Another interesting commercial found on television of late, with some hefty themes tucked into it. Apple’s MacBookPro Bulbs commercial; a possible ode to the occult and to the ancient Mystery School religions of yesterday. The commercial can be found here.
Stanley Kubrick Reveals the Mystery School Philosophy
What more can be written about Stanley Kubrick’s 2001: A Space Odyssey? I certainly am not able to contribute anything new in respect to research or perspective on a personal favorite motion picture. I would, however, like to begin this analysis by revisiting the late William Cooper’s take on Kubrick’s 1968 masterpiece. Cooper’s research and presentation regarding the film speculates that Kubrick created the film to pay tribute to the adepts of the Mystery Babylon School. His summary was featured on his Hour of the Time Mystery Babylon radio program (episode one found here). The episode’s content and delivery are quite profound.
God Have Created and Thus Moved On
Cooper’s thesis is quite fascinating. Analyzing the first part of the film, the Dawn of Man, Cooper connects his research of Mystery Babylon material to the film’s beginning scenes. For those who are not familiar with this study, the breakdown is essentially as such in respect to the first part of the film 2001:
- In the beginning, there was Darkness
- We then witness a grey planet Earth, devoid of color, life, and existence
- The Lunar moon then moves into frame, with the Sun slowing rising behind the Moon to create an eclipse
- This scene is representative of the Sun as being Osiris; the eclipse is representative of the Boat of Isis
- The scene also represents the creation of the Cosmos
- Kubrick then depicts the Earth, with the Sun featured rising in the East
- This it the birth and creation of the Earth
- Initially, we see a barren world, filled with rocks, deserts, and cliffs that feature no indication of life
- Kubrick then includes a scene with the barren landscape with wind slowly stirring on its surface
- The next series of images depicts the Sun at its zenith in the sky and the emergence of shrubs, foliage, and other small green plants
- The Sun proceeds to move further to the West, and at that time we see the emergence of animals, birds, and other life forms
- Finally, in the late stages of Creation, we bear witness to our alleged ancestors: primitive man in the form of an ape
- Primitive man is featured in a state of innocence, an age of purity, and the age of the Garden of Eden
- Primitive man lives in equality among the other animals and sustains itself upon a vegetarian diet
- Primitive man also lives within caves
- Cooper states this is important as it implies that primitive man was symbolically dependent upon the womb of mother Earth
- As the Sun moves further West, the audience witnesses primitive man retreat into the womb
- At this point there is a fight between two competing tribes of apes at a watering hole
- There is conflict, but no injury or harm imparted upon members of either party, and both tribe members satisfy their quench of thirst
- As the Sun finally sets, primitive man sits in darkness, within the cave, fearing the elements, predators, and the darkness that surrounds
- The scene depicting the male, female, and child ape in fear for safety against the external elements of the dark represents, Cooper states, the beginning of the age of transformation
- As the new “morning” Sun rises in the East, the apes emerge from the cave and observe the stone obelisk/monolith in front of the cave
- This monolith is the “erect” symbol representative of the male generative member
- The scene is a depiction of the Dawn of the New Man
- The apes begin to “mill about” in great excitement around the monolith, and we see a female ape encouraging a male ape to touch to the great, rectangular stone
- The male ape is Adam, the female ape is Eve
- Finally, the male ape gathers the courage to touch the monolith, and in doing so, is imparted intellect and wisdom
- Other apes of the tribe also move within close proximity to the stone obelisk, and also touch the and rub the stone’s exterior
- This scene is representative, according to Cooper, of Lucifer imparting knowledge to man through his agent Satan
- Lucifer, seeing early man held prisoner in the Garden of Eden, rebels and sets man free from his/her bonds of ignorance through the gift of intellect
- Lucifer demonstrates that man, himself, is capable of becoming God
Kubrick then moves to a scene illustrative of man’s first form of thought through intellect. As the ape picks up the thigh bone of a dead animal in front of him, the audience witnesses the ape proceed to club the thigh bone on other skeletal remnants of the animal’s remains. The ape, as Cooper states, is in a moment of intellectual evolution as the “wheels of his mind” turned. As each strike gets more physical and intended, the scene concludes with the dead animal’s skull being shattered by the primitive ape.
This depiction is probable to be man’s first original thought. The idea of violence and weaponry is soon followed up with scenes of a wild animal brought down by primitive man (presumed to be predicated on a change of early man’s diet), and finally leads to the “Cain and Able” scene.
Kubrick again returns to the motif of two competing tribes of primitive man in the form of apes meeting once again at a watering hole. This conflict, however, ends in death through violence. The one group of apes – primitive man privy to contact with the Monolith, to Lucifer, to the transference of intelligence, faces off against a second group of apes who were not provided with the same gift of illumination.
The conflict ends when the illumined primitive man crushes the skull of the un-illumined ape. As the victor stands over the body of the limp, dead, profane ancestor to humanity in the water, he throws the bone high into the sky. The audience subsequently witnesses a transition from the bloody battle of Cain and Able to a scene, countless generations in the future, of a space station floating in orbit around the Earth.
As Moore states “unequivocally,” this Kubrick scene is an homage to the adepts of the Mystery School Babylon. The Mystery School doctrine is simple enough: God or some prime Deity generated Creation. However, this Deity moved on, and left our ancestors in a devolved and unprotected state of darkness, ignorance, and unawareness. It was only through the intervention of Lucifer, and Lucifer’s rebellion against the prime Deity, that humanity was ultimately saved and provided illumination. This illumination, in turn, generated subsequent human evolution, progress, and knowledge. The giver of illumination is the true idol deserving of worship.
A “Bulbs” Hypothesis
The intent of this inquiry is to demonstrate the above Mystery School doctrine as depicted in the imagery of Apple’s recent commercial. It is as such:
- Before Creation existed Darkness
- The/a prime Deity generated Creation
- The prime Deity moved on and/or lacked interest in Its Creation
- Rebellion against said Deity, with assistance from some other “agent/deity/force,” freed early man from the bonds of ignorance, and in turn, generated the…
- Illumination of humanity
In the beginning there existed darkness; no light, no music, no creation, no life, no existence.
O majestic night!
Nature’s great ancestor! day’s elder born!
And fated to survive the transient sun!
By mortals and immortals seen with awe!
We then see Creation. It is important to note that early man is again featured in a cave or womb, in darkness, and without light. It is a theme that Cooper mentions is important in the Mystery Cult material. There is Creation from some Deity, but the Deity has left our ancestors in darkness and at the mercy of nature and the elements.
Fortunately, “something” rebelled against said Deity, and we then see in the commercial imagery of…
Rebellion in Three Parts
Part 1) : Prometheus -the Luciferian Titan and Nemesis to Jove
The basic Greek myth regarding Prometheus is familiar to many, but for reference, I wanted to include a brief synopsis of the Greek Titan deity and his tragedy. This is one version of the myth, and is heavily dependent upon the work Charles Bulfinch’s Age of Fable.
In the beginning, there existed Chaos; Chaos was indeed a “confused and shapeless mass, nothing but dead weight, in which, however, slumbered the seeds of things.” All things were mixed together until some Great Artificer decided to end the confusion and discord, and henceforth, allowed for the creation of the starry sky, the air of the Earth, and finally, the Earth itself.
This Great Artificer also generated the geography of the Earth. Rivers and valleys were carved into the Earth, mountain ranges were raised, forests sprang forth, and fertile fields were generated. However, with Creation came great boredom; and from this boredom, the Great Artificer and its fellow deities wished to populate Earth with new life forms.
At this point in the history of the Cosmos, the story of Titan brothers Prometheus and Epimetheus unfolds. When the great boredom of the Artificer generated interest in life and the creation of a grander, nobler animal of Man, Prometheus was called upon. Zeus, champion of the Olympians and victor of a great war against Prometheus’s father, called upon Prometheus. Prometheus was a Titan, or a gigantic creature/deity that inhabited the Earth before the existence of humanity, and was delegated the task of engineering this noble animal. With the assistance of clay and water from Earth, Prometheus constructed Man to be in the image of the gods. The clay “model” gave Man an upright stature in order to provide Man the ability to gaze at the stars, whereas animals were allowed to only look down at the Earth.
Subsequent to the creation of Man and animal, Prometheus asked his brother, Epimetheus, to go about the task of providing these creations a means of self preservation. Epimetheus bestowed upon the array of animals “various gifts of courage, strength, swiftness, (and) sagacity.” Yet Prometheus’ most noble creation, Man, was neglected by the attention and work of a hasty Epimetheus. Man, being no better in stature to the common animal, and being a favorite creation of Prometheus, set Prometheus on a journey that ascended him “to heaven, lighted his torch at the chariot of the sun, and brought down fire.”
As time progressed, Zeus, who had originally resented the Promethean gift of fire to mortals, made a decision to annihilate humanity and create a new race of life. Once more, Prometheus intervened, and attempted to provide security to his creation by tricking Zeus. Although the trick proved to save the livelihood of our ancestors, Zeus, displeased with Prometheus ruse, removed the gift of fire from Man. Yet once again, Prometheus intervened on Man’s behalf, and returned Fire to our species by stealing it from Heaven and transporting it to early Man through the assistance of a fennel reed.
Furious at the rebellion of Prometheus and Prometheus’ devotion to humanity, Zeus, the Olympian Jove, ordered Prometheus to be chained on a rock on Mount Caucasus. Bound by the decree of Zeus, the liver of Prometheus was repeatedly targeted upon by an eagle or vulture for eternity. Never fully consumed, the liver was allowed to recover before again falling prey to the air born predator. Of course the punishment of Zeus would cease should Prometheus submit to the will of Jove and provide insight on his prophecy depicting the usurping of Zeus in the future, but Prometheus refrained from such disclosure.
Feeling a bond and kinship with the human creature that dwelt in the dark caves of the Earth, it was Prometheus that brought illumination to humankind with the assistance of Fire from the Sun through rebellion against Zeus. Fire, Prometheus believed, would give his creation protection from the elements, protection from his/her natural predators, and generate intellectual evolution. The gift of fire from Olympus to the people of Earth led to the development of star worship, numbers, animal domestication, medicine, divination, sea craft, and the greater arts. Fire was the gift of intellect. Fire was the gift of rebellion. Fire, as it were, was the gift of illumination; a transaction that transpired against the wishes and desires of a cruel and unjust god.
Part 2) : Sisyphus -the Absurd Hero (and Nemesis to Jove)
Sisyphus, the man that negates the gods and raises rocks in the face of death. Another character of rebellion against a deity and representative of human’s stubbornness to submit to the will of said deity. The Myth of Sisyphus is as such:
- Sisyphus was the wisest and most sensible of ancient mortals
- Also possibly a cunning and devious criminal
- Zeus abducted Aegina, daughter to Asopus, and carried her away to a remote island (later to be named after her) and forced her to be his concubine
- Asopus, distraught at his daughter’s disappearance, complained to Sisyphus
- Sisyphus, privy to the crime committed by Zeus, told Asopus of Zeus’ crime and of Aegina’s disappearance
- In retribution for Sisyphus’ flippancy towards the gods, Zeus sent Death to claim Sisyphus for the Underworld
- Sisyphus, however, defeated Death in battle and bound Death captive
- The natural cycle of death ceased to exist
- Perturbed by a now silent empire, Pluto sent forth Ares, the god of war, to release Death from its captivity and handed Sisyphus to Death’s possession
- Again, against the will of the gods, Sisyphus cunningly cheated Death once more by asking his wife to not to perform the customary death rites
- This lack of ritual prevented Charon from transporting Sisyphus over the river Styx
- Despite the rebellion against Death and the gods, Sisyphus eventually passed into the Underworld
Upon Sisyphus’ entry into the domain of Hades, the gods created a punishment to prevent further escape from the possession of Death. Sisyphus was condemned to eternally roll and push a rock to the top of a mountain. Upon the apex of the mountain, the rock would roll back to the bottom of the mountain due to its own weight, wherein Sisyphus would be forced to walk to base of the great hill and repeat his exercise of rock ascension. This was his punishment for rebelling against the will of the gods; an eternal punishment filled with futile and hopeless labor.
Yet, as Albert Camus famously argued, Sisyphus should be applauded for such labor of absurdity. For it is in his eternal exercise that Sisyphus finds meaning in the absence of subordination to a master of the greater cosmos. Sisyphus, like Prometheus, rebelled against the will of a cruel and unjust god, found a cruel, absurd, and unjust punishment, yet accepted it and his actions for the whole of eternity.
Part 3): William Tell – A Freemason Favorite
The music score chosen to provide audio to the short film is the William Tell Overture, overture to the world famous, 1829 Gioachino Rossini composed Guillaume Tell opera. The opera’s protagonist is Swiss folk lore hero William Tell, and the use of “his” overture is most telling to the commercial’s narrative.
William Tell is possibly the Swiss’s version of Brutus; Tell was instrumental in establishing the freedom of Switzerland away from the tyranny and oppression of Emperor Albert of Hapsburg, Austria rule. The legend of Tell, boiled down in one possible lineage of myth, is as such:
- Tell was born in Bürglen, Switzerland, and became a Swiss mountaineer
- Tell refused to salute a symbol of imperial power as requested by Gesler, Vogt or Govenor of the Emperor Albert of Hapsburg
- In retribution for his act of rebellion, the Vogt forces Tell to shoot an apple placed upon the head of Tell’s only child with a bow and arrow
- Tell succeeds, but is then observed by the Governor to have a second arrow on his belt
- Questioned as to why a second arrow was on his person, Tell replied to the Vogt, “It was for you, had I shot my child”
- The Austrian governor then placed Tell in custody, in chains, and requested the archer/prisoner to be transported across Switzerland’s Lake Lucerne to Castle Küsnacht
- As the ship sailed across the Lucerne, a storm arose, Tell was unchained and allowed to take the ship’s helm
- Once safely sailed to land, Tell pushed the boat back into the Lucerne, and shot the governor to death
- Tell later returned to Switzerland to assist in the Swiss Confederacy’s liberation of Switzerland from the reign of Imperial Austria
Deemed a myth by many historical researchers, the legend of William Tell is important in various ways in the context of rebellion and the to the philosophy of freemasonry. Tell can be seen as:
- A symbol of rebellion against the tyranny and oppression of government
- A symbol of the self subordinating to the whole for the betterment of humankind
- Being a symbol of the King of Handshakes, the mythos of Tell is seen as being representative of a secret society
Really just the tip of the iceberg, the William Tell symbol is a rich and highly revered symbol in the annals of Masonic writing, analyses, and discussion over the past three centuries.
Bonus Find : Lake Lucerne and Pontius Pilate
Lake Lucerne…interestingly enough, Lake Lucerne too has many an esoteric attachment to it. Aside from being the saviour to William Tell’s potential death at the hands of a tyrannical agent of imperial power and being located 183 kilometers away from Geneva’s CERN, Lake Lucerne is the possible resting place of Pontius Pilate.
As one possible sequence of events would have it, Pilate, condemned to death and overcome with remorse of consciousness due to his involvement with Jesus’s execution, committed suicide. His dead body was then loaded with stones and dumped into the Roman river Tiber. Although the body sank immediately, the elements conspired to reject the insult of the body of Pilate and generated a series of devastating storms.
Pilate’s body was then removed from the Tiber and then discharged into the river Rhone in Vienna. However, the purple waters of the Rhone too rejected his body; Pilate’s body was cast in waves to the river’s shore. Pilate’s corpse was subsequently transported to Lake Geneva, at Lausanne, Switzerland. Once more, Pilate could not find rest and his body, again, was cast to the lake’s shoreline.
Finally, Pilate’s body was moved to Lake Lucerne, and discharged into the lake’s dark, cold waters at the base of Mount Pilate. Since that time, his body has stayed submersed, but his spectre is rumoured to be seen walking the mountain and swamp areas near the lake. His spirit is alleged to be responsible for the many swells, rain storms, and hurricanes that have laid waste to that part of Switzerland.
Returning to the thesis of this inquiry, let’s revisit the act of Rebellion. As witnessed in the commercial, we see tribute to three acts of great rebellion against a tyrannical and oppressive overlord. The myths of Prometheus, Sisyphus, and William Tell are important archetypes to the larger, potential Mystery School doctrine. Each archetype is representative of rebellion against a larger, artificer creation; in the case of Prometheus and Sisyphus, it is rebellion against a deity that has no interest in the development or livelihood of early man. In the case of William Tell, it is representative of rebellion against the darkness of an unjust, ignorant, dark age reign on Earth, who of course is possibly rescued by the restless spirit of a Roman Governor who oversaw the crucifixion of Jesus Christ.
Heavy speculation, sure, but this is an Apple commercial after all!
Subsequent to rebellion, we next see the sparks of glorious illumination. As primitive man sits in the dark womb of the Earth, fire is gifted upon the chosen, favorite species of the agent of rebellion. As mentioned previously, fire, the gift of Prometheus, was indeed the spark to illumination.
Similar to 2001, the commercial proceeds to highlight human progression. We see images of motorcycles, trains, bicycles, telephones, typewriters, television, toilet paper, a microwave, etc. etc. etc. This is the construct of our human and civilization evolution. Technologies have expanded and grown with us as a species, making life easier and providing a means for our species’ survival. As the audience’s eyes are directed toward a line of exploding light bulbs, we see human feats of technological advancement scurry across the screen.
Again, these advancements are ultimately attributed back to original illumination. Illumination, the spark in the cave, the gift of fire, is ultimately representative of the process of “man becoming his own god.”
Other Things of Interest
Rocket Tech and Chemtrails
A Chaos Sigil Included
And An Ode to Osiris, God of the Sun and of the Corn?
Inclusive to the material of the commercial, we also see potential tributes in place to Osiris. Osiris, the Egyptian God who represented many things, is seen in myth as being a Deity of the Corn, Fertility and of the Tree. Osiris is also often depicted as being representative of the Sun.
Being the child of Sky and Earth, Osiris is also said to have taught to early human civilization the value of agriculture. Corn, a product that springs forth from the ground and is fertilized by the heavenly waters, was seen as being the product of the teachings of the Corn Deity himself. It was through these teachings of cultivation and agriculture that Osiris changed the diet of early Egyptians from cannibalism to a grain/corn based food source. In the Apple commercial, we see references to agriculture multiple times, from the field plough to the use of cold food storage preservation.
Again, just a speculative take on the commercial for possible inquiry, yet we know there is indeed an interest in the Osirisian mythos at some level of Hollywood. Osiris, like Lucifer or Prometheus, also brought illumination to our ancestors.
A Common Theme From the Principles of the Mystery Schools
Returning to Dr. Mackey’s Encyclopedia, let’s revisit a Masonic contrast of Darkness versus Light. Again, at a high level:
Darkness is the domain of the Profane. It is the symbol of ignorance, death, and the state of antemundane chaos The worship of Darkness is of a debasing nature, and it is the mission of Freemasonry to restore Darkness to its proper place as a “state of preparation.”
Light, or Illumination, is the domain of the Adept or the Sacred. It is representative of knowledge, truth and wisdom. At a greater esoteric perspective, it is the light of East and the Great Sun of Righteousness. Without its blessing, humanity was doomed for failure, devolution, and death. The bringer of light is responsible for the achievements of humanity.
The adepts of any Mystery Religion, Babylon or otherwise, embrace the light. Light in the form of the Sun, fire, a non prime Deity, and intellect is ultimately responsible for our species’ current state. I would argue that this Apple commercial, much like Cooper’s take on Stanley Kubrick’s 2001: A Space Odyssey, pays tribute to the illumined subset of our larger population.
A Possible Conclusion
All that being said, I would again argue that the new Apple commercial is indeed a tribute Kubrick and the Mystery Cult’s material. The rich symbolism is there. The director/ad agency obviously did not “accidentally” include imagery of Sisyphus, Prometheus, William Tell, the apple, and the three antler stag. Ultimately, there are possibly three levels of meaning or language at play:
- The Profane Language: the commercial celebrates human technological achievement with symbols that make sense to all of us in respect to our daily lives
- The Consecrated Language: the commercial celebrates human technological achievement as a function of possible Freemasonry/secret society influence (Edison/light bulbs, etc.)
- The Divine Language: the commercial celebrates human technological achievement as a function of the gift of light…a gift from some bringer of illumination
There was no doubt intent that the “bringer of illumination” (the Grand Architect of the Universe, the Sun, Osiris, Prometheus, Lucifer, or who/whatever) is to be the object of true adoration and worship for the indoctrinated segment of our population. The new Apple advert, I would surmise, was intentionally constructed as such.
What did I miss? The commercial is 1:38 long, which seems to be a curious number. There is also the very interesting ending, wherein we see the line of extinguishing bulbs returning to the possible cave that witnessed humankind’s discovery of fire. Is the commercial suggesting that we are nearing the end of some loop? That a reboot is possibly currently in place by some unknown program, AI, or prime Deity? A final reset that will once more bring Darkness, only to have the cycle of Creation, Rebellion, and Illumination return? Smarter people than me might very well know.
As always, please feel free to drop a line , thought, and criticism.