Note to reader: Typically I don’t publish other writers on my site. Honestly I’ve enough to do to keep up with my own writing (and my own life). Also, I am always anxious when publishing analysis that I can’t double check myself. Sometimes there is simply no time. I am sure the reader can relate. So as a general rule, I don’t do it.
It’s a shame because there are now multiple writers applying Brahmin analysis (or Roman Interpretation) to films and myth, some of them quite talented. Hugo is one example. He’s highly intelligent and an excellent writer who appears to understand the basics of REM/JEM analysis. Also Hugo, not an American National, has run into a bit of censorship issue, so obviously that is intolerable. As a consequence, he’s will be an ongoing contributor to this site for any period he is interested in submitting his writings. We are fortunate to have him.
The ubiquitous disclaimer, of course, is that we are all learning, myself included. So we’ll make mistakes here and there. Likewise I may differ from an interpretation I publish, even if in small details. The second disclaimer is I am unfamiliar with this particular film he is reviewing. Enjoy.
Deep Impact: Bride Gathering during the Biblical flood
One of Hollywood’s many Caducean marketing ploys involved a pair of asteroid disaster flicks in 1998. Of the two, Deep Impact contains an overt Biblical subtext that masks an esoteric message intended to moralize Jews. It was written by Bruce Joel Rubin and Michael Tolkin, directed by Mimi Leder, and produced by Steven Spielberg (who had planned to direct), all of whom are Jews. Leder, apparently unsatisfied with tribal nepotism, casts both her husband and daughter in the film. However, it appears Leder is a Sussman as she inadvertently directed a film containing multiple slights aimed at Jewish women.
Deep Impact is particularly blatant when it comes to its names, number symbolism, and color symbolism. Thus the film is highly instructive and will leave the reader astounded upon a second viewing, having read the following analysis. Perhaps most importantly, we find positive Christ-figures developed with the understanding that the advent of Christianity was a major victory for the Semitic bride gathering cult (BGC).
Though the plot is fairly simple, Deep Impact is a dense film divided between three subplots with more than a dozen characters. For that reason this analysis is necessarily lengthy, touching on numerous tropes common to Jewish Esoteric Moralization (JEM). In particular the film contains a clear proof of The Jacobean Swap, and corroborates Mark Brahmin’s interpretation of the Biblical flood as a time and/or place of racial decadence.
Leo as Judah the Lion, Sarah as “God’s Sarah”
The teenager Leo Biederman (Elijiah Wood) discovers the fateful comet while stargazing with his astronomy club. His given name, which literally means “lion,” indicates he’s a stand-in for the Biblical “Judah the Lion,” the founder of the Israelite tribe of Judah, whence we get the word “Jew.” Hence Leo personifies the Jewish people, and his half of the comet represents the Jewish god. His surname is of German/Jewish Ashkenazic origin and means “honest” or “upright” combined with “man.”
Leo’s father Donald (Richard Schiff) has a name meaning “world-ruler” or “world-wielder,” which is ethnically ambiguous but aligns with him being a MOT. Leo’s mother Ellen (Betsy Brantley) takes her name from the Greek Helen, a common archetype in the JEM for a highly desirable Aryan female typically paired with a Jewish male. Consequently Leo is not only indicated Jewish, but the admixed product of the BGC.
Leo’s blonde, blue-eyed girlfriend Sarah Hotchner (Leelee Sobieski) shares her given name with the Biblical wife of Abraham, understood to be Aryan in the JEM. The word “Israel” is a compound of the root of Sarah and El meaning “strive/walk with God” so Sarahs often personify the vessel of the Jewish faith and/or people in the JEM, and our Sarah is no exception.
The surname Hotchner means “one who drove cattle,” suggestive of a farmer and thus the Aryan. However, her father is named Chuck (Gary Werntz, Mimi Leder’s husband), an example of the Frankish motif, implying he may be Semitic. Thus the “cattle” being driven are possibly goyim. Sarah’s mother is a blonde named Vicky (Denise Crosby), a reference to the Greco-Roman goddess Nike/Victoria, understood to be Aryan in the JEM. Therefore whether Sarah is admixed or not, she has inherited her mother’s features and can be considered Aryan.
Sarah informs Leo that a “Max Shepherd” has invited her to a party. The boy’s name indicates he’s a Jewish rival for Sarah’s affection: Max is a common Jewish identifier in the JEM meaning “greatest,” and his surname refers to either the Biblical Jacob and/or Hermes/Mercury, both shepherd figures known for stealing the Aryan’s flock. It’s a throwaway line for a character we’ll never meet, but another indication that we’re dealing with JEM.
The Wolf-Biederman comet as Bethel
Leo spots the comet near Mizar and Alcor, stars in the handle of the Big Dipper. Their Arabic names mean “cover”/“neglected” and “forgotten one” respectively, hinting at the concealed danger posed by the Jewish god as personified by the comet. Indeed Jews have a history of worshipping meteorites as sacred stones. Writes Brahmin: “These stones were called Baetylus or Bethel which comes from the Semitic bet el, ‘House of God.’ They were believed descended from the heavens as meteorites, endowed with life, and, very often, the embodiment of the God himself.”
Marcus Wolf as Ares/Mars and the Aryan Wolf
The science teacher tells Leo to take a photo of the comet so a professional can check it out, and we cut to what appears to be Mars in the night sky over the fictitious “Adrian Peak” observatory. Here we meet astronomer Marcus Wolf. His given name references the Greco-Roman god of war Ares/Mars, while his surname Wolf is an allusion to either Apollo Lycegenes or the Biblical Benjamin, the ravening wolf. The observatory’s name refers to the Roman emperor Hadrian who put down the Jewish revolt in 136 C.E.. All of these clues identify Wolf as the hated Aryan male.
Wolf is dumbfounded to learn Leo’s uncharted comet is on a collision course with Earth. With the email server down and no cellphone coverage – interference by Yahweh, no doubt – he’s unable to notify anyone of the discovery. He stores the data on a floppy disk, naming the comet Wolf-Biederman. Esoterically, this ties Wolf and Leo to one another in the manner of The Jacobean Swap. That he gave himself primacy when Leo was the one who discovered the comet implies Aryans take credit for what Semites have discovered.
Wolf immediately gets into a car accident (more meddling by Yahweh), becoming a burnt offering to the Jewish Fire God. Having failed to warn his countrymen of their impending doom, he brings to mind politicians like Enoch Powell who tried but failed to warn of the dangers of the “flood” of mass non-white immigration. Alternatively it’s a simple Jewish revenge fantasy targeting Hadrian.
Jenny and Robin Lerner, Judith and Leah
Next we meet an MSNBC reporter named Jenny Lerner (Téa Leoni). Lerner is a common German/Jewish Ashkenazic surname meaning “Talmudic student or scholar” in Yiddish. She’s unmarried, so we know she’s the daughter of a Jewish man at the very least. Given Leoni’s a blonde you’d be forgiven for thinking she’s another product of the BGC, but appearances are often misleading in JEM.
“Jennifer” is a cognate of Guinevere, the Aryan wife of King Arthur, described as “a villainous and opportunistic traitor.” This identifies her with the Biblical Judith (also Aryan), who ingratiated herself to Holofernes only to decapitate him. Judith is also said to be “courted by many but remain(ed) unmarried for the rest of her life.” It follows that Jenny admits she seduces men to obtain news scoops, but remains unmarried and childless.
Jenny’s father Jason (Maximilian Schell) takes his given name from the hero of Greek mythology, corroborating Brahmin’s take that the Jason of the Argonauts is understood to be a Semitic figure. Jenny’s mother Robin has a name stemming from Robert, an example of the Mason motif due to its connection with Robert the Bruce. Alternatively the name Robin means “Rabbi,” as “Robinson” is a cognate of the Hebrew “Ben Rabbi” (lit. “son of Rabbi”). Either way, both parents are Semitic, and therefore so is Jenny. Consequently Jenny and Robin personify the BGC’s unwanted women, with Robin being a Leah type, having been discarded for a woman named Chloe (Rya Kihlstedt) who is just two years older than Jenny.
Jenny meets with Robin (Vanessa Redgrave) to commiserate over Jason’s wedding. Robin dryly describes what the ceremony must be like, causing Jenny to interrupt to assert that a judge – not a priest – would officiate (confirming that Jason is an atheistic Jew). Notably, “Chloe” is an epithet for Demeter/Ceres, the Greco-Roman goddess of agriculture and fertility (understood to be Aryan in the JEM). Hence Jason has joined his fellow bride gatherers in taking an Aryan wife, and they already have twin daughters together (a nod to Chloe’s “fertility”).
The significance of Jenny and Robin’s pearl jewellery
It is suspicious that both Jenny and Robin wear pearls. Jenny almost always wears a pearl necklace which seems out of fashion for 1998 (possibly this is intended to be a sexual innuendo). Robin wears a single pearl set in a black oval pendant (where black is a Jewish color in the JEM), a detail stressed when Jenny retrieves Robin’s personal effects after her mother commits suicide. The word “pearl” comes from the Sanskrit meaning “cluster of blossoms,” and its formation in an oyster relates to traditional depictions of the birth of Venus. However, the esoteric meaning here is decidedly much less complimentary.
Of course a pearl is, at its heart, nothing more than a worthless grain of sand. Jewish esotericists like Spielberg conflate Jewish women with grains of sand, implying they’re abundant and utterly devoid of value. Here it is instructive to recall the opening scene of Indiana Jones: Raiders of the Lost Ark, wherein Jones steals the golden fertility idol by replacing it with a pouch of sand of approximate weight. There, Jones is effectively swapping the undesired Jewess for the desired Aryan female. Hence Jenny and Robin are, like pearls, indicated “false Venuses.” Likewise Robin’s apartment is decorated mostly in gold, but before committing suicide she will don a silver dress (where silver reveals her to be less valuable/desirable than Aryan gold).
Moreover, given Deep Impact‘s Christian subtext (discussed in detail later), the pearls relate to the Parable of the Pearl, which marries the pearl with the concept of Heaven (seen also in the “pearly gates”). No doubt the Jewish esotericist understands the parable to represent a con played on the benighted Gentile, where he/she is proffered something of seemingly inestimable worth that is, in actuality, a “polished” or “gussied up” grain of sand. It’s a spin on the story of Prometheus offering Zeus the meat that looks good but is foul.
Extramarital affairs in the White House
Jenny investigates an affair by a recently resigned presidential advisor named Rittenhouse. A lead says the “other woman” is named “Ellie.” The name hints at the Helen archetype, but it’s later revealed to be a red herring, an in-joke for cognizant Jews. Jenny then visits Rittenhouse to confront him directly.
First Jenny meets Rittenhouse’s young blonde daughter Holly (Hannah Leder, Mimi Leder’s daughter). The name Holly comes from a plant that “represent(s) the union of Aryan woman and Jewish man” in the JEM. She’s sitting next to a yacht christened Hannah, either a reference to the actress or to the Biblical Hannah, an Aryan female. Importantly, she sits next to a box that says “Natural High” and a six pack of “Avalon” beers featuring a reclining woman (Avalon is an Arthurian reference to apples, and six is an Aryan identifier). This juxtaposition brands her the desirable Aryan breeding stock, despite her being only a child.
Alan Rittenhouse (James Cromwell) appears from inside Hannah, his “ark.” This corroborates Brahmin’s view that the “wooden ark” represents an Aryan woman. His given name means “little rock,” perhaps a nod to the Stone motif indicating that he will abide the flood. His surname has multiple meanings: “Ritten” may stem from the German retten/redden meaning “swamp”; or from the Bavarian meaning “steep mountain slope.” Thus his name applies to someone who lives near a swamp or on a mountainside.
It’s a recurring motif in the JEM that swamps and marshes represent genetic spoliation or racial admixture, so the swamp reference dovetails with our understanding that the Biblical flood is a metaphor for a time of racial decadence. The latter meaning of “Ritten” suggests the family may avoid the flood by living beyond its reach. Thus the surname leaves the Rittenhouse family’s fate open to question (we never do learn what happens to them).
Leaving empty-handed, Jenny theorizes that the President is the one having the affair (timely, given the Clinton-Lewinsky scandal was developing in the late 1990s) and that Rittenhouse resigned to take the blame. Before she can get back to the office she’s aggressively boxed in on the highway by FBI agents, who escort her to a private meeting with the President. Unbeknownst to Jenny, Rittenhouse alerted them because breaking the comet story could cause widespread panic.
President Tom Beck (Morgan Freeman) makes his entrance. Tom is a name commonly attributed to Christ figures in the JEM; the Biblical Thomas is understood to be a “twin of Christ” and the name Thomas literally means “twin” in Hebrew. That he is the “twin of Christ” is backed up by his Hebrew surname Beck, which means “martyr.” We’ll meet his twin later.
Notably, Beck is juxtaposed with a workplace accident poster where we see a white man (depicted in the Aryan colors blue and yellow), seemingly replaced by a black man in the final panel. The poster seems to imply that Beck is either an Aryan in “blackface,” or that electing a black President would be an “accident.” Opposite him, Jenny is juxtaposed with a red poster that says, “Drinking dulls your thinking on or off the job,” a likely jab at the “intoxicating” nature of Christianity.
A distant second is still a promotion
Beck and Jenny engage in a verbal tug of war, where he believes she’s about to go public with information concerning the comet. Beck says he wanted to delay the announcement of “E.L.E.” for another two weeks, but recognizes Jenny won’t wait that long. She silently notes his strange pronunciation of “Ellie” but doesn’t let on, replying “there’s no such thing as two weeks in the news business.” He demands that she sit on the story for two days, and promises that she’ll be given a special place in the White House press junket: a spot near the front, on the second row. She responds by demanding “exclusivity.” He chides her for her chutzpah, suggesting she’s being promoted. The press conference will take place on a Tuesday, the second day of the week.
This negotiation, with its multiple references to the number two, where Jenny is relegated to the second row despite her demands for “exclusivity,” is to my eyes an esoteric insult to Jewish women. It subtly communicates that Jewish women are second best to Aryan women, in line with Brahmin’s thoughts on Judaism as a BGC. Of course the sentiment is cleverly masked as a misunderstanding where Jenny has landed the opportunity of a lifetime while barking up the wrong tree.
Plan A: The Messiah, Orion, and Atlantis
President Beck holds a press conference to reveal the danger of the Wolf-Biederman comet and, as promised, Jenny is given special seating. He says the comet is “the size of New York city” or “about seven miles long” and that, “put another way, (it) is larger than Mount Everest.” Esoterically the comet represents the Jewish god, thus the reference to Mount Everest likely relates to Mount Zion, and the number seven relates to Saturn, particularly as Reaper and Castrator.
The United States and Russia will try to knock the comet off course with the “Messiah,” the largest spaceship ever built. It’s propelled by the “Orion” rocket system that was originally intended to deliver “weapons of mass destruction” (a term that would soon be on everyone’s lips in relation to Saddam Hussein’s supposed stockpiles). Here Jenny gets to ask her questions, saving a religiously-tinged zinger for last. Raising Rittenhouse’s resignation, she asks: “Isn’t it true that not everyone in your administration is convinced the Messiah will save us?” Beck dismisses her concerns, stating “life will go on.”
The shuttle “Atlantis” will land aboard the comet and plant nuclear bombs to destroy it. The name doesn’t bode well for the crew: The lost city of Atlantis was supposedly swallowed by the Atlantic Ocean, so the shuttle’s name alludes both to its drowning and the film’s underlying subtext of the “flood.” Again, we recall that the Biblical flood is a metaphor for a time of racial decadence, thus the esotericist appears to be drawing our attention to the possibility that Atlantis did not literally sink into the ocean, but rather succumbed to multiculturalism or foreign invasion. One wonders if this ancient meme has been applied to California, which is also said to be in danger of “sinking into the ocean” (i.e. the ocean of diversity).
The Messiah’s crew: character analysis
Mission commander Oren Monash (Ron Eldard) has a Hebrew given name meaning “ash,” “pine tree,” “fair,” and “pale” indicating he’s consumable wood for the Jewish Fire God. Alternatively, Oren is a pun on Orion, a Semitic hunting/shepherd figure. The surname Monash stems from the Hebrew Menasseh or Manasseh and relates to an ancestor of Christ in the genealogy of Matthew. Oren’s Hispanic wife Mariette has a name stemming from the Hebrew Miryam whence we derive “Mary,” also linking him to Jesus Christ.
Pilot Andrea Baker (Mary McCormack) has a given name meaning “strong” and “manly,” ostensibly because she volunteered for the extraordinarily dangerous mission. The name links her to Andrew, one of Christ’s apostles (typically understood to be Semitic in the JEM). Her surname references bread, a distinctly feminine form of the Consumption motif important to Christianity. Hence she’s defined as food for the Jewish god.
Medic Gus Partenza (Jon Favreau) has an occupation and given name connecting him to Augustine of Hippo, a “Doctor of the Church.” That said, “Gus” is likely a simple pun on “gas,” as he will be killed when gases vent from the comet’s surface like a cosmic fart, blasting him into outer-space. His Italian surname Partenza means “departure,” “take-off,” and “blast-off” and so applies to both his occupation and death.
Navigator Mark Simon (Blair Underwood) has a given name meaning “consecrated to the god Mars,” indicating how he will die. The surname Simon means “flat-nosed,” and in the Book of Acts in the New Testament there’s a Simon named Simeon Niger, where “Niger” is a nickname meaning “black” and refers to a dark complexion or African descent. Thus the role was given to a black actor. On its own this is not necessarily a racial insult any more than the countries named “Niger” and “Nigeria” (though it wouldn’t be surprising if a racial insult is intended here, as in the workplace accident poster discussed above). Interestingly he says that he doesn’t want to get married in a church, because he “doesn’t do churches well” but later tells his wife to “keep doing (her) church thing” and that he’ll be there with her in spirit.
The Russian nuclear specialist Michail Tulchinksy (Aleksandr Baluev) has a given name referencing the archangel Michael (closest to God and is responsible for carrying out God’s judgments). True to his secret identity, he’s the nuclear specialist who arms the nukes. We see a traditional icon depicting Mary and Jesus next to his bunk aboard the shuttle, confirming his religious affiliation. I was unable to learn the meaning of his Russian surname, but Michael (and most other angels) are indicated Aryan in the JEM. He sarcastically expresses his faith in Russian nuclear technology by referencing the Chernobyl disaster.
Spurgeon “Fish” Tanner as Jesus Christ
Finally, and most importantly, we meet veteran pilot Spurgeon “Fish” Tanner (Robert Duvall). Spurgeon sounds like sturgeon, which is ostensibly how he got the nickname “Fish.” References to fish in character names often reveal veiled Christ-figures in the JEM (i.e. Christ as “Fisher of Men”). Hence the Scandinavian given name “Spurgeon” meaning “not proven” is an esoteric insult to Christ in line with Talmudic rhetoric. Moreover his surname Tanner may relate to Jacob darkening (or “tanning”) Laban’s flock, as Jesus does more broadly to Aryans. His identity is confirmed when we learn his deceased wife was named Mary.
Notably, Fish wears a gold ring inset with a sapphire. Normally these would be Aryan identifiers, where the gold metal and blue gemstone symbolize the Aryan’s blond hair and blue eyes, or the gold sun and blue sky. Yet Jesus is understood to be a Semitic figure, hence the ring signifies that Jesus or Christianity has taken possession of the Aryan. Moreover, writes Brahmin: “Linguists propose that the word Sapphire derives from Sanskrit, Shanipriya (शनिप्रिय). “Shani” (शनि) means “Saturn” and “priya” (प्रिय) means dear, i.e. literally “dear to Saturn.” The reader already knows that Saturn is a reference to the Jewish God.” Should this meaning apply, the implication is that Christ is “dear to Saturn,” corroborating Brahmin’s view that Christianity is a welcome tool of the Jewish BGC.
The crew members have a family party in a rose garden, esoterically tying them to Mary (plant symbolism discussed below). Later they go to a bar to enjoy their “last supper,” though they plan to return in one piece. Fish, sitting by himself, decides he needs to clear the air in a conversation corroborating his esoteric identity: “I realize none of you want me here. You don’t even really know who I am, which is okay. I walked on the Moon, but I don’t belong to you. I belonged to your daddies.” This refers to the fact that Whites are increasingly losing their faith in Christianity, and that they don’t even know that Christ is a synonym of earlier gods such as Adonis and Bacchus.
Oren is straight to the point: “You haven’t trained for this mission. You’re here because the powers that be think we need a familiar face on this trip. You’re here for public relations.” Fish replies: “I’m here because the powers that be know that I’m the only person on this mission who landed on the Moon” (i.e. performed miracles). The analogy here is that Whites will need a miracle-worker, if not also Christian moral teaching, to see them through the degenerative effects of the impending Biblical flood.
Fame and celebrity guarantee sexual success
Leo is celebrated as the comet’s discoverer on the cover of a magazine. He gives a presentation at Lee High School, where Lee means “clearing” or “meadow” and can be thought of as his “shepherd’s meadow.” Leo is humble, but a “class clown” dressed in blue and yellow (i.e. Aryan colors) stands up and says, “You know, you’re going to have sex a lot more now than anyone else in our class.” He adds, “Famous people always get sex – that’s the main reason it’s good to be famous!” All the students in attendance laugh and cheer, and Sarah’s friend whispers something in her ear causing her to chuckle.
The comment seems entirely out of place in a “family friendly” film, but is a moralizing message to Jewish males in the audience. Jewish power yields celebrity status, which leads to sexual success. Indeed, Jews such as Harvey Weinstein would essentially admit that Hollywood functions as a powerful arm of the BGC.
Christ versus Apollo
As the Messiah approaches the Wolf-Biederman comet Fish murmurs “Sweet mother of God,” subtly associating the comet with the Jewish deity. As he pilots the ship into the debris-filled coma, Andrea murmurs “Jesus Christ” indirectly outing Fish. Jenny narrates the nightly news, explaining the crew will have to complete their work before the sun rises on the comet’s surface. It has a rotational period of fourteen hours, where half is spent in direct sunlight. This causes the surface to heat up to 350 degrees, activating gas jets that turn the comet into a minefield.
The crew has only six hours to plant the bombs, so it becomes a race against the sun to complete the mission. Of course, this sets up the Sun God Apollo as hostile to the Messiah’s mission – akin to his role as Apollyon in the Book of Revelation. Here it’s important to note that there are six crew members. Six is a number representing the Aryan as a solar resource in the JEM. It appears conspicuously throughout the Messiah mission to denote Christianity’s control over the Aryan populace (more on number symbolism below). When one of the “moles” drilling into the comet malfunctions and time is running out, Fish moves the shuttle closer such that it will take only six minutes for the crew to return.
Oren fixes the mole but it’s too late; the sun has risen and immediately blinds him in an obvious example of the Blinding motif. The other astronauts flip on their golden sun visors to protect themselves. Gus is blown into space by a gas jet, but the others survive the ordeal. However, Simon injures his wrist or hand, which will be set in a splint with blue tape, likely a Hamsa reference related to the Blinding motif. Leo holds Sarah’s hand as they watch Jenny’s broadcast (as in the image up above): he’s wearing red and she’s wearing blue, identifying him as the Semitic “blood wine,” and her as the Aryan “water” (more on color symbolism below).
Having planted the nuclear bombs and detonated them, the Messiah is caught in the blast wave which causes decompression “in area six.” The problem is quickly dealt with, but when the broadcast continues we see the mission has failed. The Wolf-Biederman comet has merely split into two parts: Biederman is one and a half miles across, leading Wolf which is six miles across. Hence Biederman symbolizes the Jewish deity (where one is equated with Keter, the Jewish god’s sephira on the Kabbalistic Tree of Life) and Wolf symbolizes the Aryan monad (where six is equated with the Tiferet, the Aryan sephira).
Plan B: The Titans and the Arks
Beck announces that the United States will fire nuclear missiles called “titans” at the comets in an attempt to deflect them – an obvious allusion to the Titans of Greek mythology – but these cannot launch until the comets are only a few hours away. Thus a more robust plan is required. He reveals massive underground shelters that will “guarantee that there will be enough of us left to rebuild a new world.” (Did he mean to say a “New World Order”?)
The immense caves, dug in the soft limestone of Missouri, will serve as a “new Noah’s ark.” The location is doubly meaningful, as “Missouri” can mean “big canoe” (i.e. an ark) or “muddy water.” As we saw with the name “Rittenhouse,” the latter meaning is an aqueous metaphor for genetic spoliation or racial admixture. Indeed, the underground facilities simply represent the Underworld, which Brahmin interprets as the non-Aryan realm. Thus the “arks” are unsuitable protection from racial decadence. This interpretation is corroborated when Leo decides not to shelter in them.
The “arks” can support up to one million people during the two years it will take for “the dust to settle.” Here, “dust” may refer to the Aryan population, as Adam was created from dust. A lottery has randomly selected 800,000 people from the general populace to join the 200,000 experts that “have already been chosen” (likely a reference to Jews as the “chosen people”, which would give them roughly ten times as many seats as their demographics would dictate). However, civilians over the age of fifty are ineligible, dooming Jenny’s parents: Robin commits suicide and Jason and Chloe are flung apart. Hence the esotericist seems to advise Jewish men not to stray once they’re past fifty.
Leo’s entire family is given a spot, but not Sarah’s. Leo thinks he can get them approved if he marries Sarah, so he proposes to her as she sits under a tree. This is likely a reference to Eve being seduced by the serpent in the Garden of Eden. They get hitched despite their young age with Sarah wearing a floral crown. Notably a priest officiates their marriage. However when the time comes to move to the ark, Sarah’s family still isn’t on the list – perhaps because it wasn’t a Jewish wedding! Leo and Sarah are painfully separated. We see animals being led two by two outside the ark, and ultimately Leo decides to risk everything by going back for Sarah.
Caitlin Stanley as Hecate
Jenny gives up her place in the ark to her coworker and rival Beth Stanley, who has a young daughter named Caitlin. “Beth” is ethnically unclear, possibly stemming from Elisheba, Mary of Bethany, or simply Bethany (“House of Figs”). However, the surname “Stanley” is an example of the Stone motif, indicating she’s Jewish or married to a Jew (we never meet the man in her life, if indeed one exists).
Caitlin is a cognate of Catherine, a name commonly used to god-mask Hecate, the Semitic, corrupting aspect of the Triple Goddess. We can reasonably assume that had it not been for Caitlin, Jenny would not have given up her seat to Beth. Hence the seemingly innocent Caitlin actually serves as psychopomp to the Underworld, leading Jenny towards her doom.
Biederman strikes causing the flood
Leo conveniently finds Sarah and her family stuck on the freeway in a massive traffic jam. They race off on his motorbike together with Sarah’s infant sibling, their surrogate child. The Hotchners watch in horror as the Biederman comet rockets overhead towards “Virginia Beaches” six miles away. Hence the Jewish god is barrelling towards Aryan virgins, a nod to the goal of the BGC that mirrors Leo securing his Aryan bride. Obviously, the poaching of Aryan virgins is made easier for an out-group like Jews during the “flood” of racial decadence, which the comet will soon deliver unto world Jewry.
Meanwhile Jenny returns to her family’s childhood beach home, where she reconciles with her father. This reads as totally insincere given the subtext. The Biederman comet lands in the Atlantic Ocean, a metaphor for the Semite sexually penetrating the Aryan, causing a massive tsunami, a stand-in for the Biblical flood. Jason embraces Jenny as the tsunami consumes them. Here the “matrilineal ruse” is made clear; Judaism truly passes from father to son, and without a son Jason’s line is doomed. Likewise Jenny, the despised and unwanted daughter, has failed to uphold her father’s genetic legacy.
Messiah martyred, Wolf destroyed, Judah triumphant
Having been unable to stop the Biederman comet, the Messiah crew martyrs itself using the remaining nukes in an attempt to destroy the much larger and more dangerous Wolf comet. Their plan succeeds, with Wolf’s fragments safely burning up in the Earth’s atmosphere, just as Marcus Wolf burned in his car crash. Hence “Judah the lion” has ultimately supplanted “Benjamin the ravening wolf” in the manner of The Jacobean Swap, with the former having meted out Yahweh’s “divine punishment.”
Properly understood, the Messiah-comet subplot communicates that Christianity threatened to destroy or supplant both Judaism and the Greco-Roman (Aryan) pantheon, but only eliminated the latter. The “moles,” the drilling devices used to plant the nuclear bombs, were a metaphor for Jewish subversives sowing Christianity in the Greco-Roman world. The Messiah’s crew, like Jesus Christ, is martyred to defeat Apollo et al. while the Jewish god/people ultimately prevail.
Leo and Sarah reach a mountaintop and safely avoid the flood/tsunami (here the Appalachian mountain likely symbolizes Mount Zion). As the couple breathes a sigh of relief, Messiah obliterates Wolf, exploding overhead like celebratory fireworks. Hence Leo as “Judah the lion,” the founder of the Israelite tribe of Judah, has secured the survival of his people with “God’s Sarah.” They have avoided the “flood” of racial decadence, and Apollo and the Aryan gods no longer pose a threat to his tribe’s infiltration and bride gathering. Finally, we cut to President Beck, appearing confidently before a broken White House to inform us that the tidal wave killed millions (it also hits Europe and part of Africa) but that the waters eventually receded. The end.
Color symbolism in Deep Impact
In Jewish allegories of the Biblical flood we can expect to find color symbolism related to the rainbow, which is so important that it serves as the unofficial symbol of Noahidism. We find examples of encoded rainbows throughout Deep Impact thanks to Jenny Lerner’s job at MSNBC. The NBC peacock logo, where each feather in the peacock’s tail is a different color, performs this function. There are a number of other rainbows indicated elsewhere.
Other colors are used consistently throughout the film in a manner aligning with Brahmin’s definitions. In particular, yellow designates the Aryan as a solar resource, appearing in conjunction with Sarah and ubiquitously throughout the Messiah mission. Blues and reds are also juxtaposed or combined, denoting Semitic-Aryan cuckoldry or admixture. White typically represents purity, and here it seems to be associated with God.
The amount of yellow surrounding the Messiah mission is particularly striking. For example, inside the NASA command center there are fake props of yellow, vertically-oriented screens paired with every other computer monitor, just to add a dash of yellow. This seems to indicate that Aryans are working against their own interests in service of the Jewish deity.
Plant symbolism in Deep Impact
Prop plants are also positioned in a specific manner. When Jenny reveals she knows something about Rittenhouse, and later when she looks up the meaning of E.L.E. on the internet, she’s juxtaposed with green plants. Green often represents the Jewish deity, and arguably these represent the Jewish Tree of Knowledge. Later the same office plant will appear wilted, suggesting Jenny’s life will soon be over.
Flowers and floral patterns appear in the expected manner, either representing fertility, Aryan-Semitic admixture, or referencing Mary/Venus (as mentioned this also applies to Holly, who takes her name from a flower symbolizing Aryan-Semitic admixture). For example, The Messiah’s crew has a large family gathering in a rose garden, plant symbolism related to Mary in this context.
The unnamed Asian woman on staff at Jenny’s office (Suzy Nakamura) is introduced wearing a floral pattern suggestive of spring-like fertility, and will later wear yellow and then purple, indicating her status as desirable breeding stock open to admixture (here, as Brahmin indicates, the Jewish esotericists may indicate Asian women are desirable partners).
Number symbolism in Deep Impact
The number five is repeated throughout the film – almost like a mantra – as it relates to the Hamsa blinding the Aryan to the film’s hidden subtext: the comet weighs 500 billion tonnes; Fish has completed 500 landings on aircraft carriers; the Messiah is propelled by 500,000 pounds of liquid fuel; its nuclear explosives are 5,000 kilotons apiece; we cut to the mission five months in; the military is being deployed in every town with more than 5,000 people; someone is charging $5,000 an hour for a back-hoe after martial law is implemented, and so on.
The numbers six and seven also crop up frequently as they relate to the Aryan as resource and Saturn as Reaper and Castrator, respectively. Besides those details already mentioned, the Messiah spacecraft is propelled by six rockets, and Fish has landed on the Moon six times, but has gone into space a total of seven times before the Messiah mission. Gus explains the mission to a seven-year-old boy. And so on. There are numerous other examples, including numbers with significance in Hebraic gematria which can be quite revealing. In examining the gematria, I’ll list only those words that seem to relate to the film’s themes.
For example, the Hotchner’s family van has a license plate that reads 597BRL. In Hebraic gematria, 597 is equal to 117 and corresponds to: a messenger from God, domesticated or tame, ox; “Yah is Lord”; “A Cutting Down (of trees)”; to drop; “Removed by God”; “Servant of God.” And when we run BRL through a gematria calculator, it results in 102, corresponding to: faithfulness; possession, control, property, Baal, Lord, to marry, to be husband, master, to rule; precious or costly things; servant or worshipper of Yahweh; to swell, to rise up. Hence the license plate marks the Hotchners as consumable wood, domesticated/tame oxen, property of God, to be cut down/dropped/removed by God, and things to be married, or to be husband and master over, to rule.
Given that analyzing Hebraic gematria is highly speculative, for other examples see footnote .
One of Deep Impact‘s log lines reads: “Oceans rise. Cities Fall. Hope survives.” Understanding Jewish doublespeak, this translates as: “Mass immigration and miscegenation will cause the fall of Western Civilization, but Jewry will survive.” The film presents a moralizing bride gathering quest, where our young Semitic hero Leo secures his virginal, Aryan bride. The Jewish god, depicted as the Biederman comet, punishes the goyim and the unwanted Jewesses with the “flood,” while the Aryan deity/identity is destroyed by the Christ-led Messiah mission. Though Christ is martyred, Christianity survives as Christ’s “twin” will lead the survivors.
As such, Deep Impact implies the “flood” is a divine punishment meted out by the Jewish deity. This I interpret as an admission that Jews have and continue to play a central, guiding role in weaponizing Cultural Marxism, racial integration, and mass immigration against the interests of Whites and the Western world (for more on this see Kevin MacDonald‘s The Culture of Critique). This interpretation is buttressed by the esoteric meaning of the film Annihilation where we find nearly identical themes, and symbolism related to the Biblical flood. Both films are, as Brahmin would say, “mating calls.”
Notes and Citations
ii. See also Sean and Daniel Diaz in the video game Life is Strange 2.
ii. See also Lena in Annihilation.
 M. Brahmin, ibid., book #, chapter: “The Abrahamic Faith: The Cuckold’s Faith & Israel as ‘God’s Sarah’”
 M. Brahmin, ibid., book #, chapter: “The Frankish motif appearing in JEM & Jews as Franks”
 M. Brahmin, ibid., book #, chapter: “The Bride Gathering Cult Part III: Jews ‘The Greatest’ of the Admixed types”
ii. See also Max Eisenhardt/Magneto in X-Men, Max Caulfield in Life is Strange, and Ultra Magnus in Transformers: The Movie.
 M. Brahmin, ibid., book #, chapter: “Mercury: The Philosopher, Priest, Prophet, Apostle, Wizard and Deceiver”
ii. See also Warren Graham in Life is Strange.
 The Big Dipper (Ursa Major) may hold special meaning in the JEM, either due to its formation of seven stars or because of its significance to the ancient world. In particular, it is named by Homer in the Illiad and identified with the rape of the nymph Callisto, one of Artemis’ followers. Here it may serve the same function as the Pleiades, the Seven Stars, which appears to be salient also.
ii. See also the meteorite in the film Annihilation.
ii. See also David in Life is Strange and Life is Strange 2.
 M. Brahmin, ibid., book #, chapter: “Esoteric Apollo: the totem of Wolf as pseudo-praise”
ii. See also the fiery deaths of the Nazis at the end of Indiana Jones: Raiders of the Lost Ark, Kane in Annihilation, and Ben, Tom, and Judy in Night of the Living Dead.
ii. Furthermore, on Wikipedia we learn that Guinevere seems to be a cognate of the Irish “Findabair,” meaning “white phantom” where “phantom” is used in a pejorative sense. The meaning seems applicable to Brahmin’s take on Judith as “non-identity” and Jenny as a childless woman.
 See “Jason” in M. Brahmin, ibid., book #, chapter: “The Zodiac as a Propaganda Coup and the Semitic Nature of Greek Heroes”
 M. Brahmin, ibid., book #, chapter: “The Bride Gathering Cult Part IX: Judith: Jewess as Negative or Non-Identity”
ii. We learn that Jason and Chloe already have twins, one of whom is named Susannah (from the Hebrew, meaning “rose,” i.e. more JEM plant symbolism) and Emma (meaning “whole” or “universal” or from Amelia meaning “work,” connoting industriousness and fertility).
 M. Brahmin, ibid., book #, chapter: ““Blood Magic” in Plant Color Symbolism: the Rose, the Holly and the Mistletoe”
 Possibly the first serious depiction of an African-American POTUS? It predated President Obama’s election by ten years.
 M. Brahmin, ibid., book #, chapter: “The Bride Gathering Cult Part IV: The Chosen Bride & The Matrilineal Ruse”
 That night Jenny tries to figure out what E.L.E. really is by doing some internet sleuthing. An ad pops up for “Ellie Travel Cruises” bearing the slogan, “You’ve got some ocean coming” next to a large cruise ship (an ark) foreshadowing Jenny’s fate. She soon finds the meaning of E.L.E. on a paleontology website; an “extinction level event.” These fall into two categories: “catastrophic climate shifts” and “celestial forces acting on the Earth.” These translate as the climate change hoax and Jewish subversion, both of which attack white interests.
 M. Brahmin, ibid., book #, chapter: “Zion: a synonym for Bacchus’ Elysium & Racial Decadence”
 M. Brahmin, ibid., book #, chapter: “Saturn, A form of The Jewish God. Seven, a Reference to Saturn”
 Numerous spacecraft have taken the name Orion, including one propelled by nuclear bombs, however the name may have been chosen for esoteric religious purposes. In ancient Egypt the constellation was regarded as a god called “Sah” who was syncretized with Osiris (a synonym of Adonis and Bacchus, and by extension, Jesus Christ). In addition, its constellation is made up of seven main stars, including blue and red stars – which would relate to Saturn and Aryan-Semitic admixture in JEM color symbolism respectively.
 M. Brahmin, ibid., book #, chapter: “Bread as an important example of the ‘Consumption Motif’”
 M. Brahmin, ibid., book #, chapter: “Esoteric Apollo: The Unmentionable, Untarnished Apollo & The Demon Abaddon”
 M. Brahmin, ibid., book #, chapter: “The Micro-aggressing ‘Evil Eye,’ the Hamsa, the ‘mark’ and the third eye”
 M. Brahmin, ibid., book #, chapter: “The Blood and Venom of the Serpent, the Juice of the Vine”
 M. Brahmin, ibid., book #, chapter: “Baptism and Anointing: Symbols for Copulation and Sexual Interaction”
 M. Brahmin, ibid., book #, chapter: “The Underworld as non-Aryan, ‘Sacred Prostitution’ and Jewess as ‘Trivia’”
ii. See also the cavernous, underground setting of Zion in The Matrix films.
 This sort of plan would probably be floated by the government in such a situation, but of course given the general distrust of the government it probably wouldn’t fly. Most people would assume such a lottery would be rigged in favor of the oligarchs, and they’d be correct.
 M. Brahmin, ibid., book #, chapter: “The Underworld as non-Aryan, ‘Sacred Prostitution’ and Jewess as ‘Trivia’”
 As we saw with Annihilation‘s lighthouse, a lighthouse can symbolize a menorah or the Kabbalistic Tree of Life. In Deep Impact the Biederman comet stikes off of Cape Hatteras. When we investigate Cape Hatteras we learn that it is home to the tallest lighthouse in the United States (one of the tallest brick lighthouses in the world). However, we don’t actually see the lighthouse in the film – only those who are familiar with Cape Hatteras would make that connection.
 The filmmakers stated that they had originally wanted Jenny to work at CNN, but supposedly that network declined to participate fearing it would taint their image as a “serious” network.
 i. Leo discovers the comet on May 10th, which can be read as 5/10. In Hebraic gematria 510 correlates with the meaning of his surname Biederman (“Uprightness”). Alternatively it may read as 10/5 or 105, which correlates with: “Yah is Omniscient”; “Yah is King”; “Good-luck”; burnt offering, holocaust; to extinguish (i.e. the comet causing extinction); to become fluid, to flow away, to cause to flow, to dissolve, to wet or soak (i.e. the comet causing the Biblical flood).
ii. The comet is traveling at 26 miles per second, where 26 correlates with: god, Jehovah or Yahweh, He/She is, He/She creates, and the divine name associated with the third Sephira Binah on the Kabbalistic Tree of Life. Binah is associated with the color black, which is a Jewish identifier in the JEM, and note that the Kaaba at Mecca is home to a black stone.
iii. The comet is discovered in 1998. 1998 is equal to 868 in gematria when using finals, where it means “A Place for Thy Dwelling in (i.e. the temple).” Hence the year indicates the Jewish god resides in the comet like a temple, which clearly relates to the meaning of Bethel as “House of God.” That it was found at nine o’clock may reference the nine months of human gestation.
iv. The comet will hit sometime on August sixteenth. This can be read as 8/16 (816): “Retribution”; terrors, alarms (i.e. the flood as terrifying divine punishment). It may also be read 16/8 (168): to scrape off, to lay bare (i.e. the meteorite scraping off the Earth).
v. When the sun hits the comet, it heats the surface to 350 degrees, relating to: to totter, to fail, to stumble (i.e. the stumbling astronauts); upwards upwards (even higher), above, over (i.e. Gus being blown into space); “Brought Back”; a saved or preserved one (i.e. Oren being rescued); to break, to crumble; to break the neck; to destroy (i.e. the crew and comet being broken apart).
vi. Robin commits suicide aged 61, relating to: worse than nothing; to be of no account; to lament; “To God”; “Father is Strength”; voluntary, free-will offering.
vii. Jenny admits she stole 32 dollars from Jason as a child, relating to: only daughter, desolate, forlorn, wretched; to conceal, to hide; feelings, affections, moral sentiments, understanding.
viii. As the Messiah crew says good-bye to their family members, we hear the Wolf comet is four minutes and forty-five seconds away, and then two minutes and thirty-two seconds away before they lose connection. 445 relates to: “The Snake Stone”; a calf of the stall (i.e. the comet is a dangerous snake, or the comet is a “sacrificial calf”). 232 relates to: “Lion of God,” the strong one, the mighty one, hero; healing; “Youthful”; cake-wits or mockers (guests who jest or flatter to please); parasites (i.e. Leo is the “Lion of God,” and the sappy scenes here are a mockery, the Christians and goyim are parasites).
ix. As Leo and Sarah leave on the motorbike, we see a Honda with the plate YTS876. YTS = 590, which corresponds to: possessions of the heart; time of appointed season, settled or fixed time, festival, festival offering, “Splendor”; “King’s Gift” (i.e. Sarah is a “gift” at the “appointed time”). 876, with finals, is equal to 156: “He (God) Gives Increase” (i.e. Sarah is “god’s gift”), the entire nation of Israel, refuge, flight; to shelter or hide (i.e. Leo and Sarah personifying Israel, taking refuge from the flood); to be overcast or darkened (i.e. the skies darkened by the comet).