemen, yeah there was some years ago right around, it even before you, know meme magic was a hot topic Through Jordan peterson talking about, it particularly in regard to the usage of the grouper frog meme to Promote Donald trump via Four chan as a sort

of joke candidate before the twenty sixteen. Election, again they were studying even AT, ghq which is The british version of THE, nsa the use of meme magic and how memes can function in that same kind of way like any icon or iconographic.

is for a shock troop or. Stormtroopers really sort of you, know conveys this sense mixed in With Wabelsburg castle and The Black sun and all of these things where you have a society of people that USES i, think what's what's you, know there's a there are a few poems

in the in the. BOOK i should, mention by the way that when People i'm not trying to change anybody's idea about, poetry but one thing THAT i think is important to note is that most people probably will never own a book of poetry in their, house and SO i try to you, KNOW i didn't try to make it this, way but you, know one of the things that's effective in language is the violence of. Language language is ultimately on a Monopoetic it has a kind of

the words mimic. Actions and we see that language is so, important you, know we think and dream in. Words but in terms of where society becomes In united often has to do with, language and so that becomes, potent especially in terms of a militant usage in, diction and that particular group of the twentieth century which mimics the very same thing In Imperial rome is again packed in and

loaded with symbolism which is ultimately. Militant and so that is a kind of proto version of meme magic, now WHICH i think is going to, be you, know unfortunately become more more prevalent in terms of what we're up AGAINST i think in the. World another thing is THAT i need to See ballerina because the stunts are done By jackson Spy. Del he did all the stunt designs for that and For John Wicki's John Wick's Stunt. Double that was my sister's prom date for high.

thin white. Duke SO i agree with. You it's a pretty it's pretty dark that he went back there on his final.

anti corunka guy into a crazy. Guy and it did do, that but it covered kind of a full gamut of the. Situation at the, time it seemed to be a kind of anti or meta or dark fairy tale for the. Time and one thing that it ended up doing Was They're the one key scene in the film was when we all of a sudden get a point of view of a private jet with a group OF Mk delta

operators or something that moves into the. Town AND i think my take is that the entire thing is about the people who are not in the, movie and that is the people that are running the data. Center so the data center is run by the tech overlords who push a kind of chaos through this town as a test, case and it brings out all the various elements of conspiracy, world including the kind of lost single boomer wine mom with the daughter who gets lost to A Charlie manson cult guy and who ends.

guy just taking over the. Town AND i think the events are so surreal towards the end of the movie when the bloodbath happens that it's supposed to indicate that you can't really trust what you're, seeing even in real. Life so most of the movie is lived through. Phones but then the phones. Start it's kind of like that the thing about how you, know we live in a triple post modern world where we've gone through The war on the, self but no matter, what you still don't

use phones in your. Dreams and this movie kind of crossed over that. Path it was, like not only are they in our, dreams there the phones have become real life and we could throw the phone away because now what we see in real life ends up like we're looking through a. Phone SO i thought it was a kind of surreal anti fairy tale for a technocratic world as seen in this like dusty this dusty.

describes it in the. Book probably gonna Do Paul Thomas anderson's new movie coming out This, friday the one With Leo, oh, yes a revolutionary type. Movie there's also A daniel Day lewis. Movie he went to my drama, school So i'll be seeing his, movie which is a movie about the troubles In Northern ireland and getting married soon and Then i'll be back In october To.