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Brett's Morgan Notes
🕑 Added 2022-12-24 02:49:09 +0000 UTCMorgan (2016)
Background
This is director Luke Scott’s only feature film, although he has been involved with other cyborgian and sci-fi projects for a few decades (for example, he was the second unit director for The Martian and Alien: Covenant). Not surprising given that he’s Ridley Scott’s son.
Co-starring Monarch veteran Jennifer Jason Leigh, seen in her first shot with a gauze patch over one eye, having been attacked by Morgan in the opening scene. The one-eye motif is not accidental: consider her numerous Illuminati one-eye magazine shoots and the various Monarch-related films she’s appeared in, including her film debut, Eyes of a Stranger (1981), and Heart of Midnight (1988).
Anya Taylor-Joy’s young career is dominated by Monarch credits, she’s appeared in multiple magazine shoots doing the Illuminati one-eye sign (including a cover where she wears the Monarch crown of industry slavery), and she too appears, in her first shot in this film, with just one eye, the other one completely shrouded in shadow.
Kate Mara, sister or Rooney Mara, is pretty suss. She’s appeared in other transhumanist propaganda projects, including Transcendence (2014), starring Johnny Depp. Her first ever movie, by the way, was the DOD-supported Random Hearts, directed by the suss Sydney Pollack (who directed Three Days of the Condor and who plays Ziegler in Eyes Wide Shut).
Paul Giamatti, a Skull and Bonesman, is the son of former President of Yale University and Commissioner of Major League Baseball Bart Giamatti.
Themes
Morgan’s DNA is modified so that she is a human-AI hybrid, and as such she is patented and owned by the corporation, since they modified her DNA. So we have the transhumanist obsession with human-computer permeability and some predictive programming with regard to ownership of the hybrids with designer DNA in the neo-feudal, Great Reset future. Cf. the conspiracy theory that mRNA tech modifies human DNA in such a way that the mod-humans are technically owned by the patent holders.
Hollywood is obsessed with the “apex predator”/psychopathic übermensch, with the posthuman, and with total mind-controlled super soldiers. This film marries these three themes.
Training the AI here is partly a cipher for Monarch delta (super soldier) programming. As Springmeier explains, for certain operatives, the forced traumatization and powerlessness (confinement always a major theme) is partly calculated to activate their rage so that the controllers can harness their powers. This is obviously at work in the scene where psychologist Paul Giamatti is provoking Morgan.
Insofar as the AI is superpowered, even compared to real-life mind-controlled super-operatives (George Estabrooks coined the term “super spy”), this is also gesturing toward theta programming, or the creation of Monarch slaves with powerful psi abilities. And Hollywood, again, has long been obsessed with the confined, controlled, traumatized theta, e.g., Firestarter.
Additional Monarch Allusions
A few of the items around Brian Cox, the company CEO, appear to refer to Artemis: a huntress with bow and arrow and a deer (?). This may be significant as Artemis was heavily invoked in the Crowleyian “Moon Child” ritual, and the Moon Child is the prototype for the theta Monarch slave. The association is likely confirmed by Morgan’s fantasy episode in the woods, where she finishes off the wounded deer. (This scene also celebrates her psychopathic ruthlessness.)
The Jennifer Jason Leigh character seems to correspond to what Springmeier says are the “Mothers of Darkness” charged with some of the early trauma-based programming of Illuminati mind-control slaves, and they are themselves usually victims of the same programming. We may have a bit of implied Revelation of the Method here: Leigh, a Monarch actress/victim, is helping to train/victimize the next generation, women like Anya-Taylor Joy, and this relationship is reflected, somewhat subtextually, in the film.
Morgan calls Dr. Chen, the programmer director and her effective creator, “mother.” “I am not your mother,” Dr. Chen says as she’s apparently euthanizing Morgan, “You have no mother.” Notwithstanding the extraordinary trauma this must have caused Morgan, the latter kisses Dr. Chen tenderly before killing her later on, as if thanking her for the trauma-based programming that made her powerful. Springmeier explains how the “mothers” in charge of the children mingle cruelty and kindness in ways calculated to maximize trauma and thereby unlock the powers of the children.
Messaging
As usual, Hollywood is celebrating and glorifying psychopathy and mocking compassion and humanity. Even the psychopathic posthuman Morgan is not psychotic enough, because they programmed too much emotional intelligence into her; so Lee (Kate Mara) is the real übermensch, because the best psychopaths are more autistic. This film plays on the assumed presence of compassion in the viewer, only to unmask it all as idiotic weakness and gullibility. You could see this coming, as Hollywood productions seem increasingly at pains even to portray human emotionality in any deeply genuine way. The psychopath and the autist and their character models.
The film is also promoting transhumanism. The final line, referring to the Kata Mara character (who is the real posthuman super soldier), is “She’s perfect.” Cf. the transhumanist god-woman from The Fifth Element, portrayed by Monarch actress Milla Jovovich in a film directed by Monarch director Luc Besson.
Totally over-the-top “boss bitch” gender propaganda.
From imdb:
Both Morgan's (Anya Taylor-Joy) and Lee's (Kate Mara) characters have names that can be given to either male or female children, indicating right from the beginning that Kate Mara's character is gender-less and therefore artificial as well.
The posthuman is an androgyne.
Etc.
From imdb:
Brian Cox's casting as the head executive of various top secret scientific programs, shares a strong parallel with his performance as William Stryker in "X2". In both films, Cox's character essentially instigates a battle between his original creation and a newer model to hash out which is superior. In both cases the original creation wins out.
