The Years Of Shaitan Iblis

Cageism

All You Fizzle Bombers

Transsexual gender surgery occurs because an individual perceives they`d feel more comfortable after intervention. However, with some notable exceptions, for example,  Olympic gold winning decathlete at the Montreal 1976 championships in Canada, Bruce Jenner, who without gender surgery enhanced his female nature with hormone treatment, to become Caitlyn Jenner officially on September 25, 2015,1 gender rejection is the prime reason for surgical intervention because the perception of what constituted human nature has been illegally determined. When Pioneer spacecraft 10 and 11, that is, March 1972 and April `73 were launched with a view to transmitting pictures back to Earth of Jupiter, and Jupiter and Saturn respectively,2 before leaving the solar system for possible extraterrestrial contact with other intelligent life forms, a plaque was placed within the unmanned apparatus showing pictures of a naked man and woman so that their genitalia were distinct. However, according to Judaic texts, the original first man, the anthropos, who is Adam in the Old Testament of the Bible, that is, the history and law of the Jews, which is the Torah and Talmud, was hermaphroditic, and that helps to explain how the first woman, Eve, is depicted as emerging from the rib or side of Adam in the paradise of heaven on Earth that was Eden, because human futanarian women with their own penis` `seed` can sexually fertilize themselves as well as any other women of their species of `woman`s seed`.

 Although God is described as creating the first woman, Eve, from the rib of Adam, which suggests that Eve corresponded to what the Jews called the `Shekinah`, that is, `the spirit of God`, who dwelt in the temple, Jesus` teaching in the New Testament that Christians believe supersedes the Old Testament of the Jews, that a Holy Spirit would teach after him, suggests that the realm of `woman`s seed` is both physical, that is, the material world, and spiritual, that is, the heavenly sphere: `Love your neighbor as you love yourself.` (Mk: 12. 31) Jesus` birth from his mother, the Virgin Mary, uncontaminated by male semen is depicted in Christian iconography as Mary`s crushing of the head of the serpent, Satan, with her foot, because Satan, the angel, had been transformed by God into a serpent for rejecting God`s plan that the human host should be greater than the angelic, and had given Eve and Adam, `the fruit of the knowledge of good and evil`, which it was death to taste, saying: `You shall be as gods.` (Gen: 3. 5) God told Eve her `seed` would have `enmity` with the `serpent`s seed` for enslaving her species in ephemeral memorylessness for instruction in obedience to its slaving of it: `You shall crush the head of the serpent with your foot, but he will bruise your heel.` (Gen: 3. 15) Because `woman`s seed` is futanarian, Jesus was Redemption for Eve`s `seed` because he was the `Second Adam` with his mother`s `seed`. Consequently, when he was betrayed by his disciple who saw a woman anointing him with perfume, Jesus was taken out of the city of Jerusalem and nailed to a cross of wood by the soldiers of the Roman Empire then occupying Jewish Palestine where he died, but had Resurrection and Ascension to heaven in prefiguration of that of `woman`s seed` raising herself to colonize the planets amongst the stars of heaven above the Earth through the brainpower her species of women sexually reproduced together without contamination by the host womb slavers in parasitism, that is, the `serpent`s seed`.

 In parasitology, the parasite that emerges from the host womb to kill it is termed `parasitoid`: `The dragon was wroth with the woman and went to make war on the `remnant` of her seed.` (Rev: 12. 17) In Jesus` disciple John`s Revelation the Satan has grown since his days as the serpent in Eden to become the dragon of war. Because saurain evolution 248 m.a in the Mesozoic period of prehistory preceded the beginnings of human evolution 220 m.a. in the Jurassic period of the Earth`s past, the serpent in Eden represents the fallen intelligence of the winged saurians who were the former intelligent species of God, that is, the angels, before humanity. Consequently, the encounter between the human futanarian pair of Eve and Adam in Eden and the serpent, Satan, grown to a dragon in Revelation, represent the human species` enslaving by what humans have been taught is a man, because the saurian became humanity`s host womb parasite, which emerges periodically to wage war on `woman`s seed` as her parasitoid enslaving devourer, so maintaining ephemeral brainlessness for its slave host bred for war against her race to entertain itself.

 In Revelation war is depicted as taking place in heaven between Satan and his rebel angels and God and his angels, that is, between the Earth and `woman`s seed` living peacefully amongst the angels of God`s heaven above the Earth on the colonized planets amidst the stars: `And when the dragon saw that he was cast unto the earth, he persecuted the woman which brought forth the man child.` (Rev: 12. 13) The child is Jesus, who is human futanarian `woman`s seed`. Consequently, because the Pioneer spacecraft had pictures of only a man and a woman with distinctly separate genitalia, that is, without human futanarian `woman`s seed` represented, it was a declaration of war against `woman`s seed` and the angels of God by the `serpent`s seed` of the devouring parasitoid of war against humanity: `Let he that has wisdom have understanding. The number of the beast is the number of a man and his number is six hundred three score and six.` (Rev: 13. 8) In ancient Greece, long held as the model for human democracy, the enslaving of women`s host wombs for the spread of homosexuality in pederasty for war was institutionalized, that is, without `woman`s seed`, men and women were the 66.6% undemocratically enfranchised majority waging war against her. Or, in simpler terms, men and women were manufacured as a single male brained creature wearing each others` clothes in `TV` transvestism for the parasitoid to watch killing itself. Consequently, the television machine invented by John Logie Baird in 1926 to receive broadcasting `TV` pictures in the home was men and women waging war as Satan`s `beasts`: `The second beast was given power to give breath to the image of the first beast, so that the image could speak and cause all who refused to worship the image to be killed.` (Rev: 13. 15) Because democracy isn`t, war isn`t an instrument of democracy, but rather an aspect of the hatred of the `serpent`s seed` for whatever is interfering with its host womb slave for the production of its parasitoid entertainment.

 Gender rejection is a symptom of the parasitoid`s hatred of `woman`s seed`, that is, women who want to be men, and men who want to be women are rejective of human futanarian `woman`s seed`, whereas Jesus` teaching is acceptance, and in Islam, which means `accept`, the four wives of the Moslem marriages permitted by the Koran (610-30 C.E.) afford the possibility of the reproduction of human brainpower between women through futanarian `woman`s seed` within the family. Moreover, in Judaism a Jew can only be born from a Jewess, that is, women are Jews, which is the reason Jesus` mother, the Virgin Mary, gave birth to Jesus uncontaminated by male semen, but with her `seed`, because Judeo-Islam is futanarian, and so is Christianity, although Jesus` teaching that a Holy Sprit would teach after him acknowledges the probability that the Roman church wouldn`t accept `woman`s seed`. Despite the Christian church`s transubstantiation ritual, whereby the parishioner is asked to accept a wafer of bread and a sip of wine from the officiate`s chalice in emulation of Jesus` disciples accepting `bread and wine` as symbols of his `body and blood` at what was known as the `Last Supper` before his crucifixion, men`s iredeemeable inability to stop themselves from waging war against the `remnant` of `woman`s seed` in male brained damning of her human race is indicative of gender rejection based on species `differences`. From a human perspective, gender and species are the same, that is, women are both a species and a gender. From an alien parasitoid devourer`s perspective, men are an aspect of a space borne virus that somehow, untold millennia ago, inveigled itself into the host womb of the hutanarian race of `woman`s seed` to steal her penis` semen and replicate itself as the killer of her species. Or, in other words, women`s gender is rejected by transsexuals who want to be either a man or a woman, because they`ve become parasitoid through the race`s acceptance of male brain damning of `woman`s seed`.

 In the United States of America `interventionist surgery`,3 to determine whether a futanarian human woman is altered to be either a man or a woman, is sanctioned by the states, and the medical establishment, because gender rejection is an aspect of possession by the alien parasitoid devourer of the human futanarian species of `woman`s seed` in damnation. Suggestions that humans are altered to sexually orient them towards the correct gender presupposes that the species is `gendered`, whereas anyone who wants to have sex with a woman, and she doesn`t want to, is `wrong` from her species point of view, which is inseperable from her gender. In short, men engender her race in order to persuade her to accept their `wrongness`, which is the reason `the father of modern psychoanalysis`, Sigmund Freud (1856-1939), discovered signs of `penis envy`4 in girl patients. It wasn`t that they were envious, it was that their species was subconsciously angered by being engendered by men, that is, they`d become an `engendered species` to further the enslaving of the human futanarian host womb of `woman`s seed` for war against her race to extinction for the entertainment of the alien parasitoid that had possessed it.

 Although Caitlyn Jenner appeared in the 1976 Montreal Olympics as an athlete, Bruce Jenner winning the decathlon gold medal, the Greco-Roman amphitheaters where `games` were staged had been notorious for the killing of people for the entertainment of the parasitoid alien manufacturer of men and women as a single creature wearing each others` clothes for `TV war` in transvestism, that is, the amphitheaters were a precursor of the Hollywood, Bablyon, movie theaters and home entertainment `TV` systems for watching people kill each other `live` or dramatized as `action` propaganda for the staging of new wars in the theaters of warfare which was the Earth. Consequently, Jenner`s decision to undergo hormone treatment to feminize his system, while keeping his penis, was a laudable move towards acceptance of Jesus` teaching of `woman`s seed`, that is, his attempt to accept woman`s gender, rather than reject his human penis, was a Christian`s rejection of the `games` Greco-Roman culture had been playing with humans` bodies and minds. Alexander III of Macedonia was the Greek who became Emperor of Persia (330 B.C.) with its capital city of Babylon (c. 4000 B.C.), `a woman` according to the Bible: `Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5) The gendering of women`s species had been going on for a long time before the ancient Greeks who were practitioners of parasitoid misgyny but not its initiators. According to historians, Eden and Babylon were both in Iraq, which was ancient Persia, that is, the history of humans as a species engendered by men is at least as ancient as Eden, and `Babylon` was the label given to the district of Hollywood in the city of Los Angeles on the west coast of the state of California in the U.S.A, because it espoused ubiquitous nudity featuring `babes` who couldn`t possibly have sex with their own species of `woman`s seed` through prohibitions against its being seen on movie screens after the fist film directed there, Old California (1910), by D. W. Griffith.

 Although an actual ban on human futanarian `woman`s seed` didn`t occur until the President of the Motion Picture Producers and Distributors of America (MPPDA) Will Hays establishing of the `Hays code` in 1930, its absence from the movie industry, and subsequent recorded history, suggests the human race has been killed by its pogromers, who were moving on to the `bigger feature`, which is the `remnant` of Jesus` heroism, that is, the supporters of `woman`s seed`: `... women, in love scenes, at all times have `at least one foot on the floor` (in other words, no love scenes in bed).`5 The seminal narrative of the engendered woman as an endangered species is science fiction author Robert A. Henlein`s `"- All You Zombies -"` (1959) in which a male protagonist, known to the barkeep as the `Unmarried Mother`, narrates at `Pop`s Place` his adventures as a time-travelled hermaphrodite: `When I was a little girl -` He relates how, as an orphan, he had to fight to keep his virginity at an orphanage, and `I was horse–faced and buck–toothed, flat–chested and straight-haired.`6 He couldn`t compete with `blue-eyed golden-haired` girls with `bulging breasts` and `a cute face`, saying, `Oh-you-wonderful-male.` So, the `Unmarried Mother` begins training for an elite military service corps, `Women’s Hospitality Order Refortifying & Encouraging Spacemen` (WHORES): `... if they accepted me, they would fix my buck teeth, put a wave in my hair, teach me to walk and dance and how to listen to a man pleasingly, and everything else - plus training for the prime duties. They would even use plastic surgery if it would help - nothing too good for our Boys.`

 Heinlein`s anti-misogynist narrative was made into an Australian movie, Predestination (2014), starring actress Sarah Snook, which describes the `predestination paradox` whereby the narrator discovers that the orphan girl was his own child as the time-travelling barman, who self-fertilized `the Unmarried Mother`, who was discovered to be an `intersex` hermaphrodite by a doctor performing a `caesarian` section during a difficult birth: `I sent for the Chief of Surgery while I got the baby out, then we held a consultation with you on the table - and worked for hours to salvage what we could. You had two full sets of organs, both immature, but with the female set well enough developed for you to have a baby. They could never be any use to you again, so we took them out and rearranged things so that you can develop properly as a man.’ In other words, barkeep, girl, and `Unmarried Mother` are the same person through the paradox of time-travel. His daughter is kidnapped from the hospital by his `lover`, and placed in the orphanage, while he`s rejected by the `Boys` of the `Space Corps`, so he can`t enjoy the WHORES his sex change operation has precluded him from joining as as its member.

 The bartender reveals he`s a recruiter for the Time Corps: `I opened a case, the only thing in the room; it was a U. S. F. F. Coordinates Transformer Field Kit, series 1992, Mod. II - a beauty, no moving parts, weight twenty–three kilos fully charged, and shaped to pass as a suitcase. I had adjusted it precisely earlier that day; all I had to do was to shake out the metal net which limits the transformation field.` The Time Corps recruiter narrates how he picked up the `Unmarried Mother` after he`s met the girl from the orphanage: `Presently I spotted them down the street, arms around each other. He took her up on the porch and made a long job of kissing her good-night - longer than I thought. Then she went in and he came down the walk, turned away. I slid into step and hooked an arm in his.` The `Unmarried Mother` is revealed to himself: ``You!` He gasped and caught his breath.` The narrative ends with the recruiter preparing for bed: `I know where I came from - but where did all you zombies come from? I felt a headache coming on, but a headache powder is one thing I do not take. I did once - and you all went away.` Falling asleep, he enters reverie: `You aren’t really there at all. There isn’t anybody but me - Jane - here alone in the dark. I miss you dreadfully!` What he mystically intuits is that there`s only `Jane`, because women are a single species, which is an `Unmarried Mother`, because her own penis` semen has been extinguished by the male brainer that`s turned everyone into `zombified` vicitms of a parasitoid alien nature.

 Heinlein`s narrative refers to the `Fizzle War`, which the Time Corps are presented as being actively engaged in having prevented: `Everybody knows now why the Fizzle War of 1963 fizzled. The bomb with New York`s number on it didn’t go off, a hundred other things didn’t go as planned - all arranged by the likes of me.` In the movie Predestination, written and directed by Peter and Michael Spierig, the `Fizzle War` is made more central to the plot. The `Fizzle Bomber` is the future self of the `Unmarried Mother`, actor Ethan Hawke, and his earlier self kills him. It isn`t only a twist on Heinlein`s narrative. It illustrates the psychological imbalance producing that psychopathic behavior which occurs as a consequence of the damning of `woman`s seed` in male braining, so strengthening what has become a parasitoid`s devouring alien nature: `You better not be fucking with me.`7 The killing of the `Fizzle Bomber` by his earlier self, the `Unmarried Mother`, is a recipe for preventative action against the devourer of `woman`s seed` before it can kill the human race in wars that, contrary to received wisdom, aren`t part of the natural activity of humans, but won`t `fizzle out`.

1 Parker, Heidi `Caitlyn Jenner Is Legally A Woman As She Has Name And Gender Changed At L.A. Court Hearing`, Mail Online, September 25, 2015, The Daily Mail, UK, https://www.dailymail.co.uk/tvshowbiz/article-3249215/Caitlyn-Jenner-legally-woman-gender-changed-LA-court-hearing.html .
2 https://en.wikipedia.org/wiki/Pioneer_program .
3 Reis, Elizabeth `Hermaphrodites and Same-Sex Sex in Early America` in Thomas A. Foster (ed.) Long Before Stonewall: Histories of Same-Sex Sexuality in Early America, New York, New York University Press, 2007, pp. 144-163, p. 158.
4 Freud, Sigmund,  `On the Sexual Theories of Children`, SE 9, 1908, pp. 207-226.
5 https://tvtropes.org/pmwiki/pmwiki,php/Main/FootPopping/ .
6 Heinlein, Robert A. `"- All You Zombies -"`, Fantasy and Science Fiction, March 1959.
7 Snook, Sarah as The Unmarried Mother/Jane/John, Predestination, Screen Australia, 2014.

The Women Of Mudd

A dream of slavers is often repeated in science fiction as the robot who serves the elect individual; for example, episode # 6 of season # 1 of the television series, Star Trek (1966-69), is `Mudd`s Women`, that is, Ruth Bonaventure, Eve McHuron, and Magda Kovacs, who`re being transported by Leo Francis Walsh to be wives to settlers on the planet Ophiuchus III. They`re taken on board the starship Enterprise by its captain, James T. Kirk, after a pursuit through a hazardous asteroid field that Walsh`s J-class cargo vessel is attempting to negotiate. Walsh`s real name is revealed as Harcourt Fenton Mudd and he`s a wanted criminal. The Enterprise has to go to Rigel XII to repair its exhausted warp drive with lithium crystals, and Mudd negotiates with the miners to have himself freed in exchange for the women, who`re revealed to be beautiful because they take the illegal `Venus` drug. Without it the women become unspectacular, but when Eve is given a placebo the illusion is replaced with her genuine inner beauty, and the miners marry the women anyway. It`s a traditional examination of the reality gap between desire and actuality, which was used as the basis for the film The Stepford Wives (1975), based on the 1972 Ira levin novel, and starring actress Katherine Ross, who discovers that the men are replacing the women of a small town with subservient robots, who`re exact phyical replicas of the originals, and Ross`s character, Joanna Eberhart, is soon amongst those to be replaced.

 In `Mudd`s Women` the miners are attracted by the women who take the `Venus` drug, but women are what they want, whereas the men of Stepford want only replicant complaisance. `Mudd`s Women` ends with Mudd in the Enterprise brig with an assurance from Kirk that he`ll be a `character witness` at his trial. Mudd isn`t enthusiastic: `They'd throw away the key ...`1 Although treated humorously, the captain of the starship Enterprise, James T. Kirk, seeks to take control of the women away from Mudd, and so force him into submission, which is what `adultery` is. Jesus was discovered with a woman anointing him with perfume by his disciple Judas who, known for stealing from the collection plate after a sermon, suggested the perfume be sold to raise money, and Jesus told him: `Leave her alone.` (Mk: 14. 6) Judas sold Jesus for `thirty pieces of silver` to the Jewish religious police, the Pharisees, as someone loved by a woman, and the Pharsiees give Jesus over to the Romans of the Empire then occupying Palestine for execution. In short, Judas adulterated the relationship between Jesus and his woman friend, that is, he was an adulterer. Consequently, there`s a Christian sense of poetic justice when Mudd resurfaces in episode # 8 of season # 2, `I, Mudd`, as the supreme ruler of a planet upon which android women cater to his every whim. Although the miners of `Mudd`s Women` want women, Mudd wants androids, which is meant to indicate Mudd`s infantilism. However, the miners` need for technology in mining the lithium crystals of Rigel XI illustrates the flaw in the miners` reasoning, which is that, in technological terms, android women are necessary to the colonization of the planets amongst the stars.

 The debate isn`t about androids, or even slavery, but form. If `I, Mudd` was about a woman at the center of a coterie of female androids, or The Stepford Wives featured a group of women who wanted a town to contain replica women, the accusation of lesbiansim would be levelled almost routinely as a critique based on the need for male and female forms in human society. However, in Judaism the first man, Adam, created by God and placed in the paradise of heaven on Earth, is a hermpahrodite. Consequently, the creation by God of the first woman, Eve, from the rib of Adam, is a euphemism for the human species` capacity to self-fertilize, and produce from their side. This feature of the human futanarian race of `woman`s seed` is evinced in the birth of Jesus from his mother, the Virgin Mary, as the `Second Adam` uncontaminated by male semen, which is an adulterate. When Jesus, the Jewish Messiah, whose teaching was adopted by Christianity as the New Testament superseding the Old Testament of the Jews, was asked by the Jewish religious police, the Pharisees, to condemn a woman allegedly caught in adultery, Jesus said: `Let any one of you who is without sin throw the first stone at her.` (John: 8. 7) None were able to countenance the stoning of the woman, and Jesus said to her: `Woman, where are they? Has no one condemned you?` (John: 8. 10) She observes that they haven`t: ``Then neither do I condemn you,` Jesus declared. `Go now and leave your life of sin.`` (John: 8. 11) Men`s semen is women`s adulterate and Jesus observes that it`s sinful too. He`s joking with this member of her human futanarian species of `woman`s seed`.

 In Judaism a Jew can only be born from a woman, that is, Jews are women, while Judaism itself was founded by Isaac, son of Abraham and Sara, who afterwards was barren and gave her maid, Hajer, to Abraham, and Hajer bore Ishmael, who founded Islam through his descendant, Mohamed, who received the Koran (610-30 C.E.) from the angels of God, who`d been told that the human host was to be greater than the angelic. Although Judeo-Christianity has been taught that the four wives of Moslem marriages are a retroactive attempt to legitimize Ishmael`s birth, they afford the possibility of futanarian sexual reproduction between women within the family, that is, Islam is an extension of Judaic principle. When Jesus was taken to the hill of Calvary outside the city of Jerusalem by the guards of the Roman Empire to where he was nailed to a cross of wood as a `dissident` and left to die there, he expereinced Resurrection and Ascension to heaven in prefiguration of that of `woman`s seed`, which is more sexually prolific than men`s `seed`, because men can`t sexually reproduce with each other.

 The form of `woman`s seed` wasn`t emphasized in the mass media edutainment of the 20th century and before, but was concealed by Star Trek episodes, like `Mudd`s Women` and `I, Mudd`. Essentially, what Mudd`s women represent is a futanarian woman`s harem. Although the women are androids, the meaning is that of form, for example, in Star Trek: The Motion Picture (1979), which featured most of the regular television cast of Star Trek: The Original Series, Indian actress, Persis Khambatta, is in the role of V`Ger, an extraterrestrial intelligence, whose form accentuates her womanliness, while being presented as a dangerous alien. In other words, the woman is depicted as a power greater than other women to present her as an alien dangerously threatening towards women, whereas her form is that of a woman, so women ought to feel empowered through her as their sister. Similarly, the android women of Mudd are acceptable form for the species of futanarian humanity, which suggests that it`s inferiority and superiority that women are being asked to accept in terms of their own form. In short, women are programed to see the powerful form of a woman as dangerously alien, and the android form of women as inferior, that is, to judge their form as reducible, whereas the form is purely formal in physical terms. Unless it`s demonstrably greater in intelligence, which is definable as good per se, and epecially if evil is defined as the harmful result of someone being intentionally stupid. Or, to put it another way, the form of the android women of Mudd, and Persis` Khambatta`s V`Ger character, are acceptable to human futanarian `woman`s seed`, irrespctive of their supposed inferior or superior intelligence or power, which is the crux.

 The miners of Rigel XII want women because the android form isn`t acceptable to men. However, because the android form of Mudd`s women is acceptable to human futanarian `woman`s seed`, android women are a women`s form, and V`Ger is a form of women`s too, that is, form the form`s point of view, it`s only what`s acceptable to the form that`s important, and women have been conditioned to accept men like the miners of Rigel XII as necessary to their form, whereas only their own form is necessary to women`s form. With greater intelligence and power, a Mudd android would be a more powerful form of women`s, so men depict women as aliens, for example, V`Ger, in order to maintain the slave owning relationship between the form, that is, the host womb of the human futanarian species of `woman`s seed`, and the alien. In parasitology, the parasite that emerges to kill the host is termed `parasitoid`, and Jesus` disciple depicts the angel, Satan, who`d been turned into a serpent by God for rejecting God`s plan that the human host should be greater than the angelic, as a `red dragon` grown to full size since its days in Eden: `The dragon was wroth with the woman and went to make war on the remnant of her seed.` (Rev: 12. 17) Satan had given Eve, the first woman, and Adam, `the fruit of the tree of the knowledge of good and evil`, that is, death, to enslave their race in memoryless ephemerality, because it was a parasitoid in need of a host to devour.

 God told Eve her `seed` would prevail against the `enmity` of the `serpent`s seed`: You will crush the head of the serpent with your foot, but he will bruise your heel.` (Gen: 3. 15) Eve`s `foot` is a metaphor for the human futanarian race of `woman`s seed`. In Christian iconography Jesus` mother, the Virgin Mary, is depicted crushing the head of the serpent with her `foot`, because Jesus represents the advocacy of the sexual reproduction of human brainpower through futanarian `woman`s seed`: `Love your neighbor as you love yourself.` (Mk: 12. 31) In short, the miners of Rigel XII are an aspect of the parasitoid devourer, which is concerned to conceal its enslavement of the host womb of the human futanarian species of `woman`s seed`. Consequently, the romantic element of marital fiction between men and women is the result of women`s conditioning against their own race, that is, the Mudd women, Ruth Bonaventure, Eve McHuron, and Magda Kovacs, represent the minimum size for a human futanarian relationship based on sexual reproductivity amongs the species. A futanarian woman would need semen of her own to fertilize another woman`s womb, whereas she would need a second futanarian woman to fertilize her; if she didn`t want to do that for herself.

 Ruth, Eve and Magda symbolize what men`s fiction rejects, which is woman`s form. Because men reject it, possessed by their parasitoid nature, women reject it too, because the mass media edutainment of the 20th century didn`t teach them not to. As a consequence, women in science fiction are a conquered race depicted as inferior forms, or as superior dangerous forms reducible by men aided by women collaborators to negligibility, which is what superior intelligences that might conceivably assist the human futanarian race of `woman`s seed` to grow are also depicted as. In simple terms, extraterrestrial intelligence is most commonly depicted as threatening, because it threatens  men`s enslaving of the host womb of the human futanarian species of `woman`s seed` for parasitoid war against her upon the Earth. Or, in other words, the public are programed to destroy the alien, because it might conceivably be of some assistance to the woman`s escaping being host to the alien parasitoid devourer that`s eating her species. To put it another way, Jesus was the alien `woman`s seed` killed by the Empire of Rome because he represented a threat to its parasitoid enslaving and devouring of the human host. Mudd`s women, whether their form is android or otherwise, and the extraterrestrial intelligent form of woman, V`Ger, are food that doesn`t want to be eaten, and the form they share transcends the varying levels of power and intelligence amongst the individuals that could be shared between them.

 `I, Mudd` is typically misogynist. The Enterprise is hijacked by an android, that is, actor Richard Tatro, posing as the starship Enterprise`s crew member, LIeutenant Norman, and Kirk and the crew dicover Mudd there, who explains that he was `captured` after his ship crashed there, and now the androids won`t let him go; although they take care of him. Mudd ordered android women created to serve him, and a version of his estranged wife Stella, that is, actress Kay Elliot. When activated, she nags him incessantly until he orders, `Shut up!`2 The Enterprise`s communications` officer, actress Nichelle Nicholls, is typical of the crew`s delight. She discovers that she could be immortal in an android body, which is an oblique reference to Eden, where Eve and Adam gave up immortality, that is, God`s `fruit of the tree of life`, in exchange for the power to wage war through their descendants on behalf of the parasitoid, Satan, who was a species` slaver. The meaning is that of form. The android women of Mudd have the form appropriate to be acceptable to `woman`s seed`, whereas women on Earth have to die in memoryless ephemerality so men can maintain their slave system. The androids` plan, which isn`t uncommon in science fiction, is to control humanity, whose flawed humans are too destructive. What isn`t clear is that men aren`t humanity, which is why it`s destructive and slaving, whereas the androids are represented as seeking to impose curbs on freedom, because that`s what men and women do. Although the androids of `woman`s seed` wouldn`t be men and women, the scope of the fiction is constrained by the slaver so that the freedom of form represented by the androids will be rejected by the parasitoid. The androids plan is to take the Enterprise and leave, before expanding to take over the galaxy.  Kirk and the crew escape aboard the Enterprise after reprograming the androids. Mudd discovers there are now 500 Stellas, and he can`t shut them up. Stella represents a priori conditions and conditioning. Without her culture bound nagging, Mudd might have accepted what tempted Uhuru, that is, being a human in an android woman`s body, but the parasitoid nature of the crewmen aboard the Enterprise is to deny the form of `woman`s seed` and recondition it to keep Mudd imprisoned where he can`t pose an intelligent threat to the progress of the alien parasitoid devourer.

1 Carmel, Roger C. as Harry Mudd in `Mudd`s Women`, Star Trek: The Original Series, Season 1, Episode 6, October 13, 1966.
2 Carmel, Roger C. as Harry Mudd in `I, Mudd`, Star Trek: The Original Series, Season 2, Episode 8, November 3, 1967.

Poddy Fries` Try Pod

An early English novel of science fiction was The War Of The Worlds (1897), written by H. G. Wells, and the plot has been made into a screenplay on several occasions since then by Hollywood USA`s movie makers. Since the first film was made in the district of Hollywood, city of Los Angeles, in the west coast state of California, Old California (1910), directed by D. W. Griffith, the science fiction genre has been a rich source of material for movie makers. Robert A. Heinlein (1907-88) was  a writer of juvenile science fiction between 1948 and 1959, when he produced a dozen novels for boys, and noticeably a novel for girls, `Podkayne Of Mars` (1963), about a female character, `the Poddy beautiful`, whose name, `Pod`, carries associations for Wellsians. In The War Of The Worlds the Earth is invaded by Martian war machines called `tripods`, so Heinlein`s novel whimsically invites the reader to `try Pod`, who is a resident of the planet Mars, which is associated with the god of war in Roman mythology. Consequently, Wells and Earth`s scientists could be said to have conspired in naming Mars, the god of war, and conceiving the Martian war machine `tripods`, to promote interplanetary war where none had been supposed previously to be possible.  Heinlein`s previous novel, Starship Troopers (1959), made into a 1997 Hollywood movie, was similarly warmongering: `The historians can't seem to settle whether to call this one "The Third Space War" (or the "Fourth"), or whether "The First Interstellar War" fits it better. We just call it "The Bug War" if we call it anything, which we usually don't and in any case the historians date the beginning of "war" after the time I joined my first outfit and ship. Everything up to then and still later were "incidents," "patrols," or "police actions." However, you are just as dead if you buy the farm in an "incident" as you are if you buy it in a declared war."` Juan Rico is a `trooper` in Heinlein`s novel, which begins with the arachnoid `bugs` of the planet, Klendathu, destroying the city of Buenos Aires in the South American country of Argentina where Rico`d lived, and which precipitates an interstellar war between planets similar to that of Wells` Earth invaded by Martians. Condemned by critics as `fascistoid`, Starship Troopers remained unpublished by Heinlein`s usual publisher Scribner`s and finally saw print at Putnam`s. Podkayne Of Mars represented a rethink on the part of the author with terrorism and kidnapping as a central theme, rather than war with alien intelligence, which for a reasoning reader represented war against intelligence.

 In the movie Starship Troopers, the starring actress, Denise Richards, is Carmen Ibanez, member of a cadre of women pilots called `mothers` who drop their boy sons onto Klendathu where they fight the arachnoid aliens as an extrapolation of Earth`s multifarious conflicts throughout the ages in which invasion is what countries would seem to the casually observing extraterrestrial intelligence to have been devised for. Although a `Martian`, Poddy has a different ambition to Carmen Ibanez: `Poddy Fries, free citizen of Mars, female. Future pilot and someday commander of deep-space exploration parties. Watch for me in the news.`1 If readers aren`t happy with interstellar warmongering, Heinlein`s alternative is `try Pod`, who has a brother, Clarke, as Heinlein himself had a `brother` in science fiction writer, Arthur C. Clarke, who wrote the short story, `The Sentinel`,3 that was made into the science fiction film directed and written by Stanley Kubrick, 2001: A Space Odyssey (1968) in which extraterrestrial intelligences are depicted as having made a colonists` path to the planets amongst the stars through the strategic use and placement of `monoliths` with the capacity to employ brain enhancement to stimulate human development.

 The first section of the Kubrick film, 2001: A Space Odyssey, depicts a `monolith` on Earth enhancing hominids through its power to influence minds, and in the second sequence a monolith is discovered on the moon. In Clarke`s novel, 2010: Odyssey Two (1982) apotheosis is the recreating of the planet, Jupiter, as a second sun within the solar system to bring life to its outer worlds and moons. The core of Jupiter is discovered to be a huge diamond that, exposed to solar radiation, would absorb and reflect light as a second star within the system. In Heinlein`s novel about Poddy, Clarke is depicted as detonating a small nucler device in order to kill the kidnappers of himself and Poddy who`ve been held to ransom in order to influence their politically significant uncle. In the first version of the novel, Poddy is killed in the atomic blast, that is, she `fries`, like the people caught in the heat rays of Wells` Martian war machines in The War Of The Worlds, but Heinlein restored her in a rewrite; after readers protested. The unleashing of the power of the sun in atomic war is the fear expressed. Heinlein and Clarke were two of the big three science fiction authors of their era. The other was Isaac Asimov, whose short story, `Hellfire`, about a slow motion film of an atom bomb exploding, expressed his own fear: `The oval fireball had sprouted projections, then paused a moment in stasis, before expanding rapidly into a bright and featureless sphere. That moment of stasis - the fireball had shown dark spots for eyes, with dark lines for thin, flaring eyebrows, a hairline coming down v-shaped, a mouth twisted upward, laughing wildly in the hell-fire-and horns.`4 Although Heinlein`s theme of invasion by Earth followed by devastating interstellar war is diluted in Podkayne Of Mars, it`s only so far as to examine the conflict components of terror and ransom demands. The essence of war is slavery, that is, the defeated are slaved, which is what Carmen Ibanez`s boy sons` `drops` represent for her, and the host wombs of the other human `mothers` amongst Heinlein`s cadre of female pilots in Starship Troopers. In short, Heinlein`s readers wish for Poddy Fries to be reinstated after the atomic blast that had fried her represents the social awareness of the period that terror and war exist to conceal women`s host womb enslavement by the war machinery of men`s desire to `invade` their `space`.

 In ancient Greece homosexuality in pederasty for war was institutionalized. Science fiction publishers` censorship of, and resistance to, frank treatments of sex, in favor of what it calls `hard science`, is well established. Appeals to taboo, and `guardianship of public morals`, support science fiction`s self-censorship, and the restoration of conflict resolved by hard science, like atomic weapons, as its sole subject matter. The rationale for banning sex from science fiction as a major source of edutainment is adultery, that is, the depiction of sexual activity will encourage it. Heterosexuality humors this as the logical preoccupation of lesser mortals who oughtn`t to be encouraged, because their inadequacies are writ large on the `big screen` of the cinema industry in films about sexual inadequacy resulting in the psychopathic killing of women by men, for example, Psycho (1960), in which actor Anthony Perkins as Norman Bates kills a woman at his Bates` Motel, that is, actress Janet Leigh in the role of Marion Crane, because he`d become `mentally unhinged` after killing his mother, and her lover, several years before. Director Alfred Hitchcock`s reasoning seems to have been that the psychopathic Bates is the product of `adultery`, which is why he kills. Consequently, a killer of women in a film like Spiral (2007), in which actor Joel David Moore as Mason, a painter, kills actress Amber Tamblyn in her role as Amber, is depicted as a psychopath, rather than an adulterer, although men who kill women are adulterers.

 In biblical terms it`s arguably impossible for women to commit adultery at all. The history and law of the Jewish `chosen people`, which is the Torah and Talmud  of the Old Testament of the Bible, begins with Eve, the first woman, and Adam, the first man, created by God in the paradise of heaven on Earth that is Eden and where God had placed the angel, Satan, transformed into a serpent after he rejected God`s plan that the human host should be greater than the angelic. Satan gave Eve and Adam the `fruit of the tree of the knowledge of good and evil`, which it was death to taste, in order to enslave the human species in memoryless ephemerality thereafter. God told Eve the `enmity` of her `seed` with the `serpent`s seed` would end with Redemption: `You shall crush the head of the serpent with your foot, but he will bruise your heel.` (Gen: 3. 15) In Christian iconography the `redeemer` Jesus` mother, the Virgin Mary, is depicted crushing the head of the serpent, Satan, with her foot, because Jesus was born uncontaminated by male semen, that is, he was `woman`s seed` known as futanarian, which is women capable of sexually reproducing with women from their own penis` semen. In short, men`s semen is the adulterating `serpent`s seed`, which has effectively murdered, through decapitation, women`s human futanarian race. By refusing to allow her to produce brainpower through her own species of women`s capacity to sexually reproduce, men`s semen has removed her brains and damned her. In other words, adultery is decapitation, but women aren`t adulterers.

 Although a very early 8th century instance of science fiction, 1001 Nights has, as its `framing device`, the narratives of Scheherezade, who is called upon after Shah Jehan beheads his wife for unfounded unfaithfulness with his brother. Scheherezade tells Shah Jehan a story each night, because it has become his habit to marry afresh each day, and behead his new wife each night. Schehereade`s stories cause Shah Jehan to marry her so he can continue listening to her stories - and the women are saved - because they`re no longer decapitated by the adulterer. In short, the psychopathic killing of women is adultery, whereas what women need is futanarian sexual relationships as a basic component of mass media edutainment to encourage women`s reproduction of futanarian humanity`s brainpower. Or, in simpler terms, men kill women, because that`s what brains adulterated with the semen of the `serpent`s seed` do. To put it another way, `woman`s seed` is human, that is, women`s futanarian humanity, whereas unredeemed men`s male braining for brain damned war against `woman`s seed` is evil and psychopathic, because definable biblically as `adultery`.

 In the Revelation of Jesus` disciple, John, which is a part of the New Testament of Jesus` teaching that Christianity believes supersedes the Old Testament, Satan is depicted as a `red dragon` grown since its days in Eden and now waging war against `woman`s seed` upon the Earth: `The dragon was wroth with the woman and went to make war upon the remnant of her seed.` (Rev: 12. 17) In parasitology, the parasite that emerges to kill the host is termed `parasitoid`, which is what men are. In movies like Invasion Of The Body Snatchers (1956) in which creatures emerge from `pods` to take over the Earth, or Pod (2015) in which they try again, the concept of women`s host wombs slavery to her parasitoid devourer looms large. Consequently, Heinlein`s Podkayne Of Mars is a necessary corrective to the `Pod` theme in which the murderer, bearing the `mark of Cain`, emerges from the `pod` to kill the human host and take over the Earth. Cain was the first murderer, according to the Bible, who killed his brother, Abel, because Abel was more able and could cook, which was more pleasing to God. Heinlein`s Podkayne Of Mars comments on the role of Poddy`s brother as `Cain`, that is, he emerges from his mother`s host womb to kill his sister, which is what parasitoid men`s nature does.

 In 2000 Britney Spears` video director, Nigel Dick, for the song `Oops! ... I Did It Again` opted for a science fiction theme based on Heinlein`s Podkayne Of Mars. In the opening sequence `Mars lander`, a spaceman appears wearing a spacesuit similar to that worn by Neil Armstrong of Apollo 11 when he became the first man to land on the moon on July 21, 1969, UTC: 2. 56. In a red pilot`s suit, Britney puts a hook into his backpack and winches him up to where he can look down upon her `twin` in a white bikini dress with the camera eye attached to his spacehelmet. The scene echoes the `riddle` of the Sphinx from the Greek dramatist Sophocles` Oedipus Rex (c. 429 B.C.): `What goes on four legs in the morning, two in the afternoon and three in the evening?`5 The answer is, `Man,` because it`s a baby, then an adult, and finally Cain, a monster with an old rifle by its side to help it go further. The video`s answer is `tripod`, because human futanarian nature is threefold. Indeed, in her red pilot`s suit Britney somersaults through the air to stand in front of her spaceman transformed a third time, so that she`s wearing a white blouse with black skirt and boots. Poddy will try to redeem, but it`s difficult if the science fiction genre won`t allow her to be sexually explicit: `Oops! You think I'm in love. That I'm sent from above. I'm not that innocent.`6 The spaceman suspended by the hook is, figuratively, the audience attracted by the music, `Yeah yeah yeah yeah yeah yeah ...` He`s the tripod`s camera. H. G. Wells` late 19th century narrative of Martian war machine tripods invading the Earth extrapolates from what men`s parasitoid nature does. Consequently, the single eye of the spaceman`s convex mirrored faceplate corresponds to that of the Martian tripods` devastating heat ray, which resembles a single eye in the 1953 Hollywood movie version, The War Of The Worlds, for example, because that`s what the ogre borne by women does.

 Women, of course, walk on only two legs, whereas saurians balance on their tails, for example, Tyrannosaurus Rex, the meat eating dinosaur. If the angel, Satan, was a saurian ancestor of the `serpent`s seed` intelligently evolved during the Mesozoic period of Earth`s prehistory 248 m.a., and before hominid evolution began during the Jurassic period 220 m.a., the angels of God are saurians still remaining on the planets amongst the stars of heaven, whereas Satan and the `rebel` angels represent fallen intelligence desirous of enslaving a species from its host womb in order to emerge as its parasitoid to devour it. Or, in other words, the answer to the Sphinx`s riddle, `... what walks on three legs in the evening,` is Satan. Oedipus` story is of a man who marries his mother, and then blinds himself for committing the societal taboo of incest. However, incest is a taboo imposed by men to prevent women from perceiving that their species is single and doesn`t wed to be a ring slave. In short, daughters aren`t able to recognize, through their mothers, sexual possibility, because that`s incestuous thinking. Consequently, Oedipus, who kills his father, Laius, unknowingly, and marries his mother, Jocasta, unwittingly, is blind always, because it`s how men hide their parasitoid activities.

 When Jesus was taken to the hill of Calvary outside the city of Jerusalem and nailed to a cross of wood as a `dissident`, he died before experiencing Resurrection and Ascension to heaven, that is, he prefigures the futanarian future of `woman`s seed`. Jesus` explanation isn`t taught by Christianity as meaning that women are a separate species and that men`s Redemption is bound up with their acceptiance of being born as colonists on the planets amongst the stars from futanarian humanity`s `woman`s seed`: `At the resurrection people will neither marry nor be given in marriage; they will be like the angels in heaven.` (Matt: 22. 30) This means that Christians accept men and women as `beasts`: `The number of a man is the number of the beast and his number is six hundred three score and six.` (Rev: 13. 8) 66.6% is the number of the people on Earth, without the 33.3% `remnant` of `woman`s seed` to populate the planets amongst the stars as colonists. Because men can`t sexually reproduce with each other, whereas women can, that`s the species` destiny, which is denied by those who subjugate women`s brainpower from her own `seed`.

 Although the television broadcasting of `TV` pictures into people`s homes wasn`t invented until 1926 by John Logie Baird, the ancients had been manufacturing men and women as a single male brained creature wearing each others` clothes in TV transvestism for the parasitoid to devour as war`s entertainment almost as soon as Eve and Adam were expelled from Eden by God for accepting their role: `The second beast was given power to give breath to the image of the first beast, so that the image could speak and cause all who refused to worship the image to be killed.` (Rev: 13. 15) Without repentance and conversion from their sinful `TV` natures, men and women will remain irredeemably addicted to watching and producing images of themselves to worship as parasitoid Satanist devourers of their daughters, and their daughters` daughters, who`re the unborn child of the Earth: `The dragon stood in front of the woman who was about to give birth, so that it might devour her child the moment he was born.` (Rev: 12. 4) The child is maled, because women`s futanarian `woman`s seed` has both the male and the female reproductive organs: `... a male child, who will rule all the nations with an iron scepter.` (Rev: 12. 4) Although Jesus Christ is associated with this figure in the prophetic Revelation of his disciple, John, Jesus is `woman`s seed`, so his `Second Coming` as a human futanarian is at least symbolically prefigured in the New Testament and his own teaching: `Love your neighbor as you love yourself.` (Mk: 12. 31) Oedipus` daughter, Antigone, agrees to lead her father Oedipus` footsteps after his self-blinding, that is, her capacity to love her `woman`s seed` neighbor is obviated by his damned psychopathic brain, which plots her species` doom even in extremis, because that`s what its parasitoid evil nature is for. What Heinlein was trying to say with the character of Poddy Fries in Podkayne Of Mars is that `the Poddy beautiful` is for eyes, but men don`t want to see her alone.

1 Heinlein, Robert A. Starship Troopers, 1959, Putnam`s, Ch. 10, p. 131.
2 Heinlein, Robert A. Podkayne Of Mars, Putnam`s, 1963, Ch. 1, p. 3.
3 Clarke, Arthur C. `Sentinel Of Eternity`, Ten Story Fantasy, # 1, Avon Periodicals, New York, Spring 1951.
4 Asimov, Isaac `Hellfire`, Fantastic Universe, King-Size Publications, May 1956.
5 Apollodorus, Library of Apollod, 3. 5. 8.
6 Martin, Max, and Rami `Oops! ... I Did It Again`, Britney Spears Oops! ... I Did It Again, Jive, 2000.

Oops! The Pit And The Pendulum

 American International Pictures` The Pit And The Pendulum (1961), from the 1842 short story by Edgar Allen Poe, and directed by Roger Corman, is amongst the more memorable of the mid-twentieth century horror film genre, which explains why it`s the theme of Britney Spears` promotional video for the song, `Oops! … I Did It Again` (2000) that features the pop star descending to her stage set inside what looks like a giant`s upturned ring. Because `ring` is a euphemism for slavery, for example, slaves and slavers are often described as belonging to a ring ruled by a slaver, Britney`s video is a comment on the role of the artist within the music industry. `The Pit And The Pendulum` was a story by Poe in which the narrator is bound while a razor sharp pendulum in the shape of a crescent moon slowly descends, but he escapes by persuading rats to bite through his bonds. He`s ultimately saved from the Spanish Inquisition of the Christian Catholic church, who were known for torturing Christian Protestant separatists to convert to Catholicism or die, when the Spanish city of Toledo is captured by the French. Just as the prison`s walls, made red hot by the inquisitor, close in. Although there`s no pendulum in Britney`s `Oops! … I Did It Again`, red suited Britney`s winching of the Apollo style astronaut in his spacesuit to where he can look down upon her `twin`, wearing a white bikini dress, is structurally similar because, for the director, Nigel Dick, the camera eye is a surrogate blade.

 In the AIP Corman film, The Pit And The Pendulum, actor John Kerr, as Francis Bernard, visits the castle of his brother-in-law, Nicholas Medina, that is, well-known horror movie actor, Vincent Price, to uncover the reason for his sister Elizabeth`s death, whose role is actress Barbara Steele`s. She`s supposed to have become fascinated by the dungeon`s torture devices and, having locked herself inside an iron maiden, after whispering `Sebastian`, died. Nicholas Medina`s father, Sebastian, was a notorious inquisitor, also acted by Price, who Nicholas, as a boy, saw murder his wife Isabella`s brother, Bartolome, for `adultery`, before he entombed Isabella alive. Consequently, Isabella`s fate is similar to Elizabeth`s:  `If Elizabeth Medina walks these corridors, it is her spirit and not her living self.`1 Because there are two Britneys in `Oops! … I Did It Again`, they`re associable with Isabella and Elizabeth, that is, they`re women of different epochs, which explains the presence of the Apollo astronaut on Mars, where the Britneys, and her dance troupe, don`t need space suits. In the film, The Pit And The Pendulum, it`s revealed that Elizabeth died trying to claw open her coffin, which is a scenario reprised by Britney in her white bikini dress beneath the camera eye of the spaceman attached to his space helmet: `Oh baby, it might seem like a crush … I cry, watching the days.`2 However, in The Pit And The Pendulum movie, it`s a ruse perpetrated by Elizabeth, and her lover, Dr Leon. Nicholas hears her voice calling him in the night but, seeing her rise from her coffin, he flees. Gone mad, he believes himself Sebastian and, as Leon falls to his death in the dungeon pit, Nicholas begins to repeat the murder of his mother, Isabella, and her brother, Bartolome. When Francis enters, awoken by Elizabeth`s screams, Nicholas thinks he`s Barolome, and binds him beneath the pendulum. Nicholas falls to his death in the dungeon pit, and actress Luana Anders, in the role of his sister, Catherine, rescues Francis. They leave while she vows to never open the torture chamber again. Because the dead Nicholas was the only person, apart from the dead Leon, to know Elizabeth wasn`t dead, she remains bound undiscovered inside an iron maiden.

 History repeats itself, and repetition is a theme of `Oops! … I Did It Again` because Britney is given a gift by her spaceman: `But I thought the old lady dropped it into the ocean in the end.` The allusion is to the Titanic (1997) movie  in which 100 year old Rose is seen dropping the diamond blue pendant, `heart of the ocean` into the sea at the point where the ocean-going liner, Titanic, sank after hitting an ice berg on 15 April, 1912. Rose had been on the ship as a young woman, actress Kate Winslet in the film, with her boyfriend, Cal, who she jilts for Jack, and Cal puts the diamond in Jack`s pocket to accuse him of theft. When the ship sinks, Cal is amongst the men who take the lifeboats away from the women and children, while Jack drowns saving passengers. Rose`s dropping of the diamond into the sea, where the Titanic is being salvaged many years later, reflects upon the sadness of her memory. Before Britney receives her gift, an announcer cries: `All aboard!` Consequently, the gift is supposed by most pop video critics to be the `heart of the ocean`: `Well, baby, I went down and got it for you.` Repetition is associated with reincarnation, which is antithetical to Christian Resurrection and Ascension to heaven above the Earth where the planets await colonization by humanity amongst the stars. Britney`s spaceman is wooing a `star`, and experience teaches that history repeats itself, which is presented as an inescapable human tragedy, but it isn`t.

 What humans aren`t told is that futanarian `woman`s seed` is able to sexually reproduce without men, who of course can`t sexually reproduce with each other, and that`s how the species is intended by God to produce the numbers needed to colonize the planets amongst the stars of heaven. Consequently, the two Britneys represent human sexual replication, which results in Resurrection and Ascension to heaven prefigured by that of the Christian Messiah, Jesus Christ, whose mother was the Virgin Mary, that is, the symbol and embodiment of Jesus` teaching of `woman`s seed` - in contradistinction to men`s - if the race is to leave to colonize the planets through the production of women` s brainpower for the devising of technologies to take her to the stars:  `Love your neighbor as you love yourself.` (Mk: 12. 31)

 Although Britney Spears` scifi video looks notional, it`s highly contrived. The science fiction writer, Robert A. Heinlein (1907-88), wrote of a girl, `the Poddy beautiful`, in Podkayne Of Mars (1963): `Poddy Fries, free citizen of Mars, female. Future pilot and someday commander of deep-space exploration parties. Watch for me in the news.`3 In her red pilot`s suit, Britney`s Poddy and, in her white bikini dress atop what looks like a compass rose used by ship`s navigators, she`s Rose, because history will repeat its wars against `woman`s seed`; if humanity doesn`t escape from the torturer. In other words, `Oops! ... I Did It Again` is about how the body of humanity will rise to heaven through the Resurrection of `woman`s seed`, and the navigators of starships to the colonizing of the planets amongst the stars of heaven above the Earth will need to be raised, and to know stars to be guided. However, the camera attached to the space helmet of the astronaut winched up to where he can film Britney in her white bikini dress below is typical of the parasite upon the host womb of the human race which won`t let go of its prey. In parasitology, the parasite that emerges to devour the host is termed `parasitoid`, which is what men`s wars are.

 The parasitoid devourer that wants to record killing for entertainment is a type of what repetition through reincarnation is, and although the `snuff movie` genre is illegal, it`s what men produce: `Your candle burned out long before your legend ever did.`4 Bernie Taupin`s lyrics to Elton John`s tune, `Candle In The Wind` (1973), about movie sex symbol, Marilyn Monroe, lament the death of Marilyn found in the nude in 1962, although sexual repression of `woman`s seed` is what kills it, which is why the `babes` of the pop and movie industry are depicted as penisless and brainless bodies. Marilyn Monroe`s death was shrouded in mystery, because of alleged relationships with President John F. Kennedy assassinated in Dallas, Texas, on November 22, 1963, by a lone sniper, Lee Harvey Oswald, and his brother, Bobby, campaigning for the Democratic Party`s nomination for the candidature for the Presidency of the United States of America, who was assassinated in a kitchen at The Ambassador Hotel in Los Angeles, California, on June 5, 1968, by another lone gunman, Sirhan Sirhan, so although explicable in medical terms as resulting from a personal history of drug abuse, likening Marilyn`s life to a candle flame `snuffed out` is illuminating. In the absence of `woman`s seed`, the stars will just wink, and continue to do so, until they`re all winked out.

1 Carbone, Anthony as Dr  Leon, The Pit And The Pendulum, American International Pictures, 1961.
2 Martin, Max, and Rami, `Oops! … I Did It Again`, Britney Spears, Oops! … I Did It Again, Jive, 2000.
3 Heinlein, Robert A. Podkayne Of Mars, Putnam, 1963, Ch. 1, p. 3.
4 John, Elton (music), and Bernie Taupin (lyrics), `Candle In The Wind`, Goodbye Yellow Brick Road, MCA, 1973.