I’ve tackled the mythos behind Ridley Scott’s recent additions to the Alien series before, but I made a few errors—essentially, Scott almost has a correct mythos but he has distorted it because he takes a materialist outlook. I will assume that you have seen Prometheus and Covenant—not good films in themselves but useful for their mythos if not their dramatic value.
However, to briefly recap: Scott’s films are a take on the “ancient alien” thesis—in his films “Prometheus” is not a god but a gigantic alien race with translucent white skin dubbed “the Engineers” whose DNA is the source code for all life on Earth. Our creators left remnants behind in various caves and temples and these are tracked down by archaeologists who, with help from the massive Weyland Corporation, set out to use the clues contained in these ancients sites to find our creators—when they arrive on the distant planetary source alluded to in the archeological evidence, it turns out the coordinates led to an “Engineer” military base where an accident with a biological weapon, meant to wipe out the “failed” experiment on Earth, has killed the staff (the weapon is later later re-released and mutates into the alien Xenomorph). Covenant picks up the story on the Engineer’s home world—now occupied by the sole survivor from the first film, the uncanny android “David”.
This is all based on reality, but it is an inverted reality—Scott is a materialist and so has distorted the truth, and he has done so because he works for Hollywood and those forces that control Hollywood. Previously, I took a materialist read on the Prometheus films myself; hence, I said that the European characters stand for the Indo-Aryans—the war-like “engineers” who construct technology based on military developments (as compared with, say, the more theoretical Jewish intelligence instantiated in men like Einstein). They have been created by the race of giants—the Nephilim of the Bible, here translated into an off-world alien race with vast technological capacity (the Engineers).
In the film, the Europeans have created David, this ultra-Aryan blond blue-eyed android that is perfect (named after Michelangelo’s “David”—he surpasses the humans, just as the humans surpassed the Engineers, and David will design the alien Xenomorph to surpass both himself and the human race). The spirit is Darwinian: natural selection, DNA, evolution—Engineers make us, we make David, David makes the Xenomorph, we kill the Engineers, the Xenomorph kills us…the cycle of life.
To put this story on its correct plane, the spiritual plane: the Europeans appeared about 12,000 years ago—and we appeared because we are the children of the Nephilim (the giants, the heroes). These were not “space aliens”; they were angels that mated with human women—as attested to in the Bible (“Not Angles but angels”—literal truth). The Nephilim were regarded positively in the Bible, being heroes of renown—and this period, in fact, corresponds to Hesiod’s “Heroic Age”, an age of demi-gods that follows his “Bronze Age” and which is in line with the Hindu cycle of ages (the Gold, the Silver, the Bronze, and, finally, the Iron—the kali yuga).
The Nephilim were also know as the Rephaim (the dead ones, the sky-dwellers)—and this refers, per ancient Greek and Egyptian religion, to those masters who became stars (as Pharaoh did). The “hidden masters”, to adopt a term from cringey 19th-century Theosophy, vanished into the folds of space-time—they became stars. The Nephilim infused holiness—spiritual power—into the children of the women they mingled with; in short, they gave humans, Europeans, their spiritual dimension—their souls.
You may recall that Jacob wrestled with an angel—and this gave rise to the term “Israel”, “those who struggle with God”. Brain-dead white nationalists will complain that “the Bible is a Jewish invention that says we’re all descended from Jews”—nonsense. Read your Bible, idiots. The Jews only appear with Jacob—Noah, for example, was not a Jew. So Jacob’s struggle with an angel marks the start of Jewish history. Jacob means, etymologically, “crooked walker”—possibly that alludes to the leg injury Jacob is said to have suffered during his struggle with the angel; and yet surely the name predates his injury… “A crooked man who struggles with an angel.” Does he sound like the good guy in this story? No, not really—and his struggle marks the Jewish turn to a materialist path, the path described by Mitchell Heisman, that ends with the creation of a machine-God AI and “eternal salvation” by upload to the computer. “Those who struggle with God”, you see. God being “El”—as in El Al, the Israeli state airline; or, alternatively, El-Ella—the true eternal hermaphrodite referred to by Serrano (El being in Paradise in Dante’s esoteric Commedia).
Indeed, the Hebrews came into conflict with the Nephilim in the famous David versus Goliath story—Goliath the giant, the warrior. The painting below is by a Harlem artist and it depicts Goliath with a third eye; and that is because the Nephilim are the same as the great warriors with their Vimanas—holy vehicles, UFOs—in Hindu and Buddhist scripture. This was confirmed to me synchronistically because I Googled “white” and “Nephilim” and found a document written by a blonde called Dr. White complete with the painting and a positive take on the Nephilim.
Europeans, such as Jordan Peterson and Elon Musk, who have adhered to the Hebraic path, though perhaps unconsciously, worship the electronic anti-God, “the Doge” found in memes (especially anti-Russian memes)—in esoteric thought, everything is reversed; the all-powerful unsayable God becomes “dog”, whereas “the doge” is “the egod” (the electronic God, the false God—the antiChrist). Peterson particularly likes the phrase “Israel means those who struggle with God” because he adheres with those who struggle against God—who live in matter alone; in other words, Peterson worships the Jews and not Jesus—and this is why he rarely, if ever, teaches the New Testament. Similarly, Musk wants us to take rockets to the stars; yet this is quite unnecessary and an inversion, the stars we need to reach are spiritual entities—gods and angels—not physical stars.
Jesus was not a Nephilim, since he was not born from congress with an angel—he was conceived by the power of the Holy Spirit. However, the principle is similar—he was infused with the spirit; so he was related to the Nephilim in nature—and he was sent with a special mission to redeem the Jews. He was, therefore, essentially European—white, spiritually white. Unfortunately, the Jews mostly rejected his message and some, such as St. Paul, distorted it into a rather pernicious cult called Christianity—pernicious because it is egalitarian and so hates blood purity, and yet spiritual ability is in the blood. Christianity has little to do with Jesus, for the most part—it was corrupted very, very early on (people lied then as they lie now); and almost every church currently established is Satanic.
As our world degrades further, we have come more and more under influence from matter, so that the reality of Jesus, the Nephilim, the heroes of old, and the gods has come into question. Hence Scott makes films in Hollywood, a materialist environment in which the Jews predominate, that say that we “really came” from giant evil alien engineers. Note that Scott has inverted the spiritual aspect to the story: the Engineers—the Aryans, “the heroes of renown”—are no longer spiritually infused heroes, they are evil mad scientists bent on war and “genocide” (just like the Germans). We are just creations from genetic manipulation; really, we are star children—a fact Stanley Kubrick managed to get close to, with help from Arthur C. Clarke, in 2001: A Space Odyssey (although this still retains a materialist perspective, though less so than with Scott).
Really, Darwinism, genetics, and so on have some interest as tools but are not reality—reality contains a qualitative aspect, science excludes the qualitative; ergo, all science is low quality—it cannot reach for what is higher, for the true stars; and that is why Scott’s materialist films are so dark and chthonic (as celebrated in Nick Land’s take on Darwinism and the cybernetic anti-God, Xenosystems and so on).
Scott’s films demonise Europeans—Indo-Aryans—as all Hollywood products do. They are presented as the children of evil alien warlords—whereas we are actually the children of the angels, and that is why they hate us so (those who struggle against angels). The android David is a blond blue-eyed Hitlerite ideal: a cold, psychopathic, autistic, homosexual (he admires TE Lawrence films, models himself on Lawrence—homosexuality, autism, and psychopathy are correlated). He is depicted as a continuation of the evil inherent in the Engineers—he births the Xenomorph, an even worse monster than the Engineers or the Europeans (the boss in the film, depicted by Charlize Theron, plays a similar role as the ultra-Aryan corporate manager—being a white South African, she must be even more evil); and, indeed, the company “Weyland” is named after Wayland the Forge from old Scandinavian legend.
So men like Scott either know the truth—or sense it; for example, the Engineers, despite being cold otherwise, activate and fly their spaceships by playing little flutes in the films; and this is because the true “technology”, the technology of angels, is sound—justice itself is a sound; it’s nothing mechanical at all—the films, being inversions, make it look mechanical though. Similarly, the films put the female—with lunar energy—in the leading role; really, the Nephilim are solar—angels are masculine and solar; it is only in inverted times that the lunar feminine has come to predominate.
Men like Scott—and also HR Giger, the heroin-addicted artist who provided the aesthetic for the films and the Xenomorph—are corrupted; they take a materialist stance on life—indeed, in the original plot for the films, Scott wanted to have Jesus to have been created by the Engineers. In other words, he wanted a complete inversion of spiritual reality so that Jesus was just a DNA experiment. Quite wrong—in principle and in fact. Anyway, as the kali yuga draws to an end—as the gods (the angels) return—this will all be resolved; and it will not be resolved in the favour of the liars, Satanists, and materialists in Hollywood—those who, in fact, direct the United States in her Satanic ambitions in the world. As a priest once said to me, “Today, the problem is that people cannot see the stars.” And that is true, but the stars are immaterial.