Stories for our white children

It is now more important than ever to support the (few) life-giving children’s movies coming out of the Hollywood dream factory. It is no longer – nor was it probably ever – OK, to sit our kids in front of Netflix and Disney and just hope for the best. There is no such thing in any form of mainstream media as ‘light entertainment’. Everything is heavily loaded. So we need a guide to know what kind of content will nourish our children’s minds, and what will poison them… and I aim to provide one here in the coming months.

Most movies today are merely propaganda tools to satisfy the ideology of the ESG pillars of the Great Reset of the World Economic Forum. They don’t reflect the actual beliefs and values of the directors and scriptwriters bringing them to the screens; it’s more that they cannot raise any money to produce their film, tv series or computer game unless it promotes gender-fluidity, mixed race economic dominance, and the need to save the world from climate change. That’s why there is no room for white-skinned heroes in this Woke mindset. They largely tend to favour brown or black-skinned heroines for their protagonists in a realm which is largely peopled with females. Men, particularly white-skinned men, are usually relegated to inferior roles.

So they are writing our children out of the story, as if they have no place in the world to come. It is not even a reflection of reality – if you were thinking that the responsible thing to do would be to prepare them, to ‘manage their expectations’. More than 80 per cent of the countries of the world are going against the Great Reset. And so these vehicles, intended to make our children feel small and insignificant, are just brainwashing missiles in the war against humanity being conducted by the World Economic Forum. This means that by not being vigilant about what our young ones are imbibing through their screens, we are allowing them to be attacked by the last desperate weapons of the losers.

The kinds of fairy tales that white-skinned, Caucasian children and grandchildren need, if the societies they build are to survive and thrive into the future, are not overt teaching stories. The wisdom they contain is not in their faces; it is not so much in the surface story. It is hidden, as symbols and metaphors, in the deeper foundations of the tales. So as far as the little ones are concerned, they are just enjoying a great, thrilling fairground ride. However, a real wisdom story covertly plants seeds in the garden of the multi-storied house of their minds which will bloom in their dreams over time, as they develop the brain capacity to understand them, and to act on them. Thus, in later life, they will be able to face and conquer the Shadow.

There are still a few movies that manage to slip past the radar of the ESG censor, which contain, in their deeper understructures, the life-giving template of the mythological hero that our shamanic, Ice Age, Caucasian ancestors drew in the stars, as I explain in my book, Stories in the Stars. I wrote about one of these recently: Free Guy, and a while ago, I showed how the deeper meaning of Peter Pan was about facing and conquering our Shadows.

I also have a section on my other blog, CLEOPATRA’S NEEDLE, named Fairy Tales, which is dedicated to breaking down the structures of the – surprisingly enlightened – cartoons that came out of the Disney studios just after WW2, like Sleeping Beauty and Cinderella, to show how they were actually about the Alchemical Marriage.

Added to that, I’ve written articles to show how the underskirts of Mary Poppins are allegories for the arcane mysteries of time and space.

In The mythology of Squid Game, I show how the screenplay of this Manga Comics inspired movie was based on the template of the journey of the mythological zodiac hero — as is the original Tuscan story of Pinocchio, in that the trials he faces are set on the wheel of the astrological constellations, and their purpose is to turn him into a real man, or hero. It is an alchemical journey as much as it is astrological, and the symbols and metaphors representing the different stages of spiritual metamorphosis are all there, for those who have the eyes to see.

In the next few weeks, though, I’ll be giving similar treatment on this blog to a number of children’s movies which use the subterranean, metaphoric template to describe how the purpose of the life of the shaman or mystic is the Redemption of the Ancestors, such as Spirited Away (Ghibli Studios), Snow White and the Seven Dwarfs and the 2009 ‘dark fantasy horror’ animation, Coraline.

Of course, George Lucas’s early Star Wars movies were based on the same mythological template – who can ever forget Darth Vader announcing “I am your father!”. But nowadays, anything derived from the Star Wars stable – usually called a spin-off or a prequel – is quite superficial and one-dimensional: if there are any underlayers at all, they are deeply dystopian and politically correct.

The latest Star Wars TV series, Andor, is merely about a revolution – spearheaded by an anti-hero, a Hispanic actor who usually plays thieves and drug traffickers – against an over-powering elite. It gives our children the takeaway message that they don’t have to be any kind of hero to win a war against an enemy that has, in its capacious pockets, all the courts, all the weapons and all the money. Victory will be theirs by right, just because they deserve it. In other words, they are setting up our descendants to be crushed in yet another failed Peasants Revolt.

So instead of just regarding movies as ephemeral light entertainment – here today, gone tomorrow, with no lasting effects – let’s see them for what they truly are. In the same way that we wouldn’t give our children poisonous food, we should try to seek out more nutritious stories for them to enjoy. “We are what we eat” is equally true of the narratives we allow into our, and our children’s, theatres of the mind.


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