It is a little too on-the-nose to flat out say that the storylines of the new Star Wars movies and spinoffs mirror our contemporary dilemma. “The Dark Side has won, the rebels are on the run” and all that. But there are some interesting parallels between the new Star Wars: The Last Jedi teaser trailer that was just released, some current events, and, more importantly, just the general esoteric energy of the zeitgeist.
Important: this post may reveal spoilers and potential spoilers-to-be for the Star Wars movies!
The trailer opens with the character of Rey—whose name resonates the word “king” in Spanish, “Ray” as in a solar ray and/or a ray of light, and the ancient Egyptian “Re,” a form of “Ra,” who is the Sun King and will eventually be folded into the young god Horus.
I’ve covered the Aeon of Horus on this site before—a prophecy channeled by Aleister Crowley during April 8, 9, and 10 of 1904 in his Book Of The Law. The Aeon of Horus is a New Age that breaks free from the “hang-ups” and dogma of the past; favoring not a “good” or “bad” side but a Third Path entirely. We will see later how this all leads to the end of the trailer & its implications.
Rey visits the ocean planet Ahch-To in order to find Luke Skywalker. This immediately brought to mind the announcement by NASA on Thursday regarding the “Ocean Worlds” of Jupiter and Saturn’s moons—worlds that may hold/foster life. Here we have two major news stories featuring strikingly similar imagery, one fiction and one real-life, within a day of each other.
There is a strong “goddess” feeling in the first half of this trailer, as we see Rey paired with bodies of water & then switch to a view of General Leia from behind, surrounded by celestial symbols. The Leia shot resonated to me the goddess Nuit and her “celestial ceiling”; Nuit figuring quite deeply within The Book of the Law.
In another shot, Rey puts her hand to the ground and makes stones “telekinetically” rise—a cinematic image very similar to that of Superman in Man of Steel and Sid in Looper, both films that reference a very Horus-like “special child.” It’s clear that Rey is being “marked” as that “special child,” the young messiah. Rey is being marked as the Horus-type character of this story.
But Horus, Superman, Sid, and (for that matter) Jesus are all male—Rey wouldn’t fit into the mold of that type of archetype, correct? Well, there are two possibilities, here, that might be interlinked. The first is the fan-theory that Rey is like the “reincarnation” of Anakin Skywalker, the “failed” Horus/Jesus figure (which would explain the image in the trailer of Darth Vader’s crushed mask—the husk of his former self). In keeping with Star Wars themes of redemption, that would give Vader/Anakin a “second chance.”
Second, some of the mythology regarding this type of figure, especially as you get into the Gnostic interpretations (and you can fold Philip K. Dick’s VALIS speculations in there), refer not specifically to a male but an androgynous figure. To be quite frank, Rey’s “energy” to me sometimes feels more on the androgynous side. And if she was really Anakin in a former life, then you literally have it “both ways.”
And so you have all this talk of a Messiah-type figure on Good Friday, of all days…which dovetails perfectly to the dour ending of the trailer, when Luke in a voiceover declares that “the Jedi must end.”
Now, what does he mean by that?
Perhaps he speaks to the karmic wheel that is inexorably turned by the constant interplay and battle between Good and Evil. The only way to end such struggle is to finally see beyond the polarities—that is the next step of wisdom. The greatest of Jedi is no match for a person who has learned to transcend the polarity.
Again we get to the Aeon of Horus, of the New Age—as John Lennon sang in “Imagine,” a world where there is no religion, nothing to kill for, no heaven or hell, and everyone living in peace. But there is going to be a lot conflict to sift through to get through to get to that point. It’s not going to be like the child Horus arrives, manifests his/her’s full power, and then it’s paradise. There’s a lot of processing to do, a lot of bandages to rip off, a lot of rot to bring to the surface.
We get another resonance to the Horus myth with a shot of an unconscious Finn in some sort of medical stasis “container”—Finn, the missing male figure, like Osiris in his coffin.
And let’s not forget the star imagery, which is the symbol of the Jedi but could just as well be…I don’t know, Sirius or something like that. The star is the dominant motif of the Last Jedi movie poster (emanating from Rey)—and is also on the old parchment-like map in one trailer scene, surrounded by what looks like astrological symbols.
Finally, there is the date this movie is to be released—Christmas. The first trailer drops on Good Friday, one day after the NASA “ocean worlds” announcement, four days after the anniversary of Crowley finishing his channeling of The Book Of The Law—for a movie coming out on the theoretical date of the birth of the Messiah.
But then again, none of this esotericism and religiosity is any stranger to the Star Wars mythos, which is positively bursting with it.