Second Sun: “2010: The Year We Make Contact”

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2010: The Year We Make Contact is the 1984 sequel to the classic 1968 Stanley Kubrick film 2001: A Space Odyssey (sans Kubrick) and answered such burning questions like: “whatever happened to Dave Bowman?” “whatever happened to that space fetus?” “what ever happened to those monoliths?” and “will HAL get his own Saturday morning cartoon show?”

We receive the answers to all of the above and more in 2010, in the process parsing out the then still current Cold War, an intriguing theory regarding a “Second Sun,” and pretty much telling the same story as the same year’s Star Trek III: The Search For Spock.

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Boss Babies And Ascended Masters

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Boss Baby: I’m on a mission from above.
Tim: Huh? Are you the baby Jesus?!
–“The Boss Baby”

The Boss Baby is an enjoyable movie for the most part; certainly not on the level of something like The Incredibles, but fast-paced, often funny, and with decent animation.

But the central premise of the film—that a “fake” baby with an adult soul was sent down from heaven to prevent a conspiracy against humanity—gets into certified religious territory.

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Thoughts On The “Once Upon A Time In Hollywood” Trailer

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And so the trailer for the long-awaited 9th film by Quentin Tarantino (I go into the significance of the Number Nine as it relates to the subject matter in my post “The Manson Frequency”) has dropped on the Day of the Goddess Eostre, Ostara, the Vernal Equinox.

So it is no surprise that one of the first images we see is that of Margot Robbie as Sharon Tate, in front of a goddess-like image.

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The Metaphysics Of LEGO

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With these simple building-blocks, you can create an entire universe; you are only limited by your imagination. That’s the central premise of the widely-popular LEGO franchise of toys, movies, and videogames. It is a world populated by something akin to the idealized forms of Plato; where anything (vehicles, people, droplets of water) can be replicated by infinite combinations of a set # of pieces.

LEGO—especially now that much of it has made the “jump” from actual physical plastic pieces to uncanny replicas of such in the digital realm—is like a blueprint not only of the underlying structure of our reality, but where reality as we now know it might be heading in the future.

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