The Women Of Mudd

29/11/2016 09:29

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.