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.
Kabbalah, The Flood & Bride Gathering
Annihilation is a loose adaptation of the first book in the Southern Reach Trilogy by Jeff VanderMeer. Alex Garland, the writer and director, only had the first novel to work with at the time. You may know Garland’s work from 28 Days Later (2002), and Ex Machina (2014). I have not read VanderMeer’s book, but according to Michael Nordine (Indiewire) Garland changed “a lot.”
Indeed, the novel’s plot summary on Wikipedia reveals the film’s sweeping changes. A close examination of the film’s plot and characters reveals its roots in Kabbalah and alchemy using god-masking, archetypes, and tropes aligning with Mark Brahmin’s Racial Esoteric Moralization (REM). We find themes of sexual competition, racial cuckoldry, and Semitic bride gathering.[2, 3]
However, in an interview with Space Age Bachelor Garland states outright that he’s not Jewish. It appears he inherited his looks from his mother, the daughter of the Lebanese Peter Medawar. I have dug a little into Garland’s family history and – though they were Communist sympathizers – his paternal grandparents do appear to be white. Given Annihilation‘s subtext it seems that Garland is the goy frontman of a Jewish project. As documented in Prof. Kevin MacDonald‘s The Culture of Critique, this is a common Jewish tactic to deflect unwanted scrutiny.
Garland’s long-time producing partner, the very goyishe-sounding Andrew Macdonald is the grandson of the Hungarian Jewish screenwriter Emeric Pressburger. Andrew’s brother Kevin (no relation to our Prof. MacDonald) is a prolific filmmaker who appears to be a strongly identified Jew (see his films My Enemy’s Enemy, One Day in September, and A Brief History of Errol Morris [a timely promotion just before the release of Morris’ Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.]). The other producers – Scott Rudin, Eli Bush, and Allon Reich – all appear to be Jews.
That said, Garland’s previous film, Ex Machina, and his work on the video game DmC: Devil May Cry (Capcom, 2013) suggests that he’s at least dabbling in parabolism. In the latter project we find a Kat, an example of the Hecate archetype so common in the JEM, possibly inserted by him. Perhaps Garland is being mentored by his Jewish peers.
Annihilation’s writer/director Alex Garland doing his best “brooding artiste” pose, and the Jewish producers: Scott Rudin; Eli Bush; the almost certainly Jewish Allon Reich; and the part Jewish Andrew Macdonald.
The Shimmer as Racial Decadence
Annihilation begins with a meteorite crashing into a lighthouse somewhere in the Americas. From the impact site an alien atmosphere begins to expand, slowly engulfing everything in its wake. It comes to be called the Shimmer due to its soapy rainbow-colored appearance. The government is trying to investigate its effects, but no one sent in has ever returned.
Lena (Natalie Portman) and her military husband Kane (Oscar Isaac) are separated when he’s assigned to an exploratory expedition. A year passes before Kane suddenly and mysteriously returns, but he’s largely incoherent. (In the novel the whole crew return; here he’s the only one.) He falls ill and the two are quarantined at the “Area X” facility. Kane is succumbing to a mysterious illness, so Lena joins an all-female expedition hoping to find the cure in the Shimmer (in the book, her husband dies before she leaves).
Unlike most other science-fiction films – which tend to linger on the exciting moment an alien realm is first penetrated – Annihilation makes little of the event and instead abruptly cuts to a flashback of Lena quivering with orgasmic pleasure as she straddles her black lover Daniel (met earlier at her university). It’s our introduction to the affair (not in the novel), and throws race-mixing in our faces, so it’s revealing when immediately juxtaposed with her entering the Shimmer.
We cut back to the crew as they wake up from a rest, unable to remember how long they’ve been in the Shimmer or determine where they are. Satellite navigation, radio communications, and even the compass are malfunctioning. They have already begun to change from their exposure.
The scenes that follow directly reference genetic admixture, echoing Lena’s interracial affair. Heading into the overgrown swamp – itself an aqueous metaphor for genetic spoliation – they find myriad flowers blossoming from a single root, and a mutant alligator is found to possess many rows of shark-like teeth. Examining its corpse, one character theorizes that the two species have somehow mixed, but Lena replies that that’s biologically impossible.
It turns out The Shimmer is a place where all biological and genetic boundaries are breaking down, and every living thing is merging with every other living thing. Once inside, people become hopelessly lost and unable to keep track of time, and inevitably lose their minds. This is because mixed race individuals possess no ethnic, historical, and cultural identity, leaving them bereft of ethno-cultural memory and bearings.
The discoveries inside the Shimmer and Lena’s confusion and disbelief reflect the shock Jews must feel when they see what their social engineering and race-mixing propaganda have wrought upon their racial enemies (multiculturalism is a Jewish project as admitted by Jews such as Barbara Spectre and Yascha Mounk). Here the explicitly Jewish nature of the Shimmer is expressed with color symbolism where green vegetation covers everything. Certainly nobody born prior to the 1960s could have imagined the state of American race-relations today, but Lena’s refusal to believe what she’s seeing is betrayed by her own infidelity.
We know that Lena will survive because the film interjects scenes where she’s interrogated about the expedition. Lena mentions the mutant life forms, and is asked if they were ugly. “Not all of them,” she replies. This, too, hints at human miscegenation; various surveys have concluded that mixed-race people are on average more attractive. However, some mixed-race people are very ugly indeed, and Lena will reject her own mixed-race offspring in due course.
Regardless of VanderMeer’s intentions, Garland’s version of Annihilation is an obvious allegory for the biological experiment we call The Great Replacement. This should be obvious to anyone on the Dissident Right, but there’s a deeper layer that points to what Brahmin terms the Semitic Bride Gathering Cult: Jewish men are obsessed with Aryan women, and are intentionally breaking down our racial unity so that they can more easily access them. They can’t be up front about it, but I interpret this film as an honest, albeit veiled, confession.
Annihilation‘s lighthouse as Tree of Life
The novel’s inclusion of a tower and a lighthouse seems to be a case of a “happy accident” for the Jewish esotericist(s). The film ditches the redundant tower, as the lighthouse itself already conveys the Tower of Babel, which is associated with multiculturalism and thus miscegenation. More importantly, there’s an etymological link between the word “lighthouse” and “menorah.” Writes Brahmin:
“The word minaret, describing the mosque spire, and meaning ‘lamp’ or ‘lighthouse’ has a meaning related to fire. It is derived from the Arabic manarah, which is related to manar meaning ‘candlestick.’ Nar appearing in manar means ‘fire.’ Manarah is related to the Hebrew word Menorah.”
With this connection in mind, the esotericist may use a lighthouse to symbolize the menorah, and by extension the Kabbalistic Tree of Life. Think of the lighthouse as the central pillar of the menorah, or the Tree of Life pruned of its branches. We may infer the lighthouse represents the Tree of Life because Lena finds ten skulls lined up in a row just outside it. This correlates with the ten holy “sephiroth” (plural) or spheres on the Tree of Life. Each sephira (singular) are associated with the celestial bodies of the solar system.
The Shimmer as Da’ath’s Abyss
I am by no means an expert on Kabbalah, so this analysis may not be entirely accurate. However, I presume most readers will be unfamiliar with Kabbalah, so I will walk you through my reasoning.
The Shimmer’s meteoric origin, and other corroborating details we will unearth, hint that the Shimmer represents the Tree of Life’s missing sephira Da’ath. According to Wikipedia, Da’ath “is the location (the mystical state) where all ten sephiroth in the Tree of Life are united as one” and “all sephiroth exist in their perfected state of infinite sharing.” (my emphasis) This “sharing” is presented as all forms of life blending together in the film. Da’ath’s sphere does not appear on every diagram, as it represents the “shattered” or “missing” sephira/planet in our solar system, that retains a place on the tree. As for why Da’ath is missing I defer to Christopher Penczak:
“. . .Some equate the asteroids, the “missing” planet between Mars and Jupiter, as the zone of Da’ath. As Da’ath is the shattered and collapsed sephira, this zone is for the shattered planet, as many esotericists believe a planet once occupied the orbit of the asteroids and was destroyed early in the creation of the solar system. Others think of the asteroid belt as a planet that never formed. The four main asteroids of the belt all are assigned to goddesses – Ceres, Juno, Pallas, and Vesta. Lastly, the mysterious planetoid Chiron. . . between Saturn and Uranus, is sometimes given rulership over Da’ath. Chiron is known as the “wounded healer,” and as Da’ath represents a “wound” in the universe, this rulership, too, would be appropriate.” (my emphasis)
Furthermore, the slot where Da’ath ought to be becomes the “Abyss,” an empty space between God and creation. We learn this Abyss was created by the “Fall” of the Jewish deity:
“In biblical mythology, the Abyss represents the divide created by the “Fall,” whether it be the fall of the archangel Lucifer into the depths after the war in heaven, the fall of Adam and Eve leaving the Garden of Eden, or the Gnostic fall of light into the world of matter. In its most enlightened telling, the Fall is not the fall of angels or men, but the fall of God, as the prime creator, into form to experience life, and in that process the separation that God experiences from himself/herself. We are that portion of God in manifestation. In the Abyss lies the mysterious sphere that is not a sphere – the world of Da’ath, which separates the manifested form of the universe, represented by the lower seven sephiroth, from the supernal ideal of creation, embodied by the upper three.” (my emphasis)
Consequently, we may infer that the meteorite’s fall to Earth represents the “Fall” of the Jewish God “into form to experience life.” This, in turn, creates the “Abyss” – “the sphere that is not a sphere” – which in Annihilation is called the Shimmer. The Shimmer then spreads from the lighthouse tower, a symbol for the Tree of Life, exposing the world to the “supernal ideal of creation.” In freely mixing all genetic material it’s a metaphor for Jewish-led multiculturalism. This aligns with Brahmin’s view of Jews as the “closers” of civilization.
It’s important to know that the holy sephiroth (the ten spheres on the Tree of Life) are twinned with ten evil qliphoth, referred to as the “evil twins” and “Evil Demons of Matter and the Shells of the Dead.” The relationship between them mirrors that between light and dark or yin and yang. Inside the lighthouse, Lena (as sephira) will encounter her qlipha – her evil, husk-like polar opposite – reflecting the understanding that, per Mat Auryn, “Da’ath is thought to also be the bridge that connects the Tree of Life with its shadow, the Qliphoth.”
Annihilation character analysis
The filmmakers were forced to christen the novel’s anonymous characters and in doing so they’re bestowed meaningful names. Given the frequent god-masking we find in the JEM, it’s reasonable to surmise the aforementioned asteroid-goddesses may play a role, as Lena’s crew is exclusively female.
Remarkably, besides Lena and Kane (who possess their own esoteric identities), the other major characters do appear to fill these roles. This required the filmmakers to increase the expedition from four women to five and invent Daniel, tailoring the story to insert them. Moreover, each of these Greco-Roman archetypes has some form of relationship with Saturn/Cronus, who is understood to be a synonym of the Jewish god in the JEM.
Dr. Ventress as Pallas Athena
The leader of the women’s expedition is the psychologist Dr. Ventress (Jennifer Jason Leigh), whose surname literally means “the aventurous.” Her character is true to the definition of the word, as she’s “willing to take risks or embark on difficult or unusual courses of action.” Her role as both leader and psychologist suggests a god-masked Pallas Athena, the patron goddess of heroic endeavor and (in the Odyssey) a divine counselor to Odysseus.
Yet Pallas is also the name of a Giant, “the offspring of Gaia, born from the blood of the castrated Uranus.” Thus we have two indicators that Ventress is a “Pallas,” as she will become an “egg” fertilized by a single droplet of blood from Lena’s eye in the climax. Incidentally, Saturn was the one responsible for castrating Uranus, providing the connection to Saturn/Cronus that is lacking with Pallas Athena.
Later we learn that Ventress has been diagnosed with terminal cancer, which is why she throws caution to the wind in leading the expedition. She says outright that people who voluntarily enter the Shimmer must be fundamentally flawed or self-destructive. The writers are implying people miscegenate out of a desire – whether conscious or not – to sublimate their harmful genetic mutations into the DNA of others unlike themselves. Her cancer and her statement relates to the shattered Da’ath as a wound in the Tree of Life that requires healing.
Cassie Shepherd as Cassandra/Juno
Geomorphologist Cassie “Cass” Shepherd (Tuva Novotny) is likely a god-masked Juno, the Roman goddess of marriage and a daughter of Saturn. Here we find an esoteric insult to Aryans: In Roman mythology Juno is married to Jupiter (an Aryan god), yet we learn Cass has divorced her husband. This detail is telegraphed in her name, which identifies her with the Cassandra archetype commonly found in the JEM. Cassandra is an Aryan woman who rejected Apollo’s courtship, thus she becomes an archetype for white women who reject their own men.
That Juno – the goddess of marriage – would be used in this manner conforms with Brahmin’s thesis. JEM primarily concerns a racial-sexual competition where the Aryan male is cuckolded and/or humiliated by his Semitic rival. In this case, it’s a twofer as both Apollo and Jupiter are being rejected simultaneously.
Cass’ surname Shepherd reflects the role of Juno’s Etruscan counterpart, Uni, “who was said to watch over the women of Rome” like a shepherd over his flock. Cass seems to be looking out for Lena specifically, as they share a boat and have a private conversation as they cross the swamp. However, she doesn’t last long; she’s attacked by a mutant bear and dragged out into the woods. Lena and the others want to see if they can save her, hence even in death Cass “shepherds” them further into the Shimmer. Alternatively the surname may reference Mercury/Hermes as a soul guide to the Underworld.
We also learn that her daughter died of leukemia, mirroring Ventress’ biological fault. Cass, feeling she has nothing left to live for, volunteers to enter the Shimmer. Here ends her genetic legacy.
Anya Thorensen as Vesta/Hestia
Paramedic Anya Thorensen (Gina Rodriguez) takes her given name from Anna, the Latin variant of the Hebrew Hannah (“God has favored me”). This gives us some indication as to why she might join the expedition; like the biblical Hannah who was barren, perhaps Anya cannot have children and so has no genetic future. Here Anya is a lesbian implying her womb will remain empty and she’s a “virgin” in the sense that she has not been penetrated or defiled by a man. Hence she fits a god-masked Vesta – the virgin goddess of the hearth, home, and family, and the daughter of Saturn and Ops.
This reading may find traction in the miraculous pregnancies of both the biblical Hannah (who will bear Samuel) and the Vestal priestesses, the latter supposedly inseminated by a phallus appearing in the flames of the hearth – the manifestation of Vesta. In that case the flame of the Jewish Fire God is being conflated with Vesta’s flame.
In Brahmin’s examination of Vesta, we learn that Vesta is a Hebrew word meaning “deviate,” “stray,” “diverge,” “pervert,” and “be wayward,” all suggestive of Anya’s homosexuality. That she rejects male courtship is further indicated in the Homeric Hymns, where Vesta (aka Hestia) rejects Apollo’s marriage proposal. Hence she’s another example of an archetype meant to attack and demoralize white men.
Anya becomes frightened and wants to leave the Shimmer when her fingerprints begin to move and change, a striking metaphor for someone losing their identity as a result of miscegenation and/or multiculturalism. Lena convinces her to go deeper into the Shimmer, arguing that the only safe way out is to find the coast and travel alongside it.
Later Anya discovers that Lena has lied about why she joined the mission, so she takes the group hostage inside the living room, the hearth of an abandoned family home. Here we understand Anya’s surname Thorensen, which comes from the German meaning “city guard” or “gatekeeper.” Her mutiny reflects her role as Threshold Guardian (per Joseph Campbell), preventing the others from going deeper into the Shimmer. Her plan comes to naught when the mutant bear returns and kills her.
Josie Radek as Ceres
The physicist Josie Radek’s (Tessa Thompson) takes her name from the Hebrew Yosef, meaning “Yahweh will grow/increase.” Through the process of elimination we would expect Josie to be a god-masked Ceres/Demeter, another daughter of Saturn, and the last major asteroid inhabiting Da’ath. Indeed, the meaning of Josie’s Hebrew name coincides with that of Ceres, which “derives from the reconstructed Proto-Indo-European root *ḱerh₃–, meaning ‘to satiate, to feed,’ which is also the root for Latin crescere ‘to grow‘ and through it, the English words ‘create’ and ‘increase.’”
Ceres is known as the “Law-Bringer” which may relate to Josie’s profession as physicist (i.e. she brings the laws of physics, at one point theorizing on the nature of the Shimmer). “Throughout the Roman era, Ceres’ name was synonymous with grain, and by extension, with bread.” This association with bread implies Josie will become food for the Jewish god, in line with Brahmin’s “Consumption Motif.” Indeed, Josie will be utterly consumed by the Shimmer without a trace, hence Yaweh increasing.
Josie takes her surname Radek from the Polish and Czech rad meaning “glad.” She willingly – thus gladly – succumbs to the Shimmer, merging with plant life. True to Ceres, who is linked with the pastoral and agricultural, she sprouts plants and flowers to become one of the human-shaped trees we see earlier in the film. She has become wood, a consumable resource for the Jewish Fire God. Her connection with bread and this transformation may further reference the tale of Myrrha, mother of Adonis, the latter a symbolic synonym for Jesus Christ in the JEM.
Daniel as Chiron
That leaves us with one other celestial body conflated with Da’ath: 2060 Chiron, the planetoid (Centaur) between Saturn and Uranus, that is only sometimes given “rulership” of Da’ath. Here we find striking parallels between Daniel (David Gyasi) – Lena’s unusually intelligent African-American peer at her university and adulterous lover – and the mythological Chiron. This esoteric connection perfectly aligns with the cuckoldry of Aryans running throughout the JEM and contains a racial insult.
Daniel is a cut above most black men, dovetailing with the Wikipedia description of Chiron; whereas most centaurs “were notorious for being wild, lusty, overly indulgent drinkers and carousers, violent when intoxicated, and generally uncultured delinquents,” Chiron was “intelligent, civilized and kind.” This reading is more or less confirmed by those who say Chiron was the brother of Aphrus, “the ancestor and eponym of the Aphroi, i.e. the native Africans.” That Chiron would be cast as a black man finds further purchase in his daughter Hippe/Melanippe, whose name means “the black mare.”
Furthermore, the fact that Chiron is a half-man half-horse and is engaged in adultery relates both to the purported size of African genitals, and to Ezekial 23:20 which says, “There she lusted after her lovers, whose genitals were like those of donkeys and whose emission was like that of horses.” Here Lena’s adultery with Daniel/Chiron merges with the Biblical allegory of The Adultery of Oholah and Oholibah. Recall that in their sex scenes, Lena is only ever seen straddling Daniel in the “cowgirl” position, further indicating him a “horse.”
Rounding out the cuckoldry theme, Chiron was sired by Saturn/Cronus but raised by Apollo, who teaches him the art of medicine and more, causing Chiron “to rise above his beastly nature.” This is reflected in depictions of Chiron “wearing clothes, demonstrating he is more civilized and unlike a normal centaur.” Thus Chiron becomes the well educated, domesticated African male by Western Civilization, who then cuckolds the white man by successfully courting his women. Having been elevated by Apollo, Daniel/Chiron represents a massive “own goal” by the Aryan race, much as pathologically altruistic whites have died to free black slaves and continue to die as a result of racial integration today.
Daniel’s Hebrew name means “God is my judge,” perhaps an indication that he’ll be punished in the afterlife for his affair, or that his infidelity is above our judgment. This affair, the primary function of which is to cuckold Kane (Lena’s white husband), was not in the book, so it’s one of the most obvious indicators that we’re dealing with JEM. However, JEM is obliged to show the Semite victorious. Lena ends her affair with Daniel in a later flashback so that she can be reunited with her husband’s Semitic/qlipha doppelganger born out of the Shimmer. It’s also noteworthy that Garland is careful not to upset Jews, opting not to show his Jewish lead kissing or directly touching Daniel in their sex scenes.
The Jewish God as Da’ath’s qlipha seeking its Aryan sephira
Through Annihilation‘s subtext, Garland esoterically admits – as Brahmin suggests is common in the JEM – that the Jewish people are an aged race seeking renewal through Aryan genes. In this case, Jews are conflated with the aged qliphoth, the inverse of the youthful Aryan sephiroth. This affinity for the chthonic and aged appears in the JEM where gods like Neptune, Pluto, and Saturn are understood to be Semitic. Therefore, unlike the women who enter the Shimmer, it is not self-destruction that motivates the Jewish god to come down to Earth. As Da’ath’s qlipha, it has assumed the form of a man and come to fill Da’ath’s “Abyss” by finding a suitable female sephira. The sephira it requires is a strong Aryan female, which it finds in our heroine Lena.
Here we find the pairing of the qliphoth and sephiroth, darkness and light, Dionysian and Apollonian, and Semite and Aryan, as mirrored in the story of the Sumerian Moon God Sin. Sin was the product of the Semitic deity Enlil and the Aryan goddess Ninlil. Of this pairing, Brahmin writes: “This is doubtlessly to identify the Jewish essence as sinful and redeemable only through interbreeding with a purer Aryan. . .”
And just like the Shimmer, the Moon God Sin drives people insane. Writes Brahmin:
“This moon God Sin. . . like Bacchus, (is) a God of Madness. Indeed, the moon has a deep and ancient association with madness. Here it is understood as the cause. Some vestige of this understanding is seen, for example, in the term ‘lunatic’ deriving from the Latin word lunaticus meaning ‘seizures.’ Here the moon or ‘luna’ was understood as inducing insanity, including seizures.”
Furthermore, Da’ath’s “infinite sharing” or tearing down of all genetic barriers mirrors Brahmin’s understanding of the true meaning of Zion as “a synonym for Bacchus’ Elysium and racial decadence,” (depicted in the orgy of Zion of The Matrix film trilogy) as well as the Biblical flood representing the same.
The transference of a tattoo from an unknown victim of the Shimmer onto Lena’s arm is revealing in the context of purification. It goes completely unremarked but is an important detail: It’s a serpent devouring its own tail, the Ouroboros, in the shape of an infinity symbol. Variations of the symbol date back to Ancient Egypt, where it encloses the words “the all is one” – echoing Da’ath as a place where “all ten sephiroth become one.” The Ouroboros would be adopted by alchemists and gnostics, where “it represents the formless disorder that surrounds the orderly world and is involved in that world’s periodic renewal.” (my emphasis)
Recall that alchemists famously attempted to transform lead into gold. In this we see the transmutation of the Saturnian (and thus Semitic) element of lead into the Apollonian (and thus Aryan) element of gold. This has less to do with metals than racial admixture, as the Ouroboros also symbolizes “individual self-perfection through physical transmutation and spiritual transcendence.” (my emphasis)
The Ouroboros’ snake is also a symbol of renewal and immortality, as the snake magically sheds its skin. Clearly, these symbols dovetail with the aim of the Semitic Bride Gathering Cult; a genetic “renewal” and “physical transmutation” via the theft of the desired Aryan genes. This is communicated in the finale, which is explained next. The serpent is also a symbol used by Jewish esotericists to identify Jewish characters, but in this context it becomes a brand displaying Jewish ownership of Lena.
The Aryan sephiroth meet their Semitic qliphoth
Arriving at the lighthouse, Lena finds a video camera facing a burnt corpse. She turns it on to watch its recording and sees her husband Kane warning someone off camera not to look directly at “the blast” because it is blinding. Kane then sits down and ignites an incendiary grenade, immolating himself before the camera’s unflinching lens. (Again, this is the film’s invention; in the novel the lead character does not find a burnt corpse, camera, or her husband because he died before she left.)
It appears Kane has succumbed to the Shimmer’s lunacy-inducing effects. However, as his body burns, an exact duplicate of Kane walks into frame before the recording ends. Now Lena (and the viewer) is unsure if the Kane who appeared in the first act is the real him or some kind of alien. Earlier, Lena had spotted a pair of strange deer in the jungle which eerily moved in perfect unison, hinting at this surreal twinning. In this reading, Kane is an Aryan sephira who sacrificed himself to the Jewish Fire God and has been supplanted by his Semitic qlipha.
If the lighthouse is a possible phallic symbol, inside it there’s a hole that’s a definite vaginal metaphor, presumably the exact spot where the meteorite landed and drilled into the Earth. This duality between male and female symbols may stem from the Jewish concept of god being genderless while possessing traits of both sexes. The hole is surrounded by “pubic” lichen growing out in all directions, and Lena descends into the chthonic earth mother through a narrow “birth canal” and into an expansive “womb.” Here she encounters Dr. Ventress, who had gone ahead, meditating in the middle of a Giger-esque room evoking the Sitra Achra, the qliphoth’s realm of evil.
Ventress explodes into a mist of glowing particles, essentially becoming fuel for the Jewish god. These coalesce into a bizarre, undulating sphere that we will soon learn is an “egg.” As Lena stares into the egg’s abyssal, mouth-like aperture, a single blood droplet from her face fertilizes it akin to the origin story of the Giant Pallas. The “cells” of the egg then divide until they form an indistinct but clearly humanoid figure. Here we recall that Ventress was suffering from terminal cancer and that this “newborn” may be cancerous. This is Lena’s qlipha, an evil husk that represents her polar opposite.
Frightened, Lena escapes to the surface, but the figure pursues her. It follows her every move, like a mirror image. Unable to escape or fight it off, Lena manoeuvres it into position so she can hand it one of the incendiary grenades from Kane’s rucksack. As they clasp hands, the creature instantaneously begins to assume her exact appearance. Lena dashes away just in time to avoid the explosion and watches as her qlipha is consumed by fire. The flame spreads throughout the lighthouse and into the “womb,” engulfing the Tree of Life, and in the process burning the “bridge” between worlds it represents.
Unlike Kane, who relinquished his identity to something alien, Lena refuses to do so. If the Shimmer simply represented race-mixing, her newborn doppelganger would be a metaphor for a mixed-race child. Mixed-race offspring may be born of the mother and father, but they cannot adequately replicate either. Hence Lena rejects an alien offspring that cannot carry on her genetic lineage no matter how much it may resemble her. This may subtly communicate that Lena aborted Daniel’s illegitimate child, but also communicates a rejection of the unwanted Semitic female, it being Lena’s qlipha.
Lena and Kane’s esoteric identities
Lena’s husband Kane seems an obvious allusion to the biblical Cain. “Kane” is an Irish surname meaning “war like,” which fits with his military occupation. In the JEM warriors and soldiers are commonly Aryan, which aligns with Brahmin’s take on the biblical Cain as first-born Aryan, and his brothers Abel and Seth as Semitic competitors.[34, 35] Thus in accordance with the primary purpose of JEM, Annihilation humiliates white men by having Kane cuckolded first by the black Daniel, then by his Semitic doppelganger or qlipha.
That Kane’s qlipha is likely a Semitic Seth or Abel, if not the embodiment of the Jewish God itself, is inferred from two other details. Firstly, Lena takes her name from the Greek Helene, a recurring archetype in the JEM stemming from Helen of Troy, or simply the Hellenistic period. This archetype is used to depict a desirable female (often but not always a blonde, blue-eyed Aryan type) who is inevitably paired with a Jewish male, thus becoming Judaized. Hence her name in and of itself indicates that the man she ends up with – in this case Kane’s doppelganger – is racially Semitic.
Secondly, their pairing would heal Da’ath, thus completing the Tree of Life and paving a path straight to the Jewish god and “immortality.” This is hinted at in a flashback where she and the human Kane lie in bed together and discuss whether or not God makes mistakes. Kane is adamant that He does not, but Lena suggests that God erred in designing our fundamental biology, because we’re destined to die. She argues we could be immortal if it wasn’t for a flaw in our cells’ programming. This seems to reference the immortal jellyfish (Turritopsis dohrnii), which owes its name to its unique ability to rejuvenate by regressing to a younger life stage. Hence Lena’s desire for immortality will be granted by her union with the Jewish god, which is eternal (from the Jewish point of view). We now understand why her Ouroboros tattoo, acquired inside the Shimmer, is shaped like an infinity symbol.
In the final scene Lena goes to see her “husband” in quarantine. Kane’s qlipha has suddenly healed from its self-destructive “wound” now that it has found a woman strong enough to survive the Shimmer. She asks if he really is Kane, to which he responds “No, I don’t think so,” confirming him to be Kane’s qlipha. He then asks if she is really Lena, but she remains silent. As they embrace, we see his eyes shimmer, revealing he’s not human. Then Lena’s eyes shimmer too. Here we’re seeing the Helen figure becoming Judaized as she embraces her new, Semitic husband. This implies that it is the purpose of Jewish men to partner with Aryan women in order to complete the Tree of Life. Films like Annihilation are the reason why Brahmin refers to Judaism as a Semitic bride gathering cult; Jewish esotericists are essentially admitting as much with their art.
As mentioned, if the Aryan Kane was replaced by a Semitic qlipha, then we can interpret Lena’s qlipha as a Semitic Judith figure: The unwanted, undesirable Jewish female or “non-identity.” Lena’s rejection and destruction of this figure, of course, aligns with Jewish men rejecting Jewish women in favor of blonde, blue-eyed Aryans. Here the writers are telling Jewish women they are not only worthless, but that they’d happily see them incinerated along with their hated Aryan male sexual competitor. Jewish women understand this and naturally hate/envy Aryan women (see, for example, The Hand That Rocks the Cradle).
As the story progresses it becomes framed as an interrogation between Lena – the sole survivor of her expedition – and an official named Lomax. This is another change from the novel. Lomax is a name from the seventh century Old English, but here it’s likely a simple pun on “lummox” (a clumsy, stupid person). Lomax personifies the clueless goyim faced with the Shimmer, and indeed the film-goers themselves. Most audience members will chalk up Annihilation as just another “weird science fiction film.”
By this point in the timeline Lena has privately accepted her qlipha partner, so she plays dumb. When asked what the Shimmer was, what it was doing, and what it wanted, Lena simply replies, “I don’t know.” Yet she knows perfectly well; it wanted her. Even with only a surface-level understanding, the message couldn’t be clearer to Jews in the audience: Deny the existence and effects of The Great Replacement, mass immigration, and miscegenation. Let it annihilate your racial enemies.
“It’s not destroying. It’s making something new. . .”
. . . So reads one of Annihilation‘s log lines. On its face the film rationalizes the destructiveness of multiculturalism and miscegenation through its characters and dialogue. We’re told the people who willingly enter the Shimmer (i.e. those who throw away their genetic legacy) are simply self-destructive or defective. Beneath that, it relates this racial wounding to the missing sephira on the Tree of Life, suggesting such self-destructiveness stems from the Aryan “need” to fill the void with a non-Aryan partner.
The exact opposite is true.
Rationalizing race-mixing is something of a Jewish specialty. The truth is that most whites wouldn’t race-mix if not for decades of Cultural Marxist lies, non-stop propaganda, and mass non-white immigration. Meanwhile, non-whites overtly desire white genes, which they perceive to be an “upgrade.” All around the world we see skin-lightening creams, colorful hair dyes, and even blue contact lenses so that non-whites can appropriate our desirable features.
Moreover, the suggestion that the Shimmer’s deleterious effects will only affect those who enter it willingly is directly contradicted by its steady expansion. Like globalism, it would presumably come to envelope the whole planet, echoing the Jewish mantra of “inevitable diversity.” The Jewish writers can’t be honest about this either, so they engage in Jewish self-deception and victim-blaming.
To paraphrase Brahmin, Annihilation is itself a kind of love letter by the Jewish author to Ayran women, presenting a clear rejection of his own. In the process he delights in cuckolding his despised Aryan competitor, but takes great pains to ensure his target is blind to the insult. Here the screenwriter, whether Garland or one of his Jewish collaborators, literally slips a Jewish cipher into the skin of the Aryan husband. Moreover we see just how honest the Jewish esotericist can be about such matters, including race as shown in Daniel/Chiron, safe in the knowledge that – until now – outsiders could not parse his text.
With the insight and tools Brahmin has given us, Jewish film analysis becomes a whole new game; while not every Jewish author is engaged in REM, those who are have created puzzles that can now be solved. If you delight in breaking down film plots into Joseph Campbell’s “The Hero’s Journey,” wait until you get your hands on a film encoding REM. Here, too, we understand Brahmin when he says that one will find a newfound respect for Jews as esotericists, even if the subject matter is anti-White in the extreme. It falls on White authors to master this symbol language and use it to combat or signal-jam the Jewish messaging in the ongoing culture war.
Notes and Citations
 Mark Brahmin, REM: Racial Esoteric Moralization (Arlington, Va.: Washington Summit Publishers, 2019), chapter: “The Parabolist Law of Microcosm, The Definition of a God & ‘God Masking’”
 M. Brahmin, ibid., book#, chapter: “The Bride Gathering Cult“
 M. Brahmin, ibid., chapter: “REM: Racial Esoteric Moralization”
 Casting Isaac, who has some Jewish ancestry, as Kane makes sense in that he becomes Semitic in the end. However, casting the Jewess Hershlag as the Aryan Lena is an interesting choice. As an attractive Jewish actress she unwittingly helps to deflect the film’s esoteric insult towards all Jewish women, whom Jewish men clearly dismiss as undesirable compared to Aryan women. Simultaneously, her arc resembles a crypto-Jewess assuming the role of a Judith or Esther figure intent on subverting a gentile society. Perhaps this is how the story was explained to her and why she agreed to the part, if not also because of its supposedly feminist slant.
 “Mixed-race people perceived as ‘more attractive,’ UK study finds,” Science Daily.com, April 14, 2010.
ii. This may be due to so-called “hybrid vigor,” where dominant (and presumably healthier) genes tend to express themselves. Alternatively, mixed-race facial features may simply be more exotic and novel to the untrained eye, and thus camouflage markers negatively correlated with beauty and attraction.
 Research has found that fifty-percent to eighty-percent of DNA from the Ashkenazi Y chromosome, which traces the male lineage, originated in the Near East. However, another study of mitochondrial DNA found that “more than eighty-percent of the maternal lineages of Ashkenazi Jews (can) be traced to Europe.” These findings indicate extraordinary rates of Semitic men intermarrying with European women, i.e. Judaism operating as a Semitic bride gathering cult.
Tia Ghose, “Surprise: Ashkenazi Jews Are Genetically European,” Live Science.com, October 8, 2013.
 M. Brahmin, ibid., book #, chapter: “Semitic Fire Gods”
 The Shimmer’s rainbow, and the rainbows which appear throughout the film, likely represent the Divine Light, as revealed by the coming together of the ten sephiroth in Da’ath. Otherwise it represents the seven branches of the menorah.
 Christopher Penczak, The Temple of High Witchcraft: Ceremonies, Spheres and The Witches’ Qabalah (Woodbury, Mn.: Llewellyn Publications, October 2007)
 C. Penczak, ibid.
 Israel Regardie, The Golden Dawn: The Original Account of the Teachings, Rites, and Ceremonies of the Hermetic Order (Woodbury, Mn.: Llewellyn Publications, September 2002)
 Mat Auryn, “The Mysticism, Spirituality, & Occultism of The Dark Crystal,” Patheos, December 31, 2018.
 M. Brahmin, ibid., chapter: “What’s in a name?“
 M. Brahmin, ibid., book #, chapter: “The Daphne Motif and the problem with Laurels”
ii. Garland frequently names female characters Cass, including in the novel of The Beach, Sunshine (2007) and Dredd (2012). See also the video game characters Cassidy (Life is Strange 2, Square Enix, 2018) and Cassie (Uncharted 4, Sony, 2017).
 Mike Corbishley, Ancient Rome (Warwick Press, 1986), p. 62.
 M. Brahmin, ibid., book #, chapter: “Semitic Fire Gods”
 M. Brahmin, ibid., book #, chapter: “Nuns, Vestal ‘Virgins’ and Aryan Lioness as ‘Altar-Hearth‘”
 Helmut Rix, Martin Kümmel et al., Lexikon der Indogermanischen Verben (Dr. Ludwig Reichert Verlag, 1998, 2001)
 Barbette Stanley Spaeth, “The Goddess Ceres and the Death of Tiberius Gracchus” (Historia: Zeitschrift für Alte Geschichte, Vol. 39, No. 2, 1990), p. 1, 33, 182.
ii. B. Spaeth, The Roman goddess Ceres (University of Texas Press, 1996), p. 1–4, 33–34, 37.
 M. Brahmin, REM, ibid., book 3, chapter: “Bread as an important example of the ‘Consumption Motif’”
 M. Brahmin, ibid., book #, chapter: “The X-Rated Crucifix”
 Suda s.v. Aphroi
 M. Brahmin, ibid., book #, chapter: “The Underworld as non-Aryan, ‘Sacred Prostitution’ and Jewess as ‘Trivia’”
 M. Brahmin, ibid., book 2, chapter: “Sin as an Original Jewish God?”
 i. M. Brahmin, ibid., book 2, chapter: “Sin as an Original Jewish God?”
ii. A similar connection between the Moon and race-mixing can be found in another Jewish Netflix film, In the Shadow of the Moon (2019). Here a mixed-race black woman travels back in time to assassinate White Nationalists, but she can only time-travel every nine years. This is explained as having to do with the Moon.
 M. Brahmin, ibid., book #, chapter: “Zion: a synonym for Bacchus’ Elysium & Racial Decandence”
 Erik Hornung, Conceptions of God in Egypt: The One and the Many (Cornell University Press, 1982), p. 163–64.
 Lynn Osburn, “Better Living Through Alchemy, Volume I: Origins of Alchemy,” 1994-2008
 M. Brahmin, ibid., book #, chapter: “Garden of Eden Part II: The Jewish Serpent & Jewish tree of Knowledge”
 Notably, the incendiary white phosphorus grenade that consumes Kane with its bright flames, and which will later consume the Shimmer, is evocative of both the Jewish Fire God consuming “the Aryan wood or Tree of Life,” as well as the Jewish god’s penchant for blinding its enemies (hence Kane’s warning not to look directly at it – echoing Jones’ warning to Marion at the end of Indiana Jones: Raiders of the Lost Ark). It also parallels the Israeli use of white phosphorus against the Palestinians.
 M. Brahmin, ibid., book #, chapter: “The Martial and the Apollonian”
 M. Brahmin, ibid., book #, chapter: “Aryans as ‘First Born,’ Jews as ‘Second Born’ & The Curse of Cain”
ii. This delineation likely stems from ancient folk wisdom that recognized firstborn children are often taller than their siblings, a biological phenomenon backed by scientific evidence. In ancient times in harsher conditions these differences were likely more pronounced, which is why the firstborn son became the presumed heir.
 i. M. Brahmin, ibid., book #, chapter: “The Value of Homer”
ii. “Helen” and its cognates become a catch-all for desirable females. See also: The Aryan (blonde, blue-eyed) Ellen in The Quick and the Dead; Elena Fisher paired with the Jewish cipher Nathan Drake in Naughty Dog’s Uncharted video games (Sony, 2007-2018); the red head Helena Harford in Eyes Wide Shut; Ellie paired with Joel in The Last of Us (Sony, 2013); and the Asian beauty Eleanor in Telltale’s The Walking Dead season three, etc..
 M. Brahmin, ibid., book #, chapter: “Judith: Jewess as negative or non-identity”
 M. Brahmin, ibid., book #, chapter: “The Promotion of ‘Inevitable Diversity’: An Ancient Pattern”