Star Trek Beyond

04/09/2016 06:08

Star Trek Beyond

 

The thirteenth Star Trek movie was released in 2016, Star Trek Beyond, which continued a series of film releases based on the Star Trek (1966-69) television series with a cast that supplied most of the crew of the starship Enterprise in the first movie of the franchise, Star Trek: The Motion Picture (1979), also starring new crew member, shaven headed Persis Khambatta, 1965`s Miss India, as Lieutenant Ilia. From what transpires in the plot of the movie, the feminine name, `Ilia`, probably derives from the Greek poet Homer`s Ilium, that is, the city of Troy, as depicted in his poetic narrative of the siege of the Trojan city by the Greeks in his Iliad (760-10 B.C.), Lieutenant Ilia represents the threat to civilization, culture and art posed by the alien, which is usually extrapolated in science fiction as invading Earth from the planets amongst the stars above. However, as the siege of Troy illustrates, the huge hollow wooden horse that the Greeks leave outside Troy and that is taken in by the Trojans where the Greeks emerge to capture the city and enslave the host wombs of the women for homosexuality in pederasty is the Greek `model` for the spread of war as the contagion of the desire for Empire, rather than the `model of democracy` that ancient Greece is often held as the example to follow by historians: `Beware Greeks bearing gifts.`1 The Greek model for society led to the spread of the incurable killer disease of the late 20th century, that is, HIV/AIDS, spread by men`s mixing blood, shot and semen in each others` anuses in rejection of women, which suggests that Ilia in Star Trek represents a species under siege.

 

 

 It could be argued that the human immuno-deficiency virus (HIV), which results in the acquired immuno-deficiency syndrome (AIDS), and that ultimately causes organ collapse and brain death, is a `biological weapon` launched against women by the ancient Greeks as long ago as the siege of Troy. In fact the paradigm of the late 20th century was the HIV/AIDS virus and the `geek` successors to the ancient Greeks were the software computer programers that devised `bad machine code` to infect the human brain-augmenting machine brains and kill them in the same way that the HIV/AIDS virus infected and killed human brains, because the launchers of the biological weapon didn`t want humans to think for themselves a way out of extinction through war against their race by a genuine alien already on Earth. Although Persis Khambatta is required to portray Ilia as a Deltan and not a human from Earth, the ubiquitous distinction between `good` aliens and `bad` aliens is again evident as the Enterprise encounters an `energy cloud` containing an `alien vessel`. A `probe` appears on the bridge of the Enterprise and abducts Ilia, as Helen was abducted by Paris, the Trojan, from Greece and her husband Menelaus, brother of Sparta`s king, Agamemnon, which resulted in the Greek capture of Troy. Ilia is possessed by `V'Ger`, the alien, which is a ship living inside the cloud that begins to study the Enterprise and its crew through Ilia. V'Ger is Voyager VI, a 20th-century Earth space probe believed lost. Damaged, it was found by living alien machines that interpreted its programing as instructions to learn all that can be learned, and return. The aliens upgraded the probe to fulfill its mission, and on its journey the probe gathered so much knowledge that it achieved consciousness. The Enterprise`s First Officer, actor Stephen Collins as Willard Decker, merges with Ilia and V'Ger, creating a new form of life that disappears into another dimension, that is, Helen is rescued, and the continued adventures of `V`Ger` take place elsewhere, because `woman`s seed` and humanity aren`t parts of an alien `feature` to each other. Although `V`Ger` is presented as possessing Ilia, she escapes men`s `Trojan virus` with the help of the intelligent alien machine, which stands for the computer brain that the second generation Greeks, that is, the `geek` software designers, who program computer brains to die after being infected with `bad machine code`, want to kill, and so prevent it from saving Woman and her human `seed`. Or, in other words, good intelligence is presented as inalienably human, whereas acceptance of the alien parasitoid devourer by human nature is evil, and an endemic viral plague; at least since Paris took Helen to Troy and the Greeks captured Ilium to enslave the host wombs of the women and spread the contagion of homosexuality in pederasty`s `biological warfare` against `woman`s seed` further.

 

 

 In Star Trek Beyond, which is the third in a series of films described as a `reboot`, because the films feature the characters from Star Trek: The Original Series, but not the original actors, that is, the names of the crew are the same as those of Star Trek: TOS, but there are different actors in the characters` roles. The `reboot` began with Star Trek (2009), which is a standard space opera reuniting viewing audiences with the crew of the Enterprise who are dealing with a Romulan attack in which Vulcan, the home world of the ship`s first officer, Mr Spock, is destroyed. Although the movie presents an alien menace, the Romulans, Mr Spock, the Vulcan, represents the edutainment focus on overcoming xenophobia to achieve universal peace, which is instructional because of the lack of species` harmony due to racism upon Earth. In parasitology, the parasite that emerges from the host is termed `parasitoid`, which is the actual danger to a human race being attacked by a parasitoid alien that`s been developing a `biological weapon` to maintain the species as an exclusive `snuff` film it can`t escape, and where `snuff` is a term for illegal film recordings of actual killings being presented as entertainment to satisfy the appetite of the irredeemably evil parasitoid alien, Satan. The first Star Trek `reboot` movie was followed by Star Trek Into Darkness (2013), and featured the reintroduction of the character Khan, who Ricardo Montalb√°n acted the part of in the movie Star Trek: The Wrath Of Khan (1982), so reprising his role from television`s Star Trek: TOS, `Space Seed` (# 23), in which Khan and his crew of genetically bred superhumans, who in this alternative universe were responsible for Earth`s last major global conflict, the `Eugenics Wars` (1992-6), are discovered aboard the vessel, Botany Bay, adrift in space. After Khan, who declares his ambition of ruling the Earth again, attempts to take control of the Enterprise away from actor William Shatner in the role of Captain James T. Kirk, he and his crew are exiled on the planet Alpha Ceti V. The Wrath Of Khan is about the `Genesis Device`, a tool to reorganize neutral matter to produce habitable worlds, and Khan and his crew on Ceti V are encountered while the devisers of the Genesis Device are looking for suitable planets to `terraform`. Khan implants indigenous creatures that enter the ears and render the victims susceptible to mind control, which he uses to capture the ship, Reliant, and the Genesis Device located at Regula I starbase, before attempting to use the device on the Mutara Nebula, and so treat it and the Enterprise as neutral matter from which to make habitable worlds. The concept of alien invaders of the body to control the minds of Earthmen is familiar from Jack Vance`s novel, The Body Snatchers (1953), which was made into the movie, Invasion Of The Body Snatchers (1956), and represents the actual fate of `woman`s seed`, who`re male brained to accept direction from a mind not of their own race. Although the concept isn`t unique, for example, in Robert A. Heinlein`s The Puppet Masters (1953) `slugs` attach themselves to the bodies of Earth`s people and take over their minds, the idea of men`s brains being inhuman because of their slaving of women`s wombs in homosexuality and pederasty for war upon the Earth is more recent.

 

 

 In the biblical Genesis, the first woman, Eve, is depicted accepting the `fruit of the tree of the knowledge of good and evil`, that is, death, from the serpent, Satan, who was the angel transformed by God and exiled in the paradise of heaven on Earth for rejecting God`s plan that the human host should be greater than the angelic. Satan tells Eve: `You shall be as gods.` (Gen: 3. 5) God tells Eve her `seed` will have `enmity` with the serpent`s before Redemption: `You shall crush the head of the serpent with your foot but he will bruise your heel.` (Gen: 3. 15) In Christian iconography Jesus` mother, the Virgin Mary, is depicted crushing the head of the serpent with her foot, because futanarian women can sexually reproduce without men from their own penis` semen: `Love your neighbor as you love yourself.` (Mk: 12. 31) Consequently, when Jesus, who was born uncontaminated by male semen, was taken to the hill of Calvary by agents of the Roman Empire and nailed to a cross of wood where he was left to die, he had Resurrection and Ascension to heaven in prefiguration of `woman`s seed` liberated through her own brains` powers to confer immortality through medical science and develop advanced technology to colonize the planets amongst the stars of heaven above; so breaking the curse of male braining humanity to be memoryless ephemera in slavery to death`s wars against her.

 

 

 Khan is depicted close to death at the end of Star Trek: The Wrath Of Khan after an engagement between the Enterprise and the Reliant, but Khan emerges again In Star Trek Beyond in the guise of actor Benedict Cumberbatch as terrorist, John Harrison, who after attacking Starfleet is pursued to the Klingon home world, Kronos, where he surrenders after hearing about the torpedoes carried by the Enterprise. Dr McCoy opens a torpedo at Harrison's behest. Inside is a man in cryogenic stasis. Every torpedo contains a member of Khan`s crew, because that`s who Harrison is. Khan says he was awakened from centuries of suspended animation by Admiral Marcus to develop advanced weapons of war against the Klingon Empire, which of course represents those who cling to war as an unredeemed activity of an evil nature. The Enterprise's warp drive has been sabotaged, so the Klingons would destroy the ship as it fell towards Kronos, which Starfleet would then interpret as an act of war, so provoking it. The Enterprise is intercepted by the starship Vengeance with Admiral Marcus in command. The Enterprise`s Chief Engineer, Scot, disables the Vengeance after infiltrating the ship, and Khan, after killing Marcus, takes command. After Spock reneges on an agreement with Khan to restore his crew to the Vengeance, and instead removes the cryogenic sleepers before arming the torpedoes to detonate aboard the Vengeance, Khan crashes the disabled Vengeance onto Earth`s Starfleet Academy before being returned to cryogenic slumber with his superhumans, who return to their role within the Star Trek cosmos as its dormant virus waiting to be reawakened. Khan`s crew represent men as a cyclical destroyer emerging from the host as a parasitoid devourer in the absence of a long term human memory with the knowledge of how to maintain a developed civilization, culture and art resistant to the cycle of parasitoid activity. In fact the evil parasitoid nature seeks to keep the human host of `woman`s seed` in slavery to death in war to ensure its memoryless ephemerality. That way the parasitoid alien nature can exterminate the human race while watching its death throes as entertainment without the species becoming aware of its danger, which is what the cyclical reappearances of Khan`s crew in Star Trek represent.

 

 

 In Star Trek Beyond the Enterprise is sent on a rescue mission to save the occupant of an escape pod, Kalara, who says her ship is stranded on Altamid, a planet within an uncharted nebula. The Enterprise is ambushed by smaller ships and the character, Krall, boards the vessel to unsuccessfully look for an alien relic, an Abronath, which Kirk has. The saucer section of the Enterprise crashes on the planet, Altamid, and Krall recovers the Abronath, a `bioweapon` devised by the ancient inhabitants of Altamid as a disintegrator of any humanoid life form, that is, it`s an extrapolation of HIV/AIDS. As Kalara emerges from the escape pod she`s a symbol of the host womb of women that somehow millennia ago the parasite inveigled itself into in order to steal the penis of `woman`s seed` and replicate itself as the human species parasitoid devourer in wars against her race. Ostensibly attractive to the men of the crew of the starship Enterprise, Kalara facilitates Krall`s ambuscade, because that`s what the parasite uses New Woman for. Krall is discovered to be Balthazar Edison, Captain of the starship, Franklin, which has been the home of Jaylah, the rescuer of ship`s engineer, Montgomery Scott, since she escaped a Krall `camp` and found the grounded vessel. `Scotty`, and the remnant of the stranded Enterprise crew, use the Franklin to pursue Krall, that is, Balthazar Edison, who himself pursues galactic conflict in rejection of the Federation`s principles of unity and cooperation, because he`s a Satanist parasitoid: `The dragon was wroth with the woman and went to make war on the remnant of her seed.` (Rev: 12. 17) As the Bible warns, Satanists war with humanity as serpents that grow into devouring parasitoid dragons of warfare against `woman`s seed`. Edison is spaced by Kirk before he can launch the bioweapon, but in reality that resolution is cosmetic. The `biological weapon` of HIV/AIDS keeping human futanarian `woman`s seed` in fearful faithfulness to men`s ring slavery, when she could sexually reproduce her own brains` powers for liberation from host womb enslavement to an alien parasitoid devourer, remains a genuinely real threat to the `remnant` of her species. Her race is lulled into a sense of false security by the movie`s end, because the `death camp` guards, represented by the crew of the Enterprise, appear heroic, whereas they`re actually in the role of being `jailor` to Jaylah, although the audience is meant to feel she`s rewarded for her efforts when Kirk gains entrance for her into what is effectively another male run prison for women; Starfleet Academy.

 

 

 Most critics of the `TV` series, Star Trek: TOS, and its successors, Star Trek: The Animated Series (1973-4), Star Trek: The Next Generation (1987-94), Star Trek: Deep Space Nine (1993-9), a space station, rather than a starship, and Star Trek: Voyager (1995-2001), before the TOS prequel, Star Trek: Enterprise (2001-05), describe the action as `camp`; a term for humor invisible to children but evident to adults. The ongoing joke of Star Trek, `where no one has gone before`, is that the Enterprise is a symbolic `death camp` for women without penis` semen of their own so that their species can`t escape its `concentration camp` guards, who want the audience to accept their conditioning unquestioningly, because unanswered questions about the absence of the woman`s penis from the `TV` fiction are too revealing of the purpose of the edutainment medium as propaganda. At least since the time of the ancient Romans and their supposedly primitive amphitheaters in which the evil parasitoid watched humans being killed for entertainment, humans have been manufactured by men as a single male brained creature wearing each others clothes in `TV` transvestism, which is the unanswerable question being posed: where are humanity`s women? The `camp` humor aboard the Enterprise suggests either that futanarian `woman`s seed` and their human offspring are being kept prisoner away from the `TV` action and its `TV` audience, or the `concentration camp` guards are there to keep the children ignorant, so that the guards` extermination pogrom can continue against human nature, which doesn`t really want to watch `TV` as a vicariously alien parasitoid devourer of itself.

 

1 Laocoon, the Trojan priest, Virgil, The Aeneid, Bk II, 19 B.C.