Interstellar’s Deep Meditation On Saturn, Time And The Kubrick Convergence

interstellarTaking the leap.

As we sat in the dark, waiting for “Interstellar” to begin, there were some interesting coming attractions. The first that caught my eye was the latest, robot-feel-good flick, “Chappie” directed by Neil Blokamp (District 9 and Elysium), which stars Hugh Jackman, Dev Patel and Die Antwoord’s , Yolandi Visser. Without knowing too much about “Chappie” the trailer plot (filled in by yours truly) seems to be about a robot who is rejected, turned out onto the streets and befriended by street people. Can you see the rejected people/robot trope? In the course of a three-minute trailer, you can also see Chappie get humanized and beloved by his fellow rejects. Then it looks like Chappie gets in trouble, leads some sort of rebellion, and does so heroically. Get ready for scores of films comin’ acha , where the robots will be more evolved, beloved and human than humans. Time to soften us up and accept the coming robot race.

Neil Blokamp is making a career out of augmentation, mutation and automation. In District 9, Blokamp takes us into a world where a human cop morphs into an alien thanks to the alien blasting the cop with its DNA.

District 9 is a reality play on racism and exclusionary culture wrapped in a Sci-Fi flick.

Matt Damon plays an augmented human in “Elysium” where he becomes a transhuman super soldier who is going to take on the 1%, living in an upper atmospheric utopia.


Now here comes “Chappie” and another, Dickensian take by Blokamp on anything other than a straight human.

Then there’s “Exodus: Gods and Kings” a far less passive take on Moses and the flight from Egypt. Ridley Scott directs, Christian Bale leads his people, blah, blah, blah. Continue reading “Interstellar’s Deep Meditation On Saturn, Time And The Kubrick Convergence”

Decoding The Summer Cinematrix With Darren Williams


Each summer, Hollywood delivers it Blockbusters usually in the action/sci-fi genre.Typical, format of these films are a diverse random group coming together as a team to defeat a controlling force with evil sinister intentions.

Many look towards the 1977 classic ‘Star Wars’ as being the initial if accidental Summer Blockbuster that all others attempt to follow in terms of cutting-edge expensive graphics leading to a even greater profit in Tickets purchased at the Cinema connected with Merchandise.

Like many things in Pop Culture, things are based in collective opinion rather than fact.
The actual first genuine Hollywood Film to attain Summer Blockbuster status was ‘Jaws’ in 1975 directed by Steven Spielberg. What made ‘Jaws’ so unique was people went repeatedly, taking those to the Cinema to be converted. This behaviour had never been witnessed to that extent before in western developed world cultural history. Eventually leading to George Lucas, Spielberg’s friend in 1985 becoming a billionaire.

The 38th summer since ‘Jaws’ has produced the evolution of the Hollywood Summer Blockbuster… Continue reading “Decoding The Summer Cinematrix With Darren Williams”

Stanley Kubrick’s Scorpio Moon And Mercury/Pluto Conjunction As Guides To The Dark Side Of The Moon–Jay Weidner on FAR tonight!

stanley-kubrickKubrick’s eyes wide open.

There are very few directors that have imparted such a singular imprimatur on their work as Stanley Kubrick. Hitchcock and Coppola come close to Kubrick in their own way, but Hitchcock basically stayed within one genre (suspense/mystery) and Coppola dropped a few bombs which more or less bent him towards the conformity of the studios. Coppola hit his peak with “Apocalypse Now!”. Notice, I didn’t mention Spielberg or Lucas in the mix. Nor did I include Welles, who basically made one great movie, two very good ones, and a lot of questions marks.

Kubrick’s films were almost all well received critically. Some even did well financially, all were fairly different from not another and yet, there is a them that exists throughout all of them, like a great arc against the backdrop of the latter part of the 20th Century.

Kubrick’s storied career really kicks off with “The Killing” a gritty, crime drama about a heist at a racetrack, where betrayal uncoils like snake and culminates with “Eyes Wide Shut” where secrets and betrayal are the common theme, gilded over a much deeper exploration of something decidedly dark and more sinister than most people would ever dare to imagine.

There are no charts for Kubrick which include the ascendant/birth time, so we’ll have to use the personal planets to uncover the mystery of Stanley Kubrick:

Kubrick was born on July 27th. 12928. He was an Earth Dragon, capable of making things happen on the material plane and quite frankly beyond. While his Sun was brightly illuminated by the sign of Leo, which is now rising in the northern hemisphere, hot on Orion’s tail, it’s Kubrick’s Moon in Scorpio which might provide the skeleton key for understanding not just his chart, but his overall strategy and art.

Since we don’t have his actual birth time, locating the degree of his Moon is not the easiest of tasks. But if we simply look at the Scorpio Moon on face value and then back engineer it’s connection to the rest of the chart, we might be able to get a much clearer picture of its importance.

The Scorpio Moon is dark, deep, intense, sexual, possessive, secretive, psychic, slightly sadistic (more on this later) and deeply regenerative. People that have Scorpio Moons are privy to secrets and hold their own closely to their chests. When we look at Kubrick’s career, “2001, A Space Odyssey” is the one film most associated with the director’s greatness. Here, the central character of the film during it’s first part, is The Moon itself. The film unfolds as a piece of classic ballet. The opening sequences are like a primordial “Rite Of Spring” where early man and his savage nature encounters something mysterious and quite possibly transforms the nature of the species itself. “2001” transitions from the thumping heat and violence of early man, to the gossamer like grace of objects floating in space, dancing between the void of The Earth and The Moon. It’s important to note that the effects that Kubrick was busting out for “2001” were truly mind-blowing. Science fiction, especially space science fiction films at that time, were mostly clumsy efforts that couldn’t quite capture the feeling and the esthetics of life in space. We often take such effects for granted now, especially in the light of CGI, but what Kubrick was able to accomplish was nothing short of paradigm shifting when it came to film and effects. But it’s The Moon and the secrets of The Moon which sets the stage for the rest of 2001 and beyond. Continue reading “Stanley Kubrick’s Scorpio Moon And Mercury/Pluto Conjunction As Guides To The Dark Side Of The Moon–Jay Weidner on FAR tonight!”