Woman is a Confectionate Picture From A Consumer`s Perspective, And Her Affectionate Picture Is Of The Consumed
Woman is a Confectionate Picture From A Consumer`s Perspective, And Her Affectionate Picture Is Of The Consumed
In Hollywood, Babylon, the `Hays Code` of the 1950s and 1960s enshrined the belief that bedroom scenes required at least one foot to visibly on the floor at all times so that even the possibility of sexual intercourse between male and female couples was severely censored. In Pillow Talk (1959) featuring Doris Day, reputedly a lesbian, and the homosexual Rock Hudson, keeping their feet on the floor obviously didn`t need enforcement, but it helped the devil men in Hollywood, Babylon, to pedal their `big picture` if the asexual joke added to the cinema audiences` delight in race hatred, which was main black and white concern of the United States during the 1950s and 1960s with Sidney Poitier in In The Heat of The Night (1967) as the elegant black representative of the Federal government dealing with the typical white racist bigotry of Rod Steiger`s small town sheriff in a Southern United States still smarting after being told by Washington in the American Civil War (1861-5) that it couldn`t slave blacks any longer. Doris was a normal woman because futanarian women have a penis of their own and so attraction for her own enslaved species is actually the rule. The Hollywood, Babylon, `foot` rule is most severe on slavers because God describes `woman`s seed` in the Bible. As the first of `woman`s seed` uncontaminated by male semen, that is, the `serpent`s seed`, which God says shall have `perpetual enmity` with `woman`s seed`, Jesus Christ is depicted as `futanarian`, and so both of his reportedly celibate feet were off the floor when he was crucified by the `serpent`s seed`:
`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 16. 11)
`Hollywood, Babylon, has its title from the ancient city of Iraq, founded c. 4000 BC, and the Bible describes Babylon as a `woman`, because women`s host wombs were enslaved in pederasty just as ancient Greece institutionalized the enslaving of women for the spreading of devouring war, described in Revelation as the `red dragon` that waits in vain to devour after the second birth of Jesus to the `woman clothed with the sun and with the moon at her feet` as the `New Redeemer`.
`Liberty`, after her defeat of the flag of the red sun of Japan in 1945, and of the yellow moon of the flag of Al Qaeda in 2011, when terrorist leader, Osama Ben Ladan, was killed in Pakistan by US Navy Seal Team Six, is the `woman` of Revelation. Because the Japanese attack upon the US Pacific fleet at Hawaii`s Pearl harbor in 1941 was an attempt to suicide the `American Dream` in her birth waters, while the suicidal attack of the Arabian terrorist organization upon New York`s World Trade Centre on 9/11, 2001, was a further attempt to plunge the USA and the world into yet another suicidal global conflict.
To reestablish `rough trade`, which is a notorious euphemism for homosexual `brutality and violence`, the Twin Towers of `World Trade` were chosen for the terrorist atrocity. Declaring support for Al Qaeda, Babylon Iraq, in the person of President Saddam Hussein, who`d already suffered defeat in the first Gulf war (1990-1) at the hands of the USA for invading and making his neighbour Kuwait an unwilling host, was closely associated with Hollywood, Babylon, when `live` pictures of the hijacked aeroplanes crashing into the Twin Towers in New York were `hosted live on CNN` through Hollywood, Babylon`s `small screen`, television, while audiences marvelled at what the movie would be like when Hollywood, Babylon, celebrated its latest `blockbuster`, which duly became World Trade Centre (2005), `hosted` on the `big screen` at movie theatres worldwide.
Flooring the accelerator pedal in the car to consume fuel and keeping the `foot` down is a metaphor for what pederasty is, because the devouring war machine of the US` Military Industrial Complex (MIC) prevents `woman`s seed`, that is, `futanarian` woman with her own penis` semen, from getting off the floor to the `new heaven and Earth` promised her by God. Hollywood, Babylon, with its `foot on the floor` censorship code for bedroom scenes in the 1950s and 1960s, prevented the penis of the `futanarian` woman from becoming `mainstream`.
Another `small screen` disaster heralded as a triumph by `big screen` Hollywood, Babylon, in movies like Apollo 13 (1995) and the movie of Tom Wolfe`s 1979 documentary novel of astronaut training, The Right Stuff (1983), was the North American Space Administration`s (NASA) first manned space mission to land on the moon. Having successfully placed the lunar module onto the surface of the Earth`s satellite on July 20 1969 UTC, one of the crew of Apollo 11, Neil Armstrong, put his foot onto the lunar surface:
`One small step for a man, one giant leap for mankind.`
A few months later the construction of the Twin Towers of New York city was complete and the New World Trade Centre was visible upon the skyline of Manhattan Island. By 9/11, 2001, the car, first mass produced by Henry Ford as the `Model-T`, was still a pedalled vehicle, and President Ronald Reagan`s `Strategic Defense Initiative` (SDI), known as Star Wars (1977) after the Hollywood, Babylon, `blockbuster` of rebellion and Empire amongst the stars, initiated a plan, which was still being implemented globally after 9/11, to ring the planet with missiles in orbit around the Earth to prevent Neil Armstrong`s `foot` from being anything other than a floored pedal to keep the biune `futanarian` human species in slavery and devourment by the `red dragon` of resourceful wastedness. NASA`s space progam to put men on the moon reached its culmination with the Lunar Rover vehicle, which looked a lot more vulnerable than the model-T Ford but the astronaut knew where to put his feet and begin to pedal. The upcoming scenario was of the spacewoman on Mars being told where to put her feet for the Mars Rover because men want to know they have her `futanarian` biune species back on the treadmill. Al Qaeda`s terrorist demolishing of the World Trade Centre inaugurated in 1970, just a few months after Neil Armstrong`s moon landing, reaffirmed the US` commitment to SDI and President George W. Bush declared a global `War On Terror` (2003-) that allowed the surveillance of every person on the Earth to ensure that the `futanarian` penis` seed of woman wouldn`t get further than the internet porn sites.
Hollywood, Babylon, with its glamorous female leads, has no heroines, or heroes, to spread the Gospel of the Bible and Jesus` teachings of `woman`s seed`, that is, acceptance of her as the host` rather than betrayal, and is represented by Christ`s offer of `bread and wine` to Judas as tokens of his `body and blood`, knowing the disciple had betrayed him as a dissident to the Roman Empire, which is what Hollywood, Babylon, in its generations of depicting `disaster`, in movies like Towering Inferno (1974), described as yet another `blockbuster` and in fact, featuring the destruction of a tower block, had done to the USA on 9/11, which is what the description of the enslaved `woman`, Babylon, in Revelation, means.
Without depictions in mainstream cinema of `woman` seed`, that is, `futanarian` woman with her own penis` semen and independent socio-economic valence, Hollywood, Babylon, and the `censorship` of the `secret police` of the `serpent` seed`, that is, her male enslavers, is ensuring that the capacity for self-reproduction and production of `woman`s seed` through her own `biune` human species` brains` collective power, won`t escape to surface on another world, which is against the will of God, who tells Eve in the Bible she`ll have `perpetual enmity` between her seed and the serpent`s:
` ... [but] will crush the head of the serpent with her foot before she leaves.` (Gen: 3. 15)
US President Ronald `ray gun` Reagan`s `SDI` rings the globe with space based and ground based missiles in betrayal of Neil Armstrong`s first foot on the moon in 1969, while 9/11 2001 was a Hollywood, Babylon, exported program derived from `disaster` movies like `blockbuster` Towering Inferno, returning to destroy the Twin Towers of the World Trade Centre constructed in the global optimism of the 1970s to reestablish the `rough trade` of homosexual `brutality and violence` and so keep the woman`s foot firmly upon the Earth in pederasty and war.
By the 1980s Hollywood, Babylon, had received a facelift from Jewish film director, Steven Spielberg, which looked like Moses leading his people to the `Promised Land` of genuine emotion followed by conversion experiences thanks to the influence of what is termed `schmaltz` in Yiddish. In ET: The Extratterestrial (1982) a stranded alien is helped to `phone home` by his young friend on Earth and his parents arrive in a spaceship to take him back to the stars above, while in Close Encounters Of The Third Kind (1977) a `mother ship` arrives to take a few lucky individuals to live amongst the stars with the aliens.
Spielberg had created an affectionate picture of human life, whereas the Hollywood, Babylon, program was of `woman`s seed` as its enslaver and devourer`s confectionate. Projecting themselves as aliens, men perceived themselves as defending the Earth against aliens where there were none to be seen. Consequently, men were the aliens, but remained convincing through Hollywood, Babylon movies like My Stepmother Is An Alien (1988) with Kim Bassinger in which the man, Dan Ackroyd, is actually the representative alien trying to convince the woman to accept his semen and breed more aliens. Humanity would remain occluded through Hollywood, Babylon`s censoring of the `biunity` of the human species of `woman`s seed` as the biblically foretold `Advent` of the `futanarian` woman with her own penis` semen and destiny amongst the stars and planets of God`s `new heaven and Earth` after escaping from the aliens of the Earth through the development of her own brains` technological potential denied her by men`s `penis envy`.
Spielberg`s approach towards the alien differed radically from 1950s Hollywood, Babylon, alien invasion movies, such as Invasion Of The Body Snatchers (1956), in which aliens are depicted taking over the bodies of humans, or the later `spoof` Mars Attacks (1996), in which aliens evince irrepressible laughability in destroying the Earth. Spielberg collapsed under the weight of Jewish heritage to direct Schindler`s List (1993), a movie about the 1930s Nazi extermination camps in which six million Jews died, and this contributed to the Hollywood, Babylon, program, so that pogroms occurred amongst `small screen` and `big screen` television and cinema audiences in Yugoslavia (1991-2001), Srebrenica, and Ethiopia, Dharfur (2003-), during the respective Christian-Moslem and internecine Moslem wars there, and in other places. Hollywood, Babylon`s preoccupations with the alien and alienating had resulted in the `serpent`s seed` of pederasty and war beginning its exterminations of the human species of `woman`s seed` once more.
Spielberg had created an affectionate picture of human life, whereas the Hollywood, Babylon, program was of `woman`s seed` as its enslaver and devourer`s confectionate. Projecting themselves as aliens, men perceived themselves as defending the Earth against aliens where there were none to be seen. Consequently, men were the aliens, but remained convincing if humanity was kept occluded through Hollywood, Babylon`s censoring of the `biunity` of the human species of `woman`s seed` as the biblically foretold `Advent` of the `futanarian` woman with her own penis` semen and destiny amongst the stars and planets of God`s `new heaven and Earth` after escaping from the aliens of the Earth through the development of her own brains` technological potential denied her by men`s `penis envy`.
The problem of `penis envy` was well documented in the work of Jewish German psychoanalyst, Sigmund Freud (1856-1939), while the role of the penis` instinctuality in transforming libidic energy into intellectual and spiritual creativity was examined by Swiss depth psychologist Carl Gustav Jung (1875-1961). Although Freud described civilization as `nothing but` the result of penis repression, Jung observed that the penis was a `space rocket`, that is, the desire of the penis was to leave Earth for the planets and stars. But neither Freud nor Jung conceived of the penis as female and men as the parasitical alien organism that had taken over her host womb to enslave her and devour her civilizations, cultures and arts in its ceasless wars against her Earth. That was left to God to explain to Eve in Genesis` forewarning her of the serpent`s seed`s `perpetual enmity` for her own seed, and to Hollywood, Babylon, whose heroes were the best the aliens had to offer as they continued censoring and occluding the female biunity of the true human picture with `action heroes`like Kurt Russel in scenes of utter devastation in Escape From New York (1981), while a single token nubile female looks on appreciatively and without the audience being able even to perceive the irony before our hero escapes on to further scenes of utter devastation in The Thing (1982), which is described as an enslaving and devouring parasite, that is, an `action hero`:
`... should The Thing ever reach civilization, it would be only a matter of time before it consumes humanity and takes over the Earth.`
By the 21st century Babylon, Hollywood, had ditched the all but `gay` action hero protecting his apparent fiancee by means of planet wide devastations for the torture movie and the apparent `snuff` film in which nubile maidens were to be seen armless, headless and legless amidst saws and other less obviously masonic tools of butchery employed by her erstwhile knight in shining armoury in movies like Saw (2004) and Scream (1996). The romantic comedies of films such as The Housesitter (1992) with Goldie Hawn as the waif confectionate, or When Harry Met Sally (1989), famous for Meg Ryan`s voluble fake orgasm demonstration while eating at a packed restaurant with co-star Billy Crystal, were viewed at best as affectionate hors d`ouevres for the main course.
More edible Hollywood, Babylon, confectionate were Jody Foster and Julianne Moore starring deliciously opposite Anthony Hopkins as `Hannibal the cannibal` in Silence Of The Lambs (1991), Hannibal (2001) and Red Dragon (2002), while Hannibal`s monicker is actually a misnomer because he`s a parasitical devourer and the women would have to eat each other for cannibalim to be a part of the movie because they`re the humans. World Trade Centre (2005) was just desserts as Hollywood, Babylon prepared for `just deserts`, Gulf II, the pre-divorce `TV war` movie of `woman`s seed` at the battle over the planes of Armageddon before the women of Revelation packed up after their Baghdad`s - and went.
1 http://en.wikipedia.org/wiki/The_Thing_(1982_film) .