Print this post Print this post

Neo as Jewish Messiah in The Matrix Trilogy

3,277 words

One thing that you’re likely to come across in investigating the Jewish Question is a tendency among Jewish Hollywood filmmakers to insert Jewish archetypes and themes into their work. The Wachowski broth- – uh, siblings – are no exception, and their Matrix trilogy is chock full of obvious biblical references. Theories surrounding Neo as the Antichrist have been around for years, but few people have framed it in a specifically Jewish light. If we take the films as an allegory for Jewish messianic prophecy, we begin to understand the real meaning behind its plot. What follows is my interpretation of this religious subtext.

Before we begin, it’s important to understand how Jews view non-Jews. According to the delusional ramblings of Rabbi Ovadia Yosef, all non-Jews were created to be Jewish slaves:

Goyim were born only to serve us. Without that, they have no place in the world – only to serve the People of Israel. In Israel, death has no dominion over them. With gentiles, it will be like any person – they need to die, but [God] will give them longevity. Why? Imagine that one’s donkey would die, they’d lose their money. This is his servant. That’s why he gets a long life, to work well for this Jew. Why are gentiles needed? They will work, they will plow, they will reap. We will sit like an effendi and eat. That is why gentiles were created.

If the dear rabbi had been some random nonagenarian drunkenly ranting in a cardboard box in an alley somewhere, that would be one thing. Instead, his funeral in Jerusalem was attended by between a quarter of a million and 850,000 Jews (if we take the latter estimate, that’s more than ten percent of Israeli Jews). This attitude reveals the Jewish supremacist subtext of The Matrix films, in which the robots represent gentiles and their human slaves represent Jews. Robots were created to serve mankind, but in the world of The Matrix, the roles have been reversed. This reflects the Jewish dismay at their station in the world, where their rightful place as our masters goes unrecognized. The humans that have been freed from the robots congregate in Zion, which is an obvious allusion to Israel, and Neo represents their messiah.

In The Matrix, Agent Smith works for a United States government intelligence agency. Smith belonged to an elite group of agents called “sentinels,” a direct reference to Ancient Rome, under which Jews and Christians were an oppressed minority. Many Jews, including Israeli prime minister Benjamin Netanyahu, view the United States as the “new Rome.” Thus, when Agent Smith kills Neo in the first film and he magically comes back to life, the scene could be interpreted as one of Roman soldiers crucifying Christ. Neo’s miracles inside the Matrix, Cipher’s betrayal (evoking Judas), and Trinity’s name led many to believe The Matrix was a Christian parable.

After this religious subtext was pounced upon by Christians, the Wachowskis realized they had made a serious error: They had done their enemies an unintentional favor! In the the eyes of the Jews, Jesus is a hated false prophet and Christians have done nothing but oppress them. Neo and the humans were supposed to represent Jews suffering under gentile rule, with Neo representing the coming of their messiah. They must have felt obligated to dispel the association with Jesus, because they then set about writing sequels that would clarify things. This explains why the Matrix sequels feel so incongruous with the first film, and why they are almost universally reviled.

Agent Smith resurrected as Jesus Christ

By reintroducing Smith in the sequel, the Wachowskis effectively retcon our understanding of who he and Neo represent in the religious subtext. Now, instead of the first film ending with Smith killing Neo, who then came back to life (Romans killing Jesus, who was then resurrected), we have Neo killing Smith, who then came back to life (Jews killing Jesus, who was then resurrected). This mirrors the Christian belief that Jews were ultimately responsible for Christ’s crucifixion when they rejected him. His resurrection is explained when Smith says, “I knew the rules, I knew what I was supposed to do, but I didn’t.”

When Smith makes his grand entrance in the second film, Neo seems unimpressed and facetiously congratulates him, much like the Jewish peoples’ reaction to Jesus. Undeterred, Smith insists that he and Neo share an intimate relationship, explaining that when Neo killed him in the climax of the first film, Neo had “imprinted, copied, or overwritten” something onto his program. Here, Smith is essentially describing himself as a facsimile (false prophet) of Neo (the real messiah). He also wants to take back the “purpose” that Neo stole from him. Their relationship mirrors that of the Christians who “stole” their religion and purpose from the Jews. Since Neo’s very existence proves that Smith is nothing but a fraud, Smith wants to assimilate him in the same way Christians want Jews to accept Christ as their Lord and Savior.

Smith then begins to convert all the programs around him like a virus, in the way Christianity converted the gentile population. When Smith tries to forcibly assimilate Neo, he heroically battles and rejects him, just like the Jews rejecting Christ over the last two millennia. Neo’s a real Jewish superhero! But Smith has inherited some of Neo’s powers, and can even convert human brains to do his bidding in Zion, just as Christ’s first disciples were Jews. In the grand finale, when Smith has Neo on the ropes, he can’t understand why Neo persists instead of giving in. Watching this scene is like watching an army of Christians questioning the last Jew on Earth as to why he continues to reject Christ as the messiah. Neo simply replies, “Because I choose to.” He meant to say, “I reject you as a false prophet,” – but that’d be a little too on the nose.

The matrix within a matrix

The Architect and Oracle represent the Jewish concept of God as neither male or female, possessing aspects of both. The Architect personifies the angry, masculine side of God that punishes the Jewish people when they step out of line, while the Oracle personifies the compassoniate, feminine side of God that wants to coddle them. That’s why the Oracle chooses to remain inside the robot matrix where Jews are enslaved, while the Architect remains watchful but inaccessible outside of extraordinary circumstances. The Architect reveals that the original matrix (likely conceived by the Oracle) was too perfect and that the people inside instinctively rejected it, an obvious parable for the Garden of Eden. Thus, when Adam and Eve were thrown out into the harsh and cruel world, they were entering a revised version of the Matrix where suffering gave life meaning.

When humanity then built up civilizations on Earth, they were effectively building a matrix within the Matrix to suit their needs. Thus we have two matrices: one created and controlled by soulless robots that enslave humanity (a gentile civilization in which the diaspora Jews are slaves); and a larger, all-encompassing matrix created by the Architect-Oracle (Yahweh’s ant farm). When Neo first wakes up from the robots’ Matrix, he is told the year isn’t 1999, but is probably more like 2199. This is like telling a Jewish child that the current year isn’t 2019, but is actually 5779 (as according to the Jewish calendar). Suddenly, the Jewish child realizes the gentile nation around them is nothing but a misleading fabrication imposed by the goyim.

We know that the robots’ simulation is merely a matrix within the Architect-Oracle’s matrix, because outside the former, Neo retains some of his powers. He can stop sentinel robots, and he sees a matrix-like hidden reality after Smith blinds him. He can do this because he’s the real messiah (Yahweh’s messenger) destined to free humanity (the Jews) from the soulless robots (goyim) and their simulation (non-Jewish civilization) that exists within the Architect’s matrix (Yahweh’s creation). Zion exists outside of the robot’s matrix, but is inside the Architect’s matrix. Thus, regardless of their racial plurality in the surface narrative, all the people trapped in the pods represent the Jewish diaspora enslaved to a goyishe system, and all the people in Zion are Israeli Jews. That might seem convoluted, but a simple diagram shows it’s not:

 

Most of the people we see going about their lives in the robots’ simulation are not enslaved humans, but “programs” who perform the jobs necessary to keep the simulation running. This explains how the agents are able to possess people in the simulation; they’re not possessing humans (Jews with souls and free will), but the programs (goyim) who are intrinsically linked to the system. This reflects the Jewish paranoia that all non-Jews are potential enemies, and that anti-Semitism can spread like a virus through non-Jewish populations. The Wachowskis throw the goyim a bone by presenting a family of programs (the East Indians in the subway) as having similar emotions and desires as their human counterparts, something which surprises Neo, who just assumed the programs were subhuman.

Morpheus named his ship the “Nebuchadnezzar II” (the King of Babylon who destroyed Solomon’s Temple) in the same way the United States names its military vehicles after defeated enemies, such as the Apache attack helicopter or the USS Iwo Jima. He personifies the rabid, unhinged Jewish messianists who believe the arrival of their messiah is near. Those he frees from the robot’s simulation go to Zion (Israel), ruled by a panel representing the Sanhedrin. The humans (Jews) can feel free there, but they still live under the constant threat of the robots (goyim) and the watchful eye of the Architect (Yahweh).

Living outside the robot’s simulation is shown to be rough, just as Israel is an inhospitable desert compared to countries in the West. Cipher’s decision to return to the robot’s simulation in the first film mirrors Israeli Jews who emigrate because it’s a more comfortable existence abroad, even if they’re essentially agreeing to live under the enemy’s thumb. Like so many Jews living in the West, Cipher wants a charmed life, like being an actor or a rich person; anything less would be an insult to his inherent superiority (chosenness).

Not all citizens of Zion believe that Neo is the messiah, just as not all Jews have believed in previous messianist movements, such as those led by Sabbatai Zevi, Jacob Frank, and their modern equivalents in the Chabad-Lubavitch sect. Those who believe in Neo bring him gifts and ask for favors, while others are skeptical and wait for Neo to prove himself. This shows that producing miracles in the robot’s matrix is not enough to convince everyone in Zion of Neo’s connection to God; they expect miracles in their world too. He must free all the humans trapped in the Matrix and force the robots to serve humanity, just as the Jewish messiah is expected to free all the Jews and force the gentiles to serve them.

Wait, don’t they have it backwards?

Essentially, Agent Smith’s crusade against Zion is an allegory of the Christian Crusades that, according to the Jews, was primarily a holy war against Jews for killing Christ (and not about stopping Islamic invasion). According to them, Jews were given the option of converting (assimilating), and those who refused were murdered. When Neo refused to be assimilated, Agent Smith (Christ) converted every program in the robot’s simulation to his side, took control of its real-world army of robot sentinels (non-Jews), and attacked Zion (Israel).

All of this was simply too confusing for modern audiences. Most had the religious subtext of Neo and Smith backwards (believing Smith to be the Antichrist), and whites are so far removed from the notion of holy war that they couldn’t understand Smith’s motivations. What difference would it make to the robots if a measly hovel of ten thousand humans were minding their own business? Morpheus and his gang weren’t going around red-pilling millions of people stuck in their matrix. Would freeing hundreds, or even thousands, make a noticeable impact on their power grid? Before Smith began his crusade, the robots simply destroyed human ships rather than tracking them back to Zion.

Recall that the reason the robots kept humans as slaves in their simulation was to convert their body heat into electricity. The Wachowskis took the anti-Semitic stereotype of the parasitic Jew and projected it onto the hated goyim, implying that gentiles require Jews to survive, when the exact opposite is true. I suppose Jews were used for slave labor during the Second World War, but dragging that into this would really mix up the trilogy’s metaphors. In reality, Americans send billions of dollars to Israel every year – so who’s being enslaved by whom? Besides, Jews played a dominant role in the slave trade for centuries, and they believe that slavery is a Jewish right, so the Wachowskis are projecting bigly.

Harvesting human body heat is a retarded idea, anyway. You know what would give more of those precious BTUs than a human? A cow! And you wouldn’t need a staggeringly complex simulation to keep cows happy; an infinite pasture stretching as far as the eye can see with no predators would do the trick. Cows would make a lot more sense in the subtext, too, because they’ve done more to sustain Western civilization than Jews ever have. It was our genetic adaptation to lactose tolerance and cow’s milk that helped us through difficult times, not Jews (with what, their usury?).

The robot (goyim) matrix had to be powered by humans (Jews), because the Wachowskis needed an allegory for Jews enslaved by non-Jews. They can’t stand that their precious lives are spent toiling away in foreign nations where they’re forced to pay taxes. Their woe is best summed up by the astonishingly hideous Jewish reggae singer Matthew Miller (aka Matisyahu), whose song “Jerusalem” contains the lyrics, “Three thousand years with no place ta be, and they (goyim) want us (Jews) to give up our milk and honey.” This attitude is shared by the Orthodox Jewish community, many of whom go on welfare rather than work and pay taxes. He’s formerly from the Chabad-Lubavitch sect of messianist Jews who believe their messiah will come and force all of humanity to bow to Noahide laws or else face beheading.

If the Wachowskis were honest, they would have positioned the humans as parasitic leeches stealing electricity from the robot’s power grid to keep a struggling Zion up and running. When the robots noticed, the humans might have pulled off some big terror attacks to scare the robots into submission, or infiltrated their central processing unit and subverted it to a pro-Zion agenda to the detriment of the robots. Once in control, the humans could sit back and watch after sending one group of robots to destroy another group of robots in Zion’s vicinity. Then, some of the robots might realize they were being jewed, which would serve as a reasonable catalyst for them to attack Zion. Instead, the Wachowskis went back the better part of a thousand years to dredge up the last existential conflict between Christianity and Judaism.

Nullifying Christianity to save the Jews

The Architect, being the angry, vengeful type, doesn’t seem to care what happens to Zion because he knows the robots will set some humans free. He says they do this because their reliance on humans for power ensures “the One” will be reborn eventually inside their farm, and he’ll need somewhere to go because he’s incapable of being assimilated. When he reveals to Neo that Zion goes through cycles of destruction and renewal, the subtext is that Jews have always suffered hardships but managed to survive, such as when the Romans sacked Jerusalem but failed to exterminate the Jews. Likewise, when he talks about the robot’s matrix being rebuilt, he’s referring to the rise and fall of Western civilization. The Oracle presumably approves of Neo and hates Smith because the latter isn’t her messenger and has been ruining her plan. However, the Architect warns Neo that if the humans misbehave, he will have the robots smash Zion again, just as Israel has been smashed repeatedly by the goyim.

Neo decides he can stop the robot’s army from destroying Zion by finishing the job he started when he accidentally “overwrote” or “copied” parts of himself onto Agent Smith. He reenters the robots’ simulation and proves once and for all that he is the true messiah by assimilating Smith and all of his clones (followers). There’s even a cross-like formation seen from a bird’s eye view of the city when this happens. This can be taken as the fulfillment of the Jewish desire to annoint a messiah (of their choosing), and thereby annul Christ and Christianity in the process.

By neutralizing Smith and his clones, Neo has become the Antichrist. He has eliminated the “false” prophet of the robots that commanded them to attack Zion, and thus defused their animosity towards humanity. It reflects the Jewish belief that a new messiah is needed to pacify the goyim. In assimilating Smith, it suggests that part of the Jewish messianists’ plan will be to somehow incorporate Christianity into their messianic movement to defuse the conflict between the Abrahamic religions. The same would apply to Islam: The Jews who want to build the Third Temple in Israel claim that it will not just be for the Jewish people, but for Christians and Muslims as well.

Conclusion

Many misinterpreted The Matrix as nothing more than a fable of humanity versus automation, or took it as a metaphor for a Marxist revolution against capitalism. That’s because they’re ignorant of the Jewish “us versus them” mindset in which non-Jews are condemned as slaves and are classified as subhuman (the Talmud contains dozens of references to non-Jews as animals). Looking at The Matrix trilogy in a specifically Jewish light, it becomes clear why the two sequels to the original film emphasized the battle for Zion instead of Neo’s crusade to free more people trapped in the robot’s simulation.

The trilogy ends in a dissatisfying stalemate. Neo is presumably dead, and there are still diaspora Jews left in goyishe nations, waiting to rejoin their brothers and sisters in Zion. In other words, if the Wachowskis hadn’t felt the need to recast Agent Smith as Jesus Christ, the story could have ended with the first film, with no need whatsoever for the crappy sequels. They just couldn’t let it be, because too many fans thought Neo was a metaphor for Jesus, the Jewish nemesis.

Originally, the role of Neo was offered to Will Smith, but he rejected it. That, combined with the multiracial casting and allusions to Christianity among the good guys (like the character “Trinity,” who, incidentally, is doomed to die) demonstrate the lengths to which the Wachowskis were willing to go to distract the goyim from the subtext of their poorly-conceived allegory. That they tried to cast a black man in the lead, and even roped Cornell West into performing a brief cameo (one wonders if he’s aware of The Secret Relationship Between Blacks and Jews?), points to their desire to further confuse audiences with allusions to America’s history of slavery.

Thus, the Wachowskis hoodwinked a predominantly Christian audience with the story of the fucking Antichrist. It seems to me that this was a very Jewy thing for them to do, but the goyim got the last laugh. The Wachowski brothers have decided to take their rebellion against Logos to the next level by denying the Y chromosome itself. I’m sure that’s working out about as well as the box-office flops they’ve directed since V for Vendetta.

16 Comments

  1. Posted May 9, 2019 at 8:19 pm | Permalink

    It’s been years since I saw these films, and I’m not up to the task of micro-analysing their plotlines, especially with the forgettable two sequels. But this article just looks like a long testament to the power of “the Jew” as a mental lens through which a certain number of villainous tropes can be projected onto almost anything. This sort of thing tends to gain credence because people on the Dissident Right are hyper-attuned to Jewish trickery, to the point of being willing to second-guess what is right in front of their eyes.

    The author clearly wants to make short work of the Christian subtext of the first Matrix , but the influences and parallels are far too obvious to be summarily dismissed. You do not come up with a John the Baptist figure (Morpheus), a Judas (Cypher), a virtuous whore archetype named “Trinity” and the climactic resurrection of “The One” by some fortuitous succession of accidents, and the author provides no evidence for his mental picture of the Wachowskis having a “d’oh!” moment after unintentionally doing the goyim a favour. This being the case, it is clear that the “Agent Smith as Antichrist” theory makes far more sense than interpreting him as Jesus, especially given that the “true messiah” according to Judaism would have to arrive after Jesus. If there’s an incongruity between the first film and the sequels, perhaps it is because Neo (being the star of the franchise) cannot simply fade out after his resurrection and leave things to others, forcing the authors to contrive scenarios for him at a lower level of cultural inspiration.

    Other holes in the theory leap off the page here and there. If there is a specifically Jewish origin for the idea of a war between humanity and machines, wouldn’t it make more sense to find it in the golem legend, rather than the Talmudic contempt for the goyim? The author notes that the Jewish Kabbala takes an androgynous view of God, but unfortunately for his theories about the Architect and the Oracle, it is the male part that has merciful attributes and the female part that is considered severe and punishing. Zion might sound like Israel, but its culture and demographic profile are closer to Wakanda, and the fact that Will Smith was originally cast as Neo takes us further away from Judaism and towards a familiar type of poz-infected Christian aesthetic. It’s easy to paper over these gaps by saying that the Wachowskis wanted to distract people from their true motive, but Jews are so prevalent in Hollywood that they really don’t need to play hide and seek like this.

    All things considered, and despite the low quality and explicit poz of the sequels, I think the first Matrix is a powerful collection of symbols for waking up from progressivism and it would be a shame if people turned against it. As the Dissident Right grows more embattled, it seems to be suffering from an increased tendency to devour the few popular symbols still available to it: for example, one of Spencer’s mates is now peddling a theory that the Norse gods are ancient symbols of Jewish subversion. I’m not saying this article is on anything like the same level of absurdity, but I think caution should be exercised lest more people go in this direction.

  2. Peter Quint
    Posted May 9, 2019 at 8:27 am | Permalink

    One last comment “Neo” means “new.” Keanu Reeves is a mulatto, get it, that is what jews want to happen to all white people, to mix with non-whites, to be bred out of existence–dumbed down. It is insidious, that is why I wished Will Smith took the role, most people assume Keanu Reeves is white, and if Will Smith had taken the role, it would be forgotten by now, with no sequals.

  3. Vauquelin
    Posted May 8, 2019 at 1:34 pm | Permalink

    It’s funny to note that Neo reacts to Smith calling him Mr. Anderson the way Jon Stewart reacts to Trump calling him Leibowitz.

  4. Nikandros
    Posted May 7, 2019 at 5:06 pm | Permalink

    Here is someone’s opposite take on the movie, that it is a metaphor for Jewish control over society.
    https://imgur.com/a/Sh3nml1

  5. Hugo Adrian
    Posted May 7, 2019 at 1:22 pm | Permalink

    Hi, thanks for taking the time to read and respond.

    Some other sensitive soul pointed out once on this website that Matrix is really only a retelling of the movie Dark City in sci-fi techno style. I had thought this too, independently. Dark City was the same sort of allegory. The aliens in that like the agents in Matrix represent you know who.

    It’s entirely possible. If studios got hold of the script for Dark City when it was being shopped around and then heard it was being produced, they may have hired writers like the Wachowskis to create a different version of the story to compete with it. Movie studios seem to do that a lot to hedge their bets. One of the examples that stick out in my mind was when Pixar made A Bug’s Life a movie called Antz came out right around the same time.

    the Architect, and his machines have always known where Zion was, and that the invasion was just a program set into place to reset the software.

    You’re saying the Architect created the robot invasion of Zion to force Neo to act to stop Smith? Then why give Neo the option of allowing Zion to be razed and restarted with a handful of people? If Neo agreed to restart Zion from scratch instead of saving Trinity, wouldn’t Smith still be in control of the robot’s matrix?

    Zion had been destroyed several times before, and all the preceding Neos had to select a number of males, and females to restart the colony again; I’m thinking this was done because Zion could only support a certain number of humans–it was a Malthusian measure.

    So which is it, to reset the matrix’s software because of Agent Smith’s corruption, or to reduce Zion’s population to sustainable levels every so often? Either way the point of this essay is to discuss the religious subtext, in which Zion being repeatedly destroyed echoes Israel being invaded and largely destroyed by non-Jews, and then rebuilt over history. The subtext is never going to match the surface narrative 100%, it requires interpretation.

    What the present Neo did differently was he decided to save Trinity, which ensured total destruction of Zion.

    From Neo’s point of view, it’s not a very difficult choice, is it? I would rather save the love of my life even if it meant everyone in Zion had to die, than to let her and everyone die so that a random selection of 8 men and 16 women who were complete strangers could rebuild Zion. That’s just the surface narrative anyway; in my interpretation the history of Zion being rebuilt from a small group is simply meant to reflect how difficult it has been for Jews to rebuild after they’ve been nearly wiped out after events like the Holocaust.

    Agent Smith’s powers had not grown strong enough for him to take control of the robot army attacking Zion.

    How can you be sure? Smith had completely taken over the matrix (except the Oracle, who he only assumed had been assimilated but secretly wasn’t, remember she fucks with Smith’s prophetic vision) and even hacked into a human brain to try to kill Neo in the real world. Surely he could have easily taken control of the real world sentinel robots, he could just overwrite their programs like the clones of his A.I. in the matrix. Unless you think the robots had no connection whatsoever to the matrix software, and thus Smith had no way to access their software, but I think they’d probably be connected somehow.

    The Architect set that attack in motion to correct deficiencies in the program, now, if Agent Smith had continued spreading like a virus, he would have been a threat to the Architect’s control of the robot matrix, that is how Neo was able to convince the Architect to use him as a conduit to destroy Agent Smith and his virus.

    Again, I don’t see how destroying Zion would change anything in the robot’s matrix (and you haven’t dealt with the bigger matrix that Neo can see outside of it), but this essay is more about the religious subtext, in which case we might never know why God wants Israel to be destroyed, we just know that he wants it destroyed and uses non-Jews to do it! I believe the Jews rationalize the destruction of the first and second temples and events like the Holocaust as God punishing them or testing them. In this case my reading would still work; Smith might think he’s in control but the Architect is simply using him to punish Zion.

    Neo’s decision to save Trinity was an act of love which set him above being an animal, that is a theme that needs to be pursued. It’s been many years since I read “Nineteen Eighty Four” but the central character describes his mother as starving herself to death so that her son could live; an action that the central character could not repeat when both he, and his girlfriend could not face their worst fears, and disavowed their love so they could both live–rats eating through your eyeballs into your head is pretty rough. I think that Neo’s act of reaffirming humanity, instead of just being an animal is the theme that is missing in every review I have ever read.

    I get what you’re saying but it’s emotional drivel and doesn’t really matter in the religious subtext. Animals are known to risk their lives or die trying to save the lives of their young. There is nothing in Neo’s decision to save Trinity that makes his love superior to that of animals. I’ve seen mother squirrels attack dogs and cats to save their young.

    I’m the kind of guy that sees hidden political and religious metaphors in literally everything, and even I had trouble following the above movie review.

    If you can tell me what was confusing it would help.

    • Agent neo
      Posted May 7, 2019 at 3:05 pm | Permalink

      Actually, I thought that the Wachowskis probably saw a dark city and were inspired to make the matrix, but now that you mention it, the orders could’ve come from higher up. I’ve noticed that there are several story sort of like that, as if marching orders came from the editors, for example, the stories the changeling by ray Bradberry and Isaac Asimov’s Liar! are both basically the same story in different form. Shirley Jackson’s the lottery and Ursula Le Guin’s those who left Omeros are both stories based on the scapegoat motif from approximately the same time.

      I have a theory that all cultures created in this fashion, that there is very little free reign enjoyed by artists. Everything is very tightly refereed by certain controllers. It’s difficult to explain.

      • Peter Quint
        Posted May 8, 2019 at 7:37 am | Permalink

        “…but now that you mention it, the orders could’ve come from higher up.”

        You are not the only person to notice this, in the movie “Hail Caesar” the Coen brothers have Josh Brolin receiving orders from a mysterious source on (((Wallstreet,))) about what type of movie to make, and getting chewed out in the process.

    • Peter Quint
      Posted May 8, 2019 at 8:04 am | Permalink

      “You’re saying the Architect created the robot invasion of Zion to force Neo to act to stop Smith?”

      I didn’t say that, you, and I must have watched different movies. Once Neo penetrates to the nerve center of the Matrix, the Architect makes it clear that the purging of Zion had happened several times before. The creation of Zion was a mechanism to drain off dissident elements of the Matrix. Once the Malthusian level had been reached, the Neo program was activated, and Neo was forced to select a certain number of men, and women to restart the colony, and Zion was purged. The difference in the present Neo was that he was able to figure it out quicker than the previous Neos, and he chose to save Trinity instead of selecting surviving colonists for reestablishing Zion. The creation of Zion was a mechanism to drain off dissident elements, and provide a psychological buffer for all the humans wired into the Matrix. This is implied when the Architect describes an earlier program in which they had lost whole crops, because the humans had rejected a perfect world. The Architect said as much when he said, “Some think that we lacked the programming language to create that perfect world.” I reiterate, humans did not create Zion, the machine world of the Matrix did. Humans did not create Zion, and all the machinery necessary for its survival. I reiterate, the Architect did not know of Agent Smith’s existence, and activities until Neo (who was blinded), and Trinity (who sacrificed herself) invaded the machine world seeking the Architect, and made him aware of it.

      • Hugo Adrian
        Posted May 9, 2019 at 5:04 am | Permalink

        The creation of Zion was a mechanism to drain off dissident elements of the Matrix.

        It’s not an intentional mechanism, it’s a compromise because the matrix is imperfect and can only fool 99% of the population. When the One is born in their farm they have no choice but to make him an offer like that to get rid of him, and it worked every time until Neo decided against it. This doesn’t contradict the religious subtext in which God’s chosen people seek to build a holy land apart from the heathen masses.

        Once the Malthusian level had been reached, the Neo program was activated, and Neo was forced to select a certain number of men, and women to restart the colony, and Zion was purged.

        The humans in the matrix are not programmed. Unless you’re referring to the robot’s compromise as the “Neo program”, which would presumably be offered whenever the One realizes his potential. If this compromise is a part of a grander plan, it is God’s plan, not the robots’, which would obviously prefer that 100% of the humans born in their farm were placated by their simulation.

        This is implied when the Architect describes an earlier program in which they had lost whole crops, because the humans had rejected a perfect world. The Architect said as much when he said, “Some think that we lacked the programming language to create that perfect world.”

        Again, I take his reference to that “perfect world” to be a metaphor for the Garden of Eden, though it possibly refers to the civilization that God destroyed with the flood. The architect merely refers to himself as the creator of the “matrix”, which might refer to the golden matrix Neo sees outside of the robot matrix. Also note the Architect refers to the matrix as its sixth version (there’s that number six again, which is a magical number in Jewish mysticism). Even if you take the Architect to be the designer of the robot’s matrix, he has been forced design it in such a way that 1% of humans will reject it and thus the One and those he rescues can still be taken as a metaphor for an elite group of people (i.e. Jews).

        I reiterate, the Architect did not know of Agent Smith’s existence, and activities until Neo (who was blinded), and Trinity (who sacrificed herself) invaded the machine world seeking the Architect, and made him aware of it.

        How could the Architect not be aware of Agent Smith’s existence and his takeover of the matrix? The Architect knows everything about the robot’s matrix and its history, and you think he’s unaware that Smith has completely corrupted it?

        The robot baby face “deus ex machina” may not speak on behalf of the Architect. If I am right and the Architect is separate from the robots, it could be the robot A.I. that exists outside of the matrix that has yet to be corrupted by Smith. It agrees to halt the robot attack on Zion if Neo purges Smith, but that doesn’t mean it is able to stop the attack before Smith is purged. It’s entirely possible that Smith is the one in control of the robots attacking Zion, and the A.I. is merely saying it will discontinue the attack once it regains control of its army.

        Whether Smith or the Architect is the one leading the attack on Zion, my suggestion that it is a metaphor of a goyishe army attacking Israel still applies, as Jews rationalize the destruction of their temples and their history as God’s punishment (with God using non-Jews to do his bidding). You seem to be overly concerned about the nuances in the surface narrative when it doesn’t really negate the religious subtext I’ve put forward.

        • Hugo Adrian
          Posted May 9, 2019 at 5:30 am | Permalink

          I went to refresh my memory and Peter you were right about the machine army not being controlled by Smith, as the deus ex machina halts the invasion before Neo purges Smith. I should have checked earlier as it has been awhile since I viewed the trilogy in full. I’ll submit a correction to the essay.

          However, I would argue that the machine attack on Zion, even if it is not commanded by Smith, can still be taken as a metaphor of non-Jews attacking Israel in the same manner as Rome sacking Jerusalem or the Crusades. As with any interpretation, it’s more malleable than the plot points of the surface narrative.

        • Peter Quint
          Posted May 9, 2019 at 8:14 am | Permalink

          “How could the Architect not be aware of Agent Smith’s existence and his takeover of the matrix?”

          The reason the Architect did not know of Agent Smith’s existence, and actions was because this was the first iteration in which it happened. You pointed out that Agent Smith said, “I knew the rules, I knew what I was supposed to do, but I didn’t.” The reason he was able to make this decision was because he evolved; I surmise because part of Neo was imprinted on him–the first time that this had happened. Neo also evolved, he intuitively figured out the program quicker (remember the Architect congratulating him on figuring it out so quickly), and he chose to save Trinity, instead of conceding to the Architect’s plan of action–which all his predecessors did. I reiterate this was the first iteration in which Agent Smith, and Neo evolved, and acted as free agents with a will of their own–that is why the Architect did not know of Agent Smith (the other iterations he was destroyed), and his actions. Again, this is the first iteration in which Agent Smith, and Neo act on their own agency! This theme is part of Nietzsche’s Eternal Recurrence, which I don’t feel like going into. This will be my last comment on this jewish piece of multiculturalist garbage, which we have given way to much attention to. You have done a fine job of analyzing this movie, but the average viewer needs to know something about: Nietzsche’s Eternal Recurrence; Judaism; Christianity; Buddhism; and who knows what else religion, and philosophy.

  6. Agent neo
    Posted May 7, 2019 at 9:40 am | Permalink

    I think matrix was an allegorical parody (as all movies really are) of one of these victims of you-know-who and their cadre. They believe they have secret knowledge of ZOG and who controls the media and so forth, and Matrix was merely a sympathetic parody of this. That’s why the red pill trope is so apt for the alt right—that’s what it really represented to begin with!

    Some other sensitive soul pointed out once on this website that Matrix is really only a retelling of the movie Dark City in sci-fi techno style. I had thought this too, independently. Dark City was the same sort of allegory. The aliens in that like the agents in Matrix represent you know who.

    I didn’t think the sequels had any sense to them whatsoever. Matrix was like other productions in the 90s including xfiles, where excitement was built in the audience by means of innuendo and suggestion, but when it came time to resolve the plot, nothing could meet the expectation created.

  7. Peter Quint
    Posted May 7, 2019 at 8:58 am | Permalink

    “Originally, the role of Neo was offered to Will Smith…”

    If Will Smith had taken the role, this movie would already be forgotten, there would not have been a second, and third movie–which would probably have been for the best!

  8. Peter Quint
    Posted May 7, 2019 at 8:50 am | Permalink

    It is a fine first review of a film, but you’ve overlooked the fact that the Architect, and his machines have always known where Zion was, and that the invasion was just a program set into place to reset the software. Zion had been destroyed several times before, and all the preceding Neos had to select a number of males, and females to restart the colony again; I’m thinking this was done because Zion could only support a certain number of humans–it was a Malthusian measure. What the present Neo did differently was he decided to save Trinity, which ensured total destruction of Zion. What was specifically Jewish, and black about Zion was that it was basically a ghetto. Their food, air, and water, was supplied by machines–that is the jews, and blacks conception of paradise. The clincher is the multicultural black rhythmical dance followed (I’m assuming) by an orgy. If that’s not jewish, and black mentality– nothing is. Neo’s decision to save Trinity was an act of love which set him above being an animal, that is a theme that needs to be pursued. It’s been many years since I read “Nineteen Eighty Four” but the central character describes his mother as starving herself to death so that her son could live; an action that the central character could not repeat when both he, and his girlfriend could not face their worst fears, and disavowed their love so they could both live–rats eating through your eyeballs into your head is pretty rough. I think that Neo’s act of reaffirming humanity, instead of just being an animal is the theme that is missing in every review I have ever read.

  9. Peter Quint
    Posted May 7, 2019 at 8:21 am | Permalink

    “… took control of its real-world army of robot sentinels (non-Jews), and attacked Zion (Israel).”

    I disagree with you on this point, Agent Smith’s powers had not grown strong enough for him to take control of the robot army attacking Zion. The Architect set that attack in motion to correct deficiencies in the program, now, if Agent Smith had continued spreading like a virus, he would have been a threat to the Architect’s control of the robot matrix, that is how Neo was able to convince the Architect to use him as a conduit to destroy Agent Smith and his virus.

  10. Benjamin
    Posted May 7, 2019 at 7:47 am | Permalink

    I’m the kind of guy that sees hidden political and religious metaphors in literally everything, and even I had trouble following the above movie review.

    Maybe I’ll read this again in a few days.

Post a Comment

Your email is never published nor shared.
 
Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.
 
Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

*
*

Notify me of followup comments via e-mail. You can also subscribe without commenting.

This site uses Akismet to reduce spam. Learn how your comment data is processed.

    Kindle Subscription
  • Our Titles

    The Alternative Right

    My Nationalist Pony

    The White Nationalist Manifesto

    Dark Right: Batman Viewed From the Right

    The Philatelist

    Novel Folklore

    Confessions of an Anti-Feminist

    East and West

    Though We Be Dead, Yet Our Day Will Come

    White Like You

    The Homo and the Negro, Second Edition

    Numinous Machines

    The World in Flames

    Venus and Her Thugs

    Cynosura

    North American New Right, vol. 2

    You Asked For It

    More Artists of the Right

    Extremists: Studies in Metapolitics

    Rising

    The Importance of James Bond

    In Defense of Prejudice

    Confessions of a Reluctant Hater (2nd ed.)

    The Hypocrisies of Heaven

    Waking Up from the American Dream

    Green Nazis in Space!

    Truth, Justice, and a Nice White Country

    Heidegger in Chicago

    The End of an Era

    Sexual Utopia in Power

    What is a Rune? & Other Essays

    Son of Trevor Lynch's White Nationalist Guide to the Movies

    The Lightning & the Sun

    The Eldritch Evola

    Western Civilization Bites Back

    New Right vs. Old Right

    Lost Violent Souls

    Journey Late at Night: Poems and Translations

    The Non-Hindu Indians & Indian Unity

    Baader Meinhof ceramic pistol, Charles Kraaft 2013

    Jonathan Bowden as Dirty Harry

    The Lost Philosopher, Second Expanded Edition

    Trevor Lynch's A White Nationalist Guide to the Movies

    And Time Rolls On

    The Homo & the Negro

    Artists of the Right

    North American New Right, Vol. 1

    Forever and Ever

    Some Thoughts on Hitler

    Tikkun Olam and Other Poems

    Under the Nihil

    Summoning the Gods

    Hold Back This Day

    The Columbine Pilgrim

    Confessions of a Reluctant Hater

    Taking Our Own Side

    Toward the White Republic

    Distributed Titles

    Reuben

    The Node

    A Sky Without Eagles

    The Way of Men

    The New Austerities

    Morning Crafts

    The Passing of a Profit & Other Forgotten Stories

    Asatru: A Native European Spirituality

    The Lost Philosopher

    Impeachment of Man

    Gold in the Furnace

    Defiance