The Demi Urge In Hollywood

The Demi Urge In Hollywood

 

The Demi Urge in Hollywood

 

In the lore of the Masons the demi urge is a half finished impulse left after the creation of the world by God and is personified as `Ialdabaoth`,1 which many identify with the `devil` of Christian iconography and its tradition of a figure thwarting or `devilling` the designs of the `Great Architect`, who is God to the Masons pledged to further the creator`s design as laid out for inspection in the pages of the Bible where `woman`s seed` is described as being in `perpetual enmity` with the `serpent`s seed`, although she will:

 

`...crush the head of the serpent with her foot as she leaves.` (Gen: 3. 15)

 

 

 

 Her `foot` is her own `seed`, which is `futanarian` woman with her own penis` semen and so a genuine capacity for sexually reproducing her own brains` power socio-economically independent of men, who can`t sexually reproduce independently of her, and so she is definable as the host womb of the human species, that is, her `seed` and not the serpent`s, which has enslaved her as her parasite. The birth of Jesus uncontaminated by male semen from his mother, the Virgin Mary, makes of Christ the first of `woman`s seed` because he is man born of woman alone. Betrayed by his disciple, Judas Iscariot, at the `Last Supper` where Jesus offered `bread and wine` as the `host` as symbols of his `body and blood`, the treachery represents the hatred of the evil for the host womb of humanity, which is the `body and blood` rejected by Judas Iscariot when he sold Jesus for `thirty pieces of silver` to the Roman persecutors as a Palestinian `dissident` opposed to the Empire`s occupation of the Jewish homeland. Because Empire is slavery and parasitism, Judas Iscariot was betraying Jesus as the host because he was a parasite.

 

 

 

 

 In rejecting the `seed` of woman, Judas Iscariot rejects the Virgin Mary, Jesus` mother, and by association all other host wombs of the Jewish mothers who were to be the future of the `chosen people`, which is `futanarian` woman with her own penis` `seed`. Judas is the `devil` by proxy because he thwarts God`s intentions and so is an enemy of the human race and the Masons of God whose role is to further the design of the creator. Jesus` subsequent crucifixion, death, Resurrection and Ascension to heaven is a consequence of Judas` betrayal of humanity, but God`s promise of Redemption for mankind through adherance to the teachings of Christ, Jesus, is plain:

 

`Men cursed the God of heaven for their pains and their sores but refused to repent of what they had done.` (Rev: 16. 11)

 

 

 

 In the late 20th century the biblical `blood plague` (Rev: 11. 6) of HIV/AIDS appeared as an incurable `killer disease` spread by homosexuals mixing blood, shit and semen in their anuses together during mockeries of the human act of sexual reproduction. In ancient Greece homosexuality was institutionalized enslavement of the host wombs of women to further the spread of pederasty, war, and its contagiousnesses. In the Bible the problem of homosexual pederasty and plague is depicted as the enslaving of `a woman`, Babylon, who was equated throughout the 20th century with the Hollywood movie industry in California on the West Coast of the United States of America, centred upon Los Angeles, the `city of the angels`:

 

`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5)

 

 

 

 

 Because the `futanarian` woman with her own penis` semen isn`t represented in Hollywood, Babylon, that is, the United States of America, which is the `home of the brave and the land of the free`, where the statue of Liberty holds aloft freedom`s torch in New York harbour, the `action movie` theme is violence and war, because `Greek` homosexual pederasty has `hijacked` the demi urge. The term `rough trade` means the `brutality and violence` associated with homosexual pederasty, that is, war, and so the crashing of hijacked civil airplanes into the World Trade Centre of New York on September 11, 2001, was designed to reestablish `Greek` blood feud and vendetta in the Gulf war (2001-11) between the dictator Saddam Hussein of Iraq, who`d promised bases to the terrorist group Al Qaeda, and the USA. The subsequent movie, World Trade Centre (2005), demonstrated the closeness between homosexual pederasty`s `rough trade` of war and Hollywood, Babylon, with its taboo against men`s penis` visibility ensuring the non-existence of women`s penis` `seed` so future generations of humans could transpose their normal desire for sexual reproduction into gun worship.

 

 

 

 

 In the late 20th century during the initial discoveries of the biblical `blood plague` of HIV/AIDS amongst Californians, a new wave of Hollywood heroes emerged known as `The Brat Pack` with Demi Moore amongst their number and who was shortly to be known as `the body` in Hollywood, Babylon. As a Hollywood `sex symbol`, Demi Moore represented the `demi urge` for women in `tinsel town`, where war through homosexual pederasty had always been the `Greek` theme. Demi Moore wasn`t a traditional `screen goddess` of the glamorous and sensual type of Marilyn Monroe, because she had to learn the art of the `action` heroine in order to work.

 

 

 

 

 The term `Brat Pack` was coined for two iconic 1985 films, The Breakfast Club and St. Elmo's Fire, with its `core` of young stars, Emilio Estevez, Anthony Michael Hall, Rob Lowe, Andrew McCarthy, Demi Moore, Judd Nelson, Molly Ringwald, and Ally Sheedy.2 The group of actors and actresses were the new generation in Hollywood, Babylon, with much expected from them. The Breakfast Club was a high school movie about the struggle for life after education, while St. Elmo`s Fire was about life after education, which placed the emphasis squarely on education. Emilio Estevez went on to make the `Wild West` movie Young Guns (1988), which celebrated the lack of education of `Billy The Kid`, a reportedly psychopathic `village idiot`, who began killing men when he was 17 in 1877 during the period of the expansion of European settlers into the Western parts of the United States of America where lawless murder for personal gain was routinely criminal.

 

 

 

 

 Emilio Estevez was being modelled by Hollywood, Babylon, as a role model for the young, whether educated or not. Anthony Michael Hall made the movie Who Do I Gotta Kill? (1994) about the mafia, which was the United States of America`s biggest threat to national safety for its citizens before 9/11, 2001, while the consequences of blood feud and vendetta between men after the Gulf war (2001-11) suggest that the crashing of hijacked planes into the World Trade Centre was a `mob hit` aimed at reestablishing the `rough trade` of homosexual pederasty`s `brutality and violence` against the human species of `woman`s seed` represented by Hollywood Babylon`s sexual repression of the woman`s penis.

 

 

 

 

 Rob Lowe was sex trapped into making a pornographic video and then vilified by the Hollywood establishment for showing his penis in a film, which is the greatest taboo amongst `A` list stars expected to maintain the moratorium over the reason for the absence of the penis from the screen. Ironically, Lowe`s successes came in a supporting role in the Austin Powers (1997-) series of spoof films about spying, which glossed the central issue in depicting female stars like Elizabeth Hurley, Beyonce Knowles and Heather Graham as stereotypical `babes`, which all women are if they don`t know their `futanarian` species has a penis of their own. Mike Myers was Austin Powers but the concept `spy` is actually someone who prevents others from seeing, which is what we understand from the absence of the woman`s penis from the scenes. Rob Lowe wasn`t the stereotypical Hollywood male who was in love with himself in the mirror, because he made sex films in which he made it clear that the sexual orientation of his penis was for women.

 

 

 

 

 Andrew McCarthy is best known for his role as the man loved by a female shop dummy, Kim Cattrall, who steps out of a department store window and bestows herself magically upon him in Mannequin (1987). `Emmy` and McCarthy are married in the shop window after a series of socio-economic adventures in which she demonstrates her business acumen and their `best man` is the glamorously attractive, Hollywood, played by actress Meshach Taylor, who`d been the couple`s friend. The `futanarian` denouement is unmistakable. The `best man` is a woman with her own penis` `seed`, if that`s what`s beneath the skirts of the statue of Liberty in New York harbour.

 

 

 

 

 Although Mannequin is a backhanded compliment to the television industry, because of the TV Emmy Awards for excellence, that is, where TV means transvestite, who`s a man in women`s clothing, the `futanarian` picture of a woman with her own penis` `seed` as `best man` is an incontrovertible image. Television or TV is perceived as a second tier Hollywood because it features news and other shows not primarily concerned with acting, while the concept of TV as transvestism relates to the biblical notion of Babylon as a woman enslaved to sexually reproduce only with men for the purpose of her voyeurs` entertainment as they watch her self-performing her own extinction as a woman in men`s clothing `live on CNN`:

 

`A SWAT team barges into a school library to find a student holding an axe and surrounded by savaged bodies...`3

 

 

 

 

 Judd Nelson`s appearance as the headmaster in the `comedy` film Bad Kids Go To Hell (2012) about deranged killers at a high school in the United States is typical of Hollywood, Babylon, insofar as the `Brat Pack` emerged as youthful heroes, but were forced into the psychopathic logic Hollywood had prepared for the world to accept as `normal` by the beginning of the 21st century. In feminism `political correctness` or PC is definable as women are `lesbian` if they find their own species` bodies attractive in the mirror, which means their relations with the world are clinically diagnosable as schizophrenic because they`re taught to accept a man as a legitimized owner rather than sexually reproduce their own species` brainpower for socio-economic independence and freedom through technological advancement.

 

 

 

 

 Without a washing machine to care for her, a woman is doomed to care for her washing machine, whereas machines to liberate her would make men redundant because she`s sexually reproductively independent as a `futanarian` woman with her own penis` `semen. Ally Sheedy made the movie Short Circuit (1986) about a robot, `Johnny Five`, that was sentient. The plot centres around Five`s discovery of mortality and fear of being `disassembled`, which is woman`s bane. Jesus` teachings are of the Resurrection of `woman`s seed`, that is, the `futanarian` woman who can sexually reproduce with her own species because she has her own penis` `seed` and men have been attempting to exterminate her for millennia. Jesus` celibacy is admirable for many women because he`s perceived as `gay` and so honorarily female, whereas his self-denial actually relates to the notion that women must sexually reproduce their own brains` power if they`re to make the 66.6% of the human race they see in the mirror, 100% by means of sexually reproducing with each other:

 

`Let he that has wisdom have understanding; the number of a man is the number of a beast and his number is six hundred three score and six.` (Rev: 13. 18)

 

 

 

 

`666` is translatable as 66.6% and the starting point for a breeding program where women are the humans and men are the beasts seeking to prevent her from ridding her contaminated wombs and brains of the damage caused by their continued presence. Unable to sexually reproduce without women, men have developed taboos against the penis to the point of sterilization of the human race, because they`d rather love the gun than the woman who can`t love herself with her own penis` semen because she`s been blinded to her own existence, and she might expect to be able to see it at least in the mirror, but no. The character of `Johnny Five` is the friend that Ally Sheedy, as the woman in the movie, needs because `Five` is the machine that could save her if it weren`t for the military who want to use it to destroy her sisters across the globe, as it were, in the `perpetual enmity` of the ceaseless wars of the `serpent`s seed` against her human species of `woman`s seed`  God warns Eve will transpire before she leaves for the stars and planets by means of starships of her own devising. US President Ronald Reagan`s 1982 Strategic Defence Initiative (SDI) shows men won`t build space technology for anything other than ringing the Earth with a `ground and space based missile system` to kill her if she tries to escape, so `Johnny Five`, who is an anti-war robot in the hands of Ally Sheedy, is an icon of liberation through technology.

 

 

 

 

 Molly Ringwald became the muse of Hollywood director, John Hughes, and her `teen queen` identity was forged in the movie Pretty In Pink (1986) where her character, Andie, is a poor girl who`s noticed by a rich kid at school, Blane, but his friend, Steff, a boy rejected by her, mocks their relationship with an undertone of homosexuality, which Blane finally recognizes and the film ends with his passionately kissing Andie in front of his car. Although the movie seems to reject homosexuality, the rich boy wins, because his father`s wealthy, and so pederasty is maintained as the socio-economic paradigm that denies Andie`s own species penis` semen of `futanarian` woman a place in the picture. In the Hollywood mirror Molly Ringwald is sexually desirable, but in a 1996 cameo role for the cable television situation comedy, Remember Wenn (1996-98),4 she had the role of a blind woman who couldn`t reflect upon her own image, which isn`t funny for a woman who`s kept in occlusion and media censorship from knowing she`s the human species` host womb and has her own penis` semen for sexually reproducing her own brains` powers.

 

 

 

 

 Jesus` teachings are of Resurrection for `woman`s seed` because reincarnation is through the `serpent`s seed` if men`s semen is the fertilizer for women`s host wombs. Hollywood is Babylon because it`s been concerned with the neutralization of women since 1930 when the rule in the movie industry was the woman had to keep her foot on the floor in bedroom scenes because they were concerned about God`s warning to men that woman`s `foot` would `crush the head of the serpent`, that is, she`d develop her independence by self-fertilization through her own penis` `seed` and leave the Earth to the sterility of her enslavers, who`d prefer to keep her for the production of TV reports of her demise in transvestism`s (TV`s) wars of women dressed in men`s clothing, which is what the sundered race of `futanarian` woman with her own penis` semen represents as male and female `parts` in the movie.

 

 

 

 

 Demi Moore fulfilled the role of the `demi urge` by being the sexual icon for a generation of boys devoted to autoeroticism, which is what young movie stars who are boys represent, that is, the desire to eroticize their appearance for themselves and others by association. Because homosexual pederasty is the paradigm for Hollywood, Babylon, autoeroticism from stars like Demi Moore`s husband Bruce Willis, the `smoothie` in TV`s Moonlighting (1985-89) detective agency in a role opposite the sexually desirable and seemingly unattainable, Cybil Shepherd, becomes homoeroticism in movies like Die Hard (1988) where his protagonist is a killer and the title suggests that dying is glamorous because homosexual pederasty`s `rough trade` of `brutality and violence` thinks Bruce Willis should die for having sexual relations with Cybil Shepherd in Moonlighting because it might suggest to the woman viewer that she would like to have sex with her despite Bruce Willis autoerotic displays of narcissistic self-love, which in fact are normal for males.

 

 

 

 

 Demi Moore appeared in Striptease (1996) which was the prototypical Hollywood, Babylon, sex symbol vehicle of a nubile young woman dancing around a pole suggestively because she doesn`t have penis` `seed` of her own. In the movie G.I. Jane (1997), Demi, `the body`, Moore was trained as a US Navy Seal, that is, as a fictional documentary of the methods of the US elite military unit, which correlates with the eagle upon the Great Seal of the United States of America:

 

`The woman was given the two wings of a great eagle, so that she might fly to the place prepared for her in the wilderness, where she would be taken care of for a time, times and half a time, out of the serpent's reach.` (Rev: 12. 14)

 

 

 

 

 On May 2, 2011, Team Six of the Navy Seals, which has as its symbol the eagle of the United States of America, killed the leader of the Al Qaeda terrorists, Osama Ben Ladan, in the closing days of the Gulf war (2000-11) at his hideaway in Pakistan. The role of the Navy Seals was as an arm of the power of the Great Seal of the United States` President, George W. Bush, and the authority of the conjoined forces of Arabia and the West to defend the sealed hymens of the `woman`s seed`. The women of the Moslems conceal themselves beneath the black one-piece coverall of the burkha so nothing can be seen of them but their eyes, because of the traditions of Islam associated with women`s privacy when it comes to sexual activity.

 

 

 

 

 In accordance with the teachings of the Prophet Mohammed in the Koran (610-30 CE), dictated by the angels of God, for the second people of Abraham, after the Jews, and by virtue of the line of his son, Ishmael, whose brother, Isaac, founded the tribes of Israel, women are the `chosen people`, which Judaism makes clear. It`s only possible to be born from the host womb of a Jewess, because the future of humanity is the `futanarian` woman with her own penis` `seed` and so, together with Judaism`s exclusivity and Islam`s system of four wives in a marriage represent her brains` power for her own species` future development.

 

 

 

 

 In Hollywood, Babylon, Demi Moore was the demi urge because women`s half urge for sexual reproduction can`t be depicted in movies because of the penis taboo. Demi`s sexual desirability for boys represents a transposition of the woman`s own sexual urge for her own `futanarian` human species of woman with her own penis` semen to sexually reproduce her own brains` power for liberation from her captivity amongst the `serpent`s seed`. Men`s contaminating brain damage is injected into her ovum inside her host womb by means of what may originally have been a parasitically obtained penis` `seed`, which is what the serpent represents in Eden which tempted Eve to disobey God:

 

`Ye shall be as gods.` (Gen: 3. 5)

 

 

 

 

 Eve and her husbander, Adam, represent the pair tempted into slavery of the `futanarian` woman with her own penis` semen for sexual independence when she appeared, and her absence from the scene suggests that the emphasis upon killing in Hollywood, Babylon, is because the plan of the `serpent`s seed` is to keep women dependent upon her enslavers by killing her if she appears to be disobedient to them. Although movies like Striptease seem froth in comparison to G.I. Jane, the role of `the body`, that is, Demi Moore as the `demi urge`, is sexual for women, whereas for men it`s autoeroticism based on narcissistic self-love, which becomes homoeroticism when the system of homosexual pederasty notices them. Demi Moore in G.I. Jane is required to be an `action` heroine in a homoerotic setting, which seems empowerment, but wasn`t, until the Gulf war when Navy Seals could be understood as protecting the hymen of the woman`s future. In Striptease Demi Moore is the sexual urge which can only be fulfilled for women in sexual reproduction with each other, but her role as a naked pole dancer with its woman`s penis symbolism is more in accordance with the desire of God as the Great Architect of the Masons.

 

 

1 Plato Timaeus, c. 360 BC.

 

2 Blum, David `Hollywood`s Brat Pack` New York Magazine, June 10, 1985.

 

3 http://en.wikipedia.org/wiki/Bad_Kids_Go_to_Hell.

 

4 Ringwald, Molly Remember Wenn, Season 1, Episode 5, `Sight Unseen`, March 2, 1996.