Traditional British and American Horror of Horrors

Traditional British and American Horror of Horrors

 

The United Kingdom is almost universally known to be sexually repressive to the point at which lavish stage shows such as No Sex Please We`re British (1971) epitomize what`s thought to be best about England, irrespective of the thoughts of the people that live there. In recent years the `English disease` managed to make its way across `the pond` of the Atlantic ocean where, in the steps of the `soaraway Sun` newspaper`s ban on `Page 3 girls`, who`d been appearing naked there, apart from their bikini briefs, since Stephanie Marrian, on November 17, 1970, Hugh Hefner`s nudie magazine, Playboy (1955-), had its nudes appear scantily clad, rather than naked, from the issue of the magazine published in March, 2016, onward. Although Playboy full frontal nudity was re-established, with Playboy re-introducing nudes for the March, 2017 issue, the principle of sexual repression had been seen to return as a symptom of a universal malaise within sick Western society. The `Page 3 girl` made her last appearance on January 22, 2015, `Nicole, 22 from Bournemouth`, and sales of The Sun were at their lowest since early 1971 that February, which were also the lowest since Australia`s publishing magnate, Rupert Murdoch, acquired the newspaper, and instituted Page 3 as its main business feature. Consequently, the absence of Page 3 was symptomatic of sexual repression winning over public taste, and financial success, based on a moral perspective, which needs to be examined more fully in order to explain why the absence of nudes from Page 3 and Playboy wasn`t moral.

 

 

 It could be argued that sexually repressing public taste, and business success, by banning nudity from Page 3 of the UK`s newspaper, The Sun, and the USA`s Playboy magazine, was nevertheless moral, and so good, However, it would be necessary to accept that nudity per se is evil. The usual rationale for arguing that nudity is evil is that it encourages adultery. However, women who can sexually reproduce with each other are called futanarian, because they have their own penis` semen as well as wombs, so constitute a separate species, which men can be said to have contaminated, and that`s adulteration. Consequently, adultery is the adulteration of the human futanarian species of `woman`s seed` by men`s semen, which is what their boy sons, that is, their poisons, are. In short, sexual repression is men`s way of making sure that women`s penis aren`t seen on Page 3, or inside the glossy pages of the ostensibly men`s magazine, Playboy, which is in fact for women, who`re what`s left of the human futanarian race of `woman`s seed`. Jesus `Christ`, `the chosen`, who was born from his mother, the Virgin Mary, uncontaminated by male semen, when shown a woman ostensibly caught in adultery, said: `Let he who is without sin cast the first stone.` (John: 8. 7) Because women are a single separate race unfettered by ownership disputes in ring slavery, none of them are adulterous, whereas men adulterate women`s species, and so adultery is what men practice as parasites. In parasitology, the parasite that emerges from the host to kill it is termed `parasitoid`, which means that nudity that encourages women`s human futanarian sexual reproduction is morally good. Jesus was the Jewish Messiah during the occupation of Palestine by the Roman Empire who was executed as a `dissident` for teaching: `Love your neighbor as you love yourself.` (Mk: 12. 31) Taken to the hill of Calvary outside the city of Jerusalem, he was nailed to a cross of wood and left to die. Upon his death, he experienced Resurrection and Ascension to heaven in prefiguration of that of `woman`s seed`, which is the meaning of his role as a Messiah born uncontaminated by male semen.

 

 

 In Christian iconography, Jesus` mother, the Virgin Mary, is depicted crushing the head of a serpent with her foot, not because the serpent is a penis, but because the serpent represents the angel, Satan, who was cast out of heaven by God for rejecting God`s plan that the human host would be greater than the angelic. Turned into a serpent by God, Satan was left in Eden, which was the place where God created Adam, the first man, and Eve, the first woman, who was tempted by Satan, the serpent, to `eat of the fruit of the tree of the knowledge of good and evil`, that is, death, saying: `You shall be as gods.` (Gen: 3. 5) Usually `original sin` is understood as the penis` semen represented by the serpent, which produced war. Consequently, Satan is the penis offering ephemerality in ignorance and death in rejection of God`s `fruit of the tree of life`, that is, immortality, whereas Adam is futanarian `woman`s seed`, which is why Eve is euphemistically depicted as being born from his `rib` or side, because futanarian women are self-fertilizing as a human species` survival trait. However, because saurians were the dominant form of life on Earth 248 m.a., during the Mesozoic period of pre-history, and preceded hominid evolution 220 m.a., in the Jurassic period, God`s angels are saurians, so the serpent, Satan, represented an attempt to enslave the human futanarian species` host womb with its penis` semen for war`s entertainment, which is why Christianity, the religion derived from the Old Testament, that is, the law and history of the Jews, mistakenly perceives the penis per se as evil. As God told Eve in Eden: `You shall crush the head of the serpent with your foot, but he will bruise your heel.` (Gen: 3. 15) Eve`s `seed` has better brains, so the human futanarian species of `woman`s seed` will leave the Earth to colonize the planets amongst the stars of heaven despite the efforts of the `serpent`s seed` of Satan to prevent her from leaving.

 

 

 The entire history of civilization, culture, art, cinema and mass media entertainment is that of the efforts of the `serpent`s seed` to prevent `woman` seed` from sexually reproducing her own brains` powers and leaving. Page 3 of The Sun was just the tip of the iceberg, and you couldn`t even see it inside the girls` bikini briefs, because it`d melted away in the heat of battle. As Jesus` disciple, John, wrote in his apocalyptic Revelation of the future growth of evil from its days as a serpent in Eden: `The dragon was wroth with the woman and went to wage war on the remnant of her seed.` (Rev: 17. 5) Hollywood, the district of the city of Los Angeles, known as the capital of the film industry on the west coast of the state of California, USA, and labeled `Babylon` (c. 4000 B.C.), for the capital city of the Persian Empire, which was named for `a woman` of the Bible, celebrates war against `woman`s seed` to ensure its financial success: `Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5) If Babylon followed the pattern of ancient Greece, host womb slavery in homosexuality and pederasty for war against `woman`s seed` was institutionalized, which is why `Babylon` was abominated. Either that, or she was abominated by men because she was independent.

 

 

 Ancient Greece`s paradigm was HIV/AIDS, represented by the `Trojan horse` left outside the city of Troy, according to the Greek poet, Homer, in his Iliad (760-10 B.C.), to be taken in by the Trojans, and from whence the Greeks emerged to enslave the host wombs of the women to spread their contagion further. By the late 20th century, the `incurable killer disease`, HIV/AIDS, was being spread by men`s mixing blood, shit and semen in each others` anuses in mockery of women`s futanarian mode of human sexual reproduction, and the paradigm for the death of the brains of computers, which might have helped the race limp on, was the `Trojan horse` virus, developed by the 21st century successors to the ancient Greek homosexuals, the `geeks`, to infect machine brains and kill them. Because homosexuality was the parasitoid danger posed to the human futanarian race of `woman`s seed`, HIV/AIDS was its `biological weapon` keeping women in fearful faithfulness to her oppressors in ring slavery. Consequently, sexually repressing public taste and business success in favor of a false moral good, that is, the discouraging of adultery, where only men can be adulterous, and women`s single futanarian race isn`t, because she doesn`t wed, was an aspect of human slavery: `At the resurrection people will neither marry nor be given in marriage; they will be like the angels in heaven.` (Matt: 22. 30) The growth of computer viruses since the late 20th century was symptomatic of the desire on the part of the parasitoid alien devourer of human brainpower to maintain slavery in ephemeral ignorance and death, which was the aim of the propaganda tool, Hollywood, `Babylon`, capital of a global media Empire for the USA, and with its vision of life accepted wholeheartedly by huge swathes of the planet`s enfranchised majorities.

 

 

 Because democracy is based on the Greek state`s enslavement of the human host womb of the futanarian species of `woman`s seed`, humans aren`t enfranchised: `Let he that has wisdom have understanding. The number of a man is the number of the beast and his number is six hundred three score and six.` (Rev: 13. 8) Because 66.6 % is the majority it always has; if the human futanarian species of `woman`s seed` is absent. In short, the ephemerally ignorant masses will always accept the manufacture of men and women as a single male brained creature wearing each others` clothes in TV transvestism for the waging of war as an entertainment for the parasitoid alien that has bred them for that purpose: `The second beast was allowed to impart life to the image of the first beast so that the image of the beast could talk and order the execution of those who would not worship the image of the beast.` (Rev: 13. 15) John is describing the evolution of cinema into TV, although men and women had been manufactured by the `beast` as TV transvestism, broadcast for human consumption as war, long before John Logie Baird invented the television machine in 1926. The `beast` is men and women who`re a pedophile that sends its children off to die in war if they don`t worship it. The children have to die so that they`ll be forever brainless in ephemerality and ignorance, so that the pedophiles can play with children again. Consequently, advances in medical science to provide a cure for HIV/AIDS, for example, aren`t desirable to pedophiles, because immortals wouldn`t be children for the pedophiles to play with. In other words, it`s in the interests of pedophiles, and pederasts, that nudity is banned, and the `moral ground` of adultery is Christianity`s Satanism, that is, in sponsoring adultery as a moral evil, Christians are become the abominators of the human race, because `woman`s seed` isn`t ring slaved in marriage, so is ring-free from accusations that her single independent species is adulterately evil and immoral through her gregarious mode of unfettered sexual reproduction amongst her own race.

 

 

 The simplest way to understand is to look at horror movies; especially those made by the UK`s Hammer studios during the 1970s, when Page 3 was institutionalized, and UK magazines like Mayfair (1965-) rivaled America`s Playboy in terms of sales. Mayfair was littered with Hammer studio actresses taking time out from their efforts in front of the cameras to be nudie stills for masturbating adolescents, who legally had to be at least 18 +, so that their parents could feel safe in the knowledge that they weren`t encouraging adultery, which of course they were. As pedophiles, they`d be looking for their children to go to fight and die in a foreign field forever England, so that they could be boys` owners again, and play with some more, like it`s written in the pedophile Bible, Boys Own (1855-90) magazine, justly famous for its warmongering insanity, and for the toilet humorist, Boys Own Paper (1897-1967), both of which alluded to the fact that they`d stolen the woman`s penis, before administering succeeding doses of the boys` owners, so she wouldn`t ever remember her own penis` `semen. Although Page 3 of The Sun paper duly emphasized her lack, it was presented as an Empire, similar to Japan`s, upon which the woman would never be set upon again by the alien parasitoid devourer. In Japan, the women`s feet were traditionally bound, so that the human `futanari`, which is what `woman`s seed` is called in Japan, would remain close, and couldn`t run to escape, while boys were taught to bow to each other, rather than run away, that is, war was a concomitant of homosexuality in pederasty`s desire that boys bend. According to tradition, Satan was expelled from heaven for refusing to bow to Eve and Adam, which suggests that homosexuality in pederasty for war against human futanarian `woman`s seed` was the result of the desire of the `serpent`s seed` that humanity bend, and that the `incurable killer disease`, HIV/AIDS, was an aspect of the alien parasitoid devourer`s will that the human race should break as its brainpower was consumed through sodomy.

 

 

 The basis of Hammer House Of Horror was the vampire legend popularized by Irish writer, Bram Stoker, in his 1897 novel, Dracula, which itself was based on the history of Prince Vlad Dracul of Wallachia (1428/31-1476/7) in Eastern Europe, whose practice it was to impale his victims on stakes after a battle. The vampire legend was that only a stake in the heart could kill a vampire, whereas it was the truth that futanarian women`s penis` `seed` for the sexual reproduction of human brainpower was the stake that women had in the future and the stake in the heart of the draco `serpent`s seed` that lived by boy-sonnning her, and being a devouring parasitoid parasite upon her species` host womb. Although Jesus` Christian symbol was depicted throughout Hammer`s films as a potent symbol against evil, Christianity`s Satanism generally perceived the cross of Jesus` crucifixion as meaning torture, whereby others would have Redemption, which is what Jesus` death, Resurrection and Ascension to heaven was, for those who believed that was what human sacrifice produced. Consequently, scenes of torture and death were the basic fare of Hammer Horror because women`s cocks would`ve been too terrifying for the vampires. The premise was that of the modern romance situated in the 19th century called a `bodice-ripper`, for example, Kathleen Woodiwiss`s The Flame And The Flower (1972), which was the first historical novel to go into the bedroom with the principals. Commonly, in Hammer films, the `bodice-ripper` heroine succumbed to ravishment, with the added bonus of teeth in the neck, drinking the blood of the virgin, so that the monster would have an eternal bride, though she`d be doomed to God`s punishment of eternal unendurable pain, that is, perdition, for being bitten by the bug. The paradox of the innocent woman`s reprobate status after being bitten was explained as the consequence of her committing adultery, whereas it was the woman who was adulterated, so why was she doomed? Because that was the horror, although it would`ve terrified UK cinema audiences far more, if a woman`s cock had been on screen, because it`d mean a stake in the heart of the vampire, which didn`t want immortality for `woman`s seed`, through advanced medical science`s syringe injected elixir of eternal life, but rather ephemeral unconscious ignorance for its children, so that it could play war with them, and inject them with HIV/AIDS, as a pederast from the penis that, somehow millennia ago, the creature had stolen by inveigling itself into the human futanarian species of `woman`s seed` host womb, from whence it`d been preparing to emerge with its HIV/AIDS injecting human species` murder weapon.

 

 

 Although the studio was founded in 1934, the first genuine Hammer Horror was The Curse of Frankenstein (1957), which The Tribune called `a peepshow of freaks`, while for The Times it was `sadists only`. Both newspapers were essentially correct, because men and women were the `beasts` of Revelation, as the single male brained creature wearing each others` clothes, manufactured at least since ancient Babylon by homosexuality in pederasty for a sadistic war against `woman`s seed`, kept in ephemeral ignorant unconsciousness; lest she run her own race and escape through her human futanarian species of `woman`s seed` capacity for sexually reproducing her own brains` powers. The plot derived largely from Mary Shelley`s novel, Frankenstein (1818), although some of the material was more in keeping with 1970s salaciousness, for example, actor Peter Cushing in the role of Victor Frankenstein, has actor Christopher Lee, in the role of a monster he`s made from stolen body parts, and who usually had the role of Dracula in subsequent Hammer films, to murder Victor`s maid, actress Valerie Gaunt in the role of Justine, who`d threatened to expose Frankenstein`s activities as a madman; if he didn`t marry her for his child she was carrying. The genuine horror was that The Curse Of Frankenstein depicted what men and women are, because the monster represented what it was that the ancient Babylonians had done in manufacturing the `remnant` of `woman`s seed` as a single male brained creature wearing each others` clothes in TV transvestism; to walk the Earth as a psychologically unbalanced psychopathic killer.

 

 

 Hammer`s first foray into the vampire genre was Dracula (1958 film) starring actor, John Van Eyssen, as vampire slayer Jonathan Harker who, in May 1885, arrives at the castle near Klausenburg (Cluj) where actor Christopher Lee, has the role of Count Dracula, a vampire hunter. A young woman, claiming she is a prisoner, bites his neck and, when he awakens, he descends into the crypt of the castle at sunset, where he finds Dracula and the woman in coffins, and he drives a wooden stake into her heart, but Dracula escapes into the night. Because Dracula represents the beheading of `woman`s seed` by removing her capacity to sexually reproduce futanarian humanity`s brainpower, he`s homosexuality in pederasty for war against women, and this is emphasized by the supposed exchange of immortality for impotence, as a consequence of Dracula`s being a vampire, that is, he`s somewhere for the `bug`, HIV/AIDS, to lodge, as it awaits the spread of its viral contamination, through the immortality conferring `blood drink`, which substitutes for sexual reproduction, because viruses are generally thought of by science as being immortal. In short, Dracula is an immortal bug, because he`s symbolically a bugger who can`t get it up with women no matter how sexual they appear, which is the essence of the horror. What`s really frightening is that the vampire horror genre presupposes the existence of the HIV/AIDS immortal virus, because `incurable killer disease`, by the very nature of its filmic existence, that is, for the genre to be explicable, the discovery in the 1980s of HIV/AIDS as having originally arisen in the African Congo, as a variant of simian immune deficiency virus, SIV1, would have to have been foreknown by the makers of the films.

 

 

 Actor Peter Cushing, in the role of Abraham Van Helsing, vampire hunter, arrives at the castle to find the destroyed remains of the vampire woman in the crypt, and Harker in Dracula`s coffin turned into a vampire, which Helsing destroys by staking. Helsing gives news of Harker`s death to actor Michael Gough in his role of Arthur Holmwood and his wife, actress Melissa Stribling in her role as Mina, who are brother and sister-in-law to Harker`s fiancée, actress Carol Marsh in her role as Lucy Holmwood, who it`s revealed has succumbed to the bite of Dracula, that is, in HIV/AIDS terms, she`s been infected by the immortal `incurable killer disease`, which has left her a shell, like that of all of the other victims, who must be staked in order to be destroyed as viral `bug` containers representative of the bugger, who is impotent with attractive women, but kills them in what God warned Eve would be the `enmity` of the `serpent`s seed` of the draco for her human futanarian species of `woman`s seed`. Lucy, now undead, entices her niece, actress Janina Faye in her role as Tania, but Helsing stakes her. Helsing and Arthur travel to Ingolstadt, the destination of Dracula, who Helsing saw leaving in a coffined hearse as he arrived. Mina is tricked by a message telling her to meet Arthur in Karlstadt, and she`s discovered to be another of the victims of Dracula, who`s coffin is found to be in the cellar of the Holmwoods' own house. Dracula attempts to return to his castle, just before sunrise, where Van Helsing, forming a cross from two candlesticks, forces him into the sun. The vampire crumbles to dust, while Mina is saved. The ending in which Dracula crumbles to dust prepares the way for Hammer`s next film, The Mummy (1959), about a tomb virus emerging from the dust of an ancient Egyptian crypt, that is, HIV/AIDS lives on horribly, rather than that the UK`s cinema audiences be terrified by Mina`s cock`s capacity to reproduce and escape the parasitoid through her human futanarian species of woman`s seed`s brains` powers for manufacturing immortality conferring medicine.

 

 

 Cushing is in the role of archaeologist, John Banning, in the Egypt of 1895 who, with actor Felix Aylmer as his father, Stephen, together with his uncle, actor Raymond Huntley as Joseph Whemple, search for the tomb of Princess Ananka, actress Yvonne Furneaux in her role as high priestess of the god, Karnak. An Egyptian warns them not to go in, lest they face a fatal curse against desecrators. A scream is heard and Stephen`s found catatonic. Years later he recovers at the Engerfield Nursing Home for the Mentally Disordered. He tells John that, as he read from the Scroll of Life inside the tomb, he brought back to life Kharis, a high priest mummified to serve as Ananka`s guardian, after Kharis had sought to bring her back to life, because of his forbidden love for her. Kharis will hunt down, and kill all those who desecrated Ananka's tomb, because he represents the HIV/AIDS virus, which is symptomatic of men`s ancient folly in seeking to enslave a species` host womb not theirs. Kharis kills Whemple, and John notices that his wife, Isobel, actress Yvonne Furneaux in her second role in the film, bears an uncanny resemblance to Ananka. Kharis tries to choke John in his study, but releases him when he sees Isobel loosen her hair. The Egyptian orders Kharis to kill Isobel, but Kharis kills the Egyptian, because Isobel resembles his forbidden love, Ananka. The mummy carries Isobel into a swamp, where John`s cries waken her to tell Kharis to release her. Policemen open fire, and Kharis sinks into the swamp. The dénouement, in which Ananka becomes Isobel, illustrates that the sexual desire of the `seed` of the species` penis of women`s for its own host womb is stronger than death, but Resurrection and Ascension to heaven isn`t for the carrier of the virus, Kharis, who`s mummy`s curse. The duplication of Ananka, with Isobel, emphasizes the persistence of `woman`s seed`, and the aim of the `serpent`s seed` ever to thwart her desire to replicate herself.

 

 

 Hammer made six sequels to the Frankenstein film between 1958 and 1974; eight Dracula films between 1960 and 1974; and three more `mummy` films between 1964 and 1971. It also produced One Million Years B.C. (1966) starring Hollywood, `Babylon`, sex symbol, Raquel Welch, but no women with cocks, because that really would have proved too frightening for cinema audiences, although the `cave girls` series ran to three sequels. In the Karnstein Trilogy, based loosely on Sheridan Le Fanu's early vampire novella Carmilla (1871), Hammer showed some of the most explicit scenes of lesbian nudity yet then seen in mainstream English-language films. The Vampire Lovers (1970), starring actress Polish actress Ingrid Pitt, Lust for a Vampire (1971) with actress Yutte Stensgaard in the role, and Katya Wyeth as Carmilla in Twins of Evil (1972), demonstrated the truth that women, who can`t see their own cocks in the mirrors of their dreams, are deemed abnormal by their society for wanting each other, whereas it`s normal, in the single species of futanarian `woman`s seed`, for women to sexually reproduce with their own race, and to abjure the male vampire that remains invisibly present in the mirror; even when they`re alone: to persuade them of a false and schizophrenic attraction for a creature not of their sexual preference.

 

 

 The Vampire Lovers is set in early 19th century Styria, where actress Ingrid Pitt - as Carmilla - is left in the care of actor Peter Cushing in his role of General von Spielsdorf. She befriends his niece, actress Pippa Steel as Laura, who dies after nightmares in which she`s attacked. Carmilla befriends and seduces actress Madeline Smith, in her role of Emma Morton, who has nightmares of penetration over the heart. Emma's governess, actress Kate O` Mara, in her role of Madame Perrodot, becomes Carmilla's accomplice in her vampirism. Carmilla departs with Emma and, when Madame Perrodot begs Carmilla to take her too, Carmilla kills her; as she`s killed all others who might compromise her. Though she flees to her ancestral castle, the General forces a stake into her heart, and cuts off her head. Her portrait on the wall then shows a fanged skeleton, instead of a beauty, because men disapprove of lesbianism as a sign of `woman`s seed`. In Lust for a Vampire, at a finishing school in Styria in 1830, actress Yutte Stensgaard, in the role of Carmilla, arrives as a new student. Students in the school, inhabitants of the nearby village, and those who might compromise Carmilla, die. In the finále, actor Mike Raven uses his coercive mental powers in the role of Count Karstein to have Carmilla prevent her lover, actor Michael Johnson as Richard Lestrange, from saving her. As she attacks, she's killed by a falling block of masonry. The symbolism is that of the Mason`s insofar as women are expected to accept their role as ring slaves in marriage. However, although Carmila is depicted as loving Lestrange, it`s the desire of a woman for her own penis stolen by a parasite not of her race, which is why she`s depicted as unsuccessfully trying to destroy him. Maria and Frieda are Twins Of Evil, who move to Karnstein, and actor Peter Cushing in the role of uncle Gustav Weil, a fanatical witch-hunter. Frieda Gellhorn, actress Madeleine Collinson, seeks the help of Count Karnstein, who sacrifices a girl, which awakens actress Katya Wyeth, in her role as vampire Carmilla, from her grave, who makes the Count vampire, and he makes Frieda vampire. Maria, actress Mary Collinson, has a teacher friend, actor David Warbeck, in the role of Anton Hoffer, and when her twin, Frieda, tries to seduce him, he sees her lack of reflection in a mirror, which is indicative of her vampire status, so he repels her with a cross. Weil beheads Frieda, and Anton pierces with a spear the heart of the Count, who crumbles to dust. Frieda represents the futanarian woman unable to be free from being seen by men, although Anton can`t see her in the mirror, which is an act that affords some comfort to a woman who only wants to see other women. Carmilla appears, because she`s called by the death of a member of her own species of `woman`s seed` to exact a price, which is Maria`s wedded survival, and Carmilla`s suggests that, for policing `woman`s seed`, she`s earned immortality. Lesbians are the species of women`s police, because they want women, whereas homosexuality in pederasty for war doesn`t, and that`s normative for men. Consequently, Carmilla`s role as a vampire is as a woman adulterated, that is, she doesn`t commit adultery, so is a redeemed and immortal policewoman.

 

 

 The final Hammer Horror was a sequel to The Devil Ride`s Out (1968), an adaptation of a 1934 Dennis Wheatley novel, set in the South of England in 1929, and To the Devil A Daughter (1976) was an adaptation of a 1953 Wheatley novel. It starred German actress, Nastassja Kinski, while The Devil Ride`s Out is the story of actress Niké Arrighi, in the role of Tanith Carlisle, who is saved from a cult of devil-worshipers on Salisbury Plain; to whom the devil, Baphomet, appears. The group's leader, actor Charles Gray in the role of Mocata, summons the `angel of death`, which kills Tanith, where she`s staying with her friends, actress Sarah Lawson, and actor Paul Eddington, as Marie and Richard Eaton, and thereafter Mocata abducts their daughter, actress Rosalyn Landor as Peggy Eaton. In the role of Nicholas, Duc de Richleau, actor Christopher Lee has Tanith's spirit possess Marie to combat Mocata. Tanith breaks Peggy's trance, who is then led by her in the recitation of a spell that brings God`s retribution. The angel of death ends Mocata`s life, and he receives eternal damnation. The Devil Ride`s Out is a description of how Christianity became Satanism, because the woman is engaged with evil on the understanding that it`s her role, whereas `woman`s seed` is a separate species, so the story actually has nothing to do with her, whose Redemption is certain, because she can`t commit adultery with a creature not of her race, but is rather its slave, and that`s what the narrative demonstrates. In the sequel, To The Devil A Daughter, Nastassja Kinski has the role of Catherine Beddows who , on her 18th birthday, is to become an avatar of Astaroth, a cherub of the angelic order, who was worshiped, or rather celebrated, in ancient Sumeria in the Middle East. As a goddess, she was `woman`s seed`, known as `queen of heaven` in Palestine, before the Jews arrived there, having ostensibly escaped slavery to Pharaoh, Thutmoses III, in Egypt. Although the Jewish `chosen people` were explicable as futanarian `woman`s seed`, because a Jew can only be born from a woman, Judeo-Christianity became a slave religion, wherein Astaroth and `woman`s seed` were dehumanized as animals to be bred to produce homosexuality in pederasty for war in Satanism against the `remnant` of the human futanarian race. Consequently, Kinski`s role isn`t ambivalent, because she`s the starlet presented as the `queen of heaven`, which is the meaning of the filmic vehicle, whereas the plot is again a description of Christianity`s Satanism. A young woman is caught up in a derogation of `woman`s seed` without a visible penis, so no possibility of sexually reproducing the brains` power of her own race to run and escape evil, which inevitably pursues her in the guise of men`s desire to replicate themselves through ownership of her host womb.

 

 

 Hammer was revived in 2007, in a film era in which special effects (SFX), huge scale, and indeed grandeur, characterized a horror genre often far greater in scope than its `70s predecessors for its nightmarish ventures into human psychology, and the psychopathology of the evil; especially in the USA. In The Resident (2011), Hollywood, `Babylon`, actress Hilary Swank, in the role of Juliet Devereau, rents an apartment in New York city. A stalker observes her from across the street, and is entering her apartment, which has been rebuilt to include secret passageways, and a one-way mirror, which the stalker, actor Jeffrey Dean Morgan as Max, who Juliet rented the apartment from, uses to watch her have sex with actor Lee Pace as Jack. After his wank, he drugs Juliet's wine, so he can be close with her when she`s unconscious. After a date with Juliet, Jack`s off and is attacked and injured by Max, who that night drugs Juliet, and attempts to rape her, but she awakens, and he flees after giving her an injection. She checks security camera footage, and sees Max`s assault. Max breaks in, and pulls her into one of the secret passageways. There she sees Jack`s body, murdered by Max, who saw him as a threat to his parasitoid activities, but Juliet escapes by killing Max with a nail gun. The instrument of liberation is symbolic, because Jesus was nailed to the cross of his crucifixion, before he died, and experienced Resurrection and Ascension to heaven in prefiguration of that of `woman`s seed`. Christianity`s Satanism is that others die in order for the torturers to be redeemed, that is, human sacrifice redeems the sacrificers, whereas the meaning of Jesus` death, Resurrection and Ascension to heaven is that women are redeemed, because not responsible for the adultery that poisons their independent species. In short, Juliet is a Satanist, from a Christian point of view, because she`s a woman, and wants to live, which might mean for her that she practices what Christianity perceives as adultery, that is, unrestricted unmarried sex with members of her unowned single and independent race, which is why The Resident is a horror movie, and not simply a thriller. Max is nailed, because Juliet wants to escape, but Christianity has elevated the principle of nailing into slavery, that is, everyone is nailed, who the rich and powerful can nail, so that the human futanarian species of `woman`s seed` can`t escape her tormentors. If it was a human interest story, Juliet would be fucking the babes with her own cock, but that`d be horrifying for men of the `serpent`s seed`, so on with the business of Christianity`s Satanism it is.

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