Tron: Legacy – Christ dethrones Apollo – By Hugo Adrian

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.  – M.Brahmin 

Tron: Legacy – Christ dethrones Apollo by Hugo Adrian

Tron: Legacy is an audio-visual treat with dazzling eye-candy outdone only by Daft Punk’s triumphant score. It’s also an allegory of Christ defeating Apollo. The screenplay was written by the Jews Edward Kistis and Adam Horowitz from a story conceived with the Jew Lee Sternthal and (the likely Jewish) Brian Klugman. It was produced by the Jews Steven Lisberger (who wrote the original Tron) and Jeffrey Silver. With that in mind let us review the film in light of Mark Brahmin’s Jewish Esoteric Moralization (JEM).

The Tron films take place inside of a computer simulation called the Grid, similar to the false reality of The Matrix films. These are microcosms of the real world in which a Jewish messiah comes to overthrow an Aryan civilization hostile to Jewish interests. In Tron: Legacy Kevin Flynn (Jeff Bridges) is openly portrayed as a God-like “architect” figure, but he initially takes a backseat to his son Sam (Garret Hedlund). Sam’s arc is similar to Neo’s, and he’s even referred to as “Son of Flynn,” (i.e. Jesus, son of God).

Flynn is openly portrayed as a God-like “architect” figure of the Grid, a computer-generated false reality.

Aside from Quorra, all of the artificially intelligent programs we meet represent the godless Gentile masses. This parallels the goyishe nature of the A.I. controlled robots and programs seen in The Matrix, which are ciphers for Gentiles oppressing and enslaving the Jews. From the Jewish point of view, it’s like the cows are running the farm.[1] These are even called “Basics” in some Tron-related media.

The god-like humans are referred to as “Users” inside the Grid, which is a term established in Tron (1982). You might be forgiven for thinking the term intentionally evokes “usurer”: Just as the usurer extracts productivity from the debtor, the User extracts productivity from the programs. As it happens there is an antagonistic relationship between User and program. This is made clear in Tron: Legacy where, at the gladiatorial arena, the introduction of the User Sam elicits booing from the program spectators. Here we’re reminded of the Christians thrown to the lions in the Roman ampitheater.

It may seem strange that Jewish storytellers would consciously develop positive Christ figures in their work, but Brahmin estimates it is the fourth most common theme in the JEM.[2] This is because Christianity overthrew Apollo and the rest of the Greco-Roman pantheon, which was highly beneficial from the Jewish perspective. Where before the Ancient Greeks and Romans had seen themselves as next to the gods in the same way that the Jewish worldview posits them as inherently chosen, thereafter Europeans became lost to a mystery religion. Naturally, Aryans would need to be sold a more Aryan Jesus. Writes Brahmin:

“Yet even the Christian —with the exception of the wild-eyed zealot— is pressed to develop actual hatred for Apollo. Thus Christianity dared never to refer to him, slander him by name or attack him directly lest he immediately, in a moment, regain all his supporters. Rather they would prefer Aryans, themselves Apollonian by instinct, believe Christ even a similar figure to themselves, to Apollo.”[3]

The tradition of Aryanizing Christ can be seen in idealized depictions of him as a tall man with blond hair and blue eyes rather than a stocky, darker Semite. Brahmin could have been describing Tron: Legacy‘s subtext; we see a similar makeover in its depiction of Sam. Apollo is, in turn, indirectly vilified in the manner of the Biblical Abaddon/Apollyon/Lucifer in the form of CLU.

Left to right: What scientists say Jesus probably looked like versus how he is depicted in traditional Christian art. We see a similar makeover in Tron: Legacy‘s Sam.

Kevin Flynn as God

Kevin means “kind, gentle, and handsome,” where the latter is an Aryan identifier relating to the Biblical Japheth.[4] Additionally the surname Flynn means “of red complexion” or “ruddy,” which Brahmin suggests may be an Aryan identifier relating to Adam in the JEM.[5] Thus Flynn – played by Bridges in his typically “zen” manner – reflects the New Testament’s God as a “kinder” and “gentler” alternative to the god of the Old Testament. Indeed during the film’s recap of Flynn’s disappearance, the news report headline reads: “Kevin Flynn – saint or swindler?”

This portrayal aligns with Brahmin’s unorthodox view that the divine father of Christ is Aryan.[6] When Flynn and Sam finally reunite they celebrate with a feast including a whole roasted pig – which would be forbidden under Judaism. This is obviously to ensure that Jews in the audience do not accidentally mistake Flynn for Yahweh and Sam for their moshiach.

Of course the name Kevin Flynn was inherited from the first film, so this may simply be a happy accident. Whatever the case may be, Tron: Legacy’s surface narrative features a flattering depiction of phenotypically Aryan heroes in both Flynn and Sam.

A clear distinction is drawn between Judaism and the god-like Flynn and messianic Sam, as they enjoy a whole roasted pig during their reunion feast.

Sam Flynn as Jesus Christ

Sam takes his name from the Biblical Samuel, who, like Jesus, was the product of divine conception.[7] As a Jesus figure, Sam’s esoteric racial identity is Semitic. In the real world he wears black and rides a black motorcycle, and has a snake-like logo on his helmet and in his apartment. Black and the serpent are Semitic identifiers in the JEM. Supposedly the symbol represents the number “89,” as in the year 1989, the last time he saw his father. What’s more likely is the symbol intentionally evokes a serpent; with the symbol inverted, the nine becomes a six combining with an infinity symbol rather than an eight. The serpent, the number six, and the infinity symbol would relate to the Ouroboros and Alchemy.[8]

The filmmakers deceptively associate Sam with the Aryan and the Apollonian. Played by the handsome dirty-blond, blue-eyed Hedlund, he is, in effect, the white Christian’s conception of Jesus as an idealized Apollonian figure. This connection is also made via color symbolism (discussed later).

Sam is played by the handsome dirty-blond, blue-eyed Hedlund. He’s the white Christian’s conception of Jesus as an idealized Apollonian figure. The snake-like “89” symbol, when flipped upside down, resembles a cobra or a six paired with the infinity symbol.

The Apollonian nature of our heroes is further suggested in that Flynn and Sam enter the Grid from a higher plane of existence – in the surface narrative, reality, but esoterically Heaven (a sky realm). The Grid is a chthonic realm by comparison, as it exists inside of the computer in perpetual darkness, illuminated only by the neon lights of its simulated cityscape. Sam and his father will ride aboard a “Solar Sailer” transport vehicle where, in the complete absence of the sun, we must ask what is powering it (if not them).

The sun’s absence is an esoteric insult to Apollo, who rules the Grid. The Grid’s darkness is stressed by Sam when he fondly describes the sun’s warmth, radiance, and beauty to his computerized love interest Quorra who has never seen or experienced it. This pays off in the romantic ending, which sees the couple bathed in the light of her first sunrise back in the real world (Heaven).

In Hebrew Samuel means “God heard” or “God listened” which may relate to Sam’s arrival on the Grid: Time passes more quickly in the computer than it does in the real world, as computers can perform millions of calculations per second. Trapped in the computer for twenty years, Flynn has been meditating – mentally calling out to his son – for what must have felt like an eternity. Hence Sam’s name means “God heard” Flynn’s prayers. Alternatively, his name reflects the Jewish appreciation that God answered their prayers to suppress and domesticate the goyim via the Jesus myth.

CLU as Lucifer/Abaddon/Apollyon/Apollo

CLU was introduced in the first film, but his nature is completely retconned in Tron: Legacy. Flynn says he created CLU “in his own image” to help him build the Grid. In a flashback CLU asks Flynn if his mission is to create “the perfect system.” Flynn casually answers in the affirmative and CLU takes this command as literally as a computer. Since Flynn is only human and thus imperfect, CLU decides to usurp his rule by force.

As Flynn’s mirror image CLU represents the dark side of the Aryan, his Sonnenrad. Indeed Brahmin points out that the Abaddon/Apollyon of Revelation is simply Apollo, and that Lucifer is understood to be a sun god if not Apollo himself.[9] Therefore it should come as no surprise that C(Lucifer) is a god-masked Apollo. Like Apollo, CLU remains forever young while Flynn has become “saturated with years” like Saturn.[10] This is stressed in the finale, where CLU suggests “the cycles haven’t been kind” to Flynn.

CLU’s obsession with perfection stems from the Apollo cult’s eugenic Thargelia rituals. Saliently, CLU also functions as a stand-in for a Hitler-like dictator, who famously had a eugenic vision for Germany. This reveals that much of the Jews’ hatred for Apollo and Hitler has to do with them being rejected, exiled, and prevented from accessing Aryan women. Likewise this explains Jewish opposition to any suggestion or movement towards racial hygiene by Whites.

In the third act CLU addresses his army and says, “We have created a vast and complex system. We’ve maintained it, we’ve improved it. We have rid it of its imperfection. Not to mention, rid it of the false deity who sought to enslave us. Kevin Flynn! Where are you, now?!” This is Apollo speaking of Jews and the Christian god.

CLU adds: “And unlike our selfish creator, who reserved the privilege of our world only for himself, I will make their world open and available to all of us.” He intends to invade Earth with his digital army by transporting them through the terminal, the pearly gates. This parallels the story of Lucifer’s disagreement with God, his fall to Earth, and his plan to return to heaven with an invading army.[11] This is because the early Christians, who were themselves Jewish, understood that at any time Apollo’s followers might attempt to crush their new cult, and so warned of his return in Revelation. It is always the older gods who must be vilified by the new religion.

Sam as synonym of Bacchus/Dionysus

Immediately upon entering the Grid, Sam is picked up by a Recognizer that cannot identify him. He’s selected for “games” and is dropped off to compete in the disc wars, an allusion to Pong. He ends up in a battle with Rinzler, CLU’s right-hand man.[12] Rinzler effortlessly defeats him, slicing Sam’s arm, which causes him to bleed – something programs do not do. A single droplet of Sam’s blood, falling in slow-motion, comes into contact with the Grid, immediately outing him as a User.

In this moment we’re seeing the “blood magic,”[13] of “the blood and venom of the serpent, the juice of the vine.”[14] When the disc wars begin, we see one of the competitors on the roster is named Backus, an obvious corruption of Bacchus, esoterically alluding to the Vine of Bacchus (Sam is simply called “combatant three” and “unknown”). We’ll see a similar corruption of Zeus’ name later. Obviously this corroborates Brahmin’s contention that the Jewish esotericist understands Jesus to be a synonym of Bacchus.

Top: In the top-left of the roster, we see a competitor in the disc wars is named Backus (i.e. Bacchus). Bottom row: Rinzler effortlessly defeats Sam in the final disc war. Sam is bleeding – something programs do not do. A single droplet of Sam’s blood comes into contact with the Grid, causing him to be recognized as a User.

Thereafter CLU summons Sam to his throne room, where the latter is initially deceived into thinking he has finally reunited with his father. Here Christians will subconsciously if not immediately recognize the Luciferian overtones. CLU sizes him up and is unimpressed with Sam’s code. Seemingly intent on killing him, CLU challenges Sam to a lightcycle (chariot) race. This is fitting as Apollo is traditionally depicted driving a chariot across the sky.[15] However, we learn that the game is rigged as CLU and his henchmen have faster lightcycles.

Quorra and the ISOs as Jewish ciphers

What’s an antifascist allegory without Jews? Sam is rescued from the lightcycle battle by Quorra, who breaks into the ampitheater in an off road vehicle. Conveniently, Quorra is Flynn’s apprentice and they make their way to Flynn’s secret hideout. Quorra likely takes her name from the Greek “Kore” meaning “maiden.” Normally such a name would apply to desirable Aryan females of the Apollo cult, but Quorra is a Jewish cipher, which is indicated in multiple ways.[16] She’s played by Olivia Wilde, who epitomizes the seductive Jewess in her form-fitting outfit.[17]

We know Quorra is a Jewish cipher because she belongs to a mysterious group of A.I. beings called ISOs, whom Flynn describes as possessing unlimited potential to improve the human condition, such as curing all diseases. In other words, ISOs are a “chosen people” destined to heal the world, a reference to the Jewish concept of tikkun olam.

Flynn admits he didn’t create the ISOs, saying “they manifested, like a flame,” a reference to the Jewish Fire God.[18] In fact the ISOs march towards the Grid bearing candles or torches. That they appeared without his input reflects the Jewish understanding that the Christian god and Yahweh are two distinct deities. Nonetheless, Flynn says the ISOs were going to be his “gift to the world (try telling that to the Palestinians).”

The ISOs’ association with Jewry is further communicated in their tragic backstory. Taking after Titus/Hitler, CLU viewed the ISOs as an “imperfection” and perpetrated his own version of the Sacking of Jerusalem/Holocaust, leaving Quorra the sole survivor of the ISOs/Jews. Furthermore the ISOs are marked by a glowing tattoo-like hexagon on their arms, just as Jews were tattooed at Auschwitz. Quorra says that Flynn saved her during this “genocide,” just as Christians saved Jews during the Holocaust, explaining her “conversion.”

Lastly, everyone in the Grid possesses a disc that contains their “code” (an allusion to DNA). When Quorra is injured, Flynn activates her disc and struggles to repair her code; verbally informing Sam how complex and ingenious it is. Flynn suggests that everything from science to philosophy would be forever changed by the brilliance of the ISOs. Here the Jewish writers flatter themselves as inherently superior beings.

ISOs “manifested, like a flame”; they possessed glowing tattoo-like sigils on their arms; and their complex code was mostly beyond even Flynn.

Castor/Zuse as Zeus and Herod Antipas

Quorra says she knows an “old program” named “Zuse” that may be able to help them. This is a bald-faced allusion to Zeus, Apollo’s father. His inclusion here is likely to ensure that Flynn is not misinterpreted as a god-masked Zeus (which would throw the entire subtext into disarray), as we hear thunderstorms at Flynn’s hideout.

Sam and Quorra sneak out together to seek a meeting with Zuse via an intermediary named Castor (Michael Sheen), who operates a dance club called End of Line. A “Castor” is not only a type of program but a Greek name meaning “pious one.” It turns out that Castor is Zuse. Just as Apollo supplanted Zeus/Jupiter to become the most important god in the Greco-Roman pantheon, with CLU in charge of the Grid Zuse has been demoted to a nightclub manager. He announces a round of “libations” for everyone as he makes his entrance, where a libation is a drink offering to a deity, further implying his godliness.

The meeting is a thinly-veiled allegory of Jesus’ encounter with Herod Antipas, but doubles as a metaphor for Jews seeking the assistance of the underground resistance movement in Nazi-occupied territory. It seems Zuse is unhappy that CLU runs the show and is planning a revolution to overthrow him. However it was a grave mistake to think that Zuse would betray CLU (esoterically his son). Castor/Zuse intends to hand Sam over to CLU, just as Herod handed Jesus to Pontius Pilate, and a fight breaks out in the disco.

Sam meets Castor/Zuse in a scene resembling Jesus meeting Herod Antipas or Jews seeking the help of the underground resistance movement during the Second World War.

Flynn magically arrives just in time to save the day, flipping the Biblical script, but Rinzler manages to steal his disc and hands it over to Castor/Zuse. In some of the film’s imagery, these discs resemble halos, and certainly Flynn’s disc represents his godhood. Quorra’s arm is cut off, in what may be a reference to the Hamsa (Brahmin also refers to this as the Tyr motif as it is a common device), and the trio are forced to flee.

Meanwhile CLU has traced Sam’s lightcycle back to Flynn’s hideout. As he examines the surroundings, he picks up an ornamental silver apple and for a moment looks at his own reflection. The apple is symbolic of Adam’s cuckoldry by the Jewish serpent in the Garden of Eden, thus CLU throws it away in a rage. CLU departs to collect Flynn’s disc, arriving at End of Line. Castor/Zuse bargains for control of the city in exchange for the disc, but CLU has other plans and kills him instead.

Sam as Samael, Quorra as Lilith, CLU as Adam

Thus far we understand Sam as a Christ figure and Quorra as a Jewish convert to Christianity if not a nun, a bride of Christ, making them the perfect couple.[19] In the surface narrative their romance is aimed at white Christian men and Jewish women, who see their avatars happily paired with one another. Of course, one of the primary purposes of JEM is to direct breeding and Sam and Quorra’s coupling is no exception.

Jewish men indoctrinated into the bride gathering cult don’t want Aryan men competing for Aryan women, and staunchly reject Jewish women as unsuitable partners. Subliminally encouraging their enemies to partner up is the most flattering way for the Jewish esotericist to eliminate both from his life. Here, as Brahmin has indicated, the storyteller can be complimentary even if only in an attempt to “clear the field.”


Seemingly smitten, Quorra momentarily diverts her attention from the road so that she may feast her eyes on Sam, flattering the Aryan male viewer.


Yet there is another reading here, one in which Sam and Quorra are stand-ins for Samael and Lilith. Obviously this connection may be hinted at in Sam’s name. Notably Samael is not always considered an evil figure, despite being conflated with Satan. Depending on the religious tradition and context, he is thought to punish sinners and evil-doers on God’s behalf (as CLU and his followers have forsaken Flynn, they are all sinners).

In Hebrew Samael (סמאל) literally means “Blind God” or “God of the Blind.”[20] Samael (as Simyael) is also described as “the demon in charge of blindness.”[21] These designations may well describe Jesus Christ from a Jewish perspective; certainly the JEM implies that Christ blinds his followers in service of Yahweh/Jewry.

Samael is also the guardian angel of Rome, implying Jesus Christ as the God of the Holy Roman Empire. Indeed Samael is identified as Esau’s guardian angel, where Esau and Edom represent Aryans and by extension their descendants, i.e. Christians. And it is claimed that following the end of days, “Samael will be handed over to Israel in iron shackles.”[22] Again from a Jewish perspective this reads as Jesus Christ being unmasked as a false messiah, or simply Christians being made subordinate to Jewry.

On Wikipedia, it states that: “In the Kabbalistic work Treatise on the Left Emanation, Samael is part of the Qliphoth, prince of all demons, and spouse of Lilith. The two are said to parallel Adam and Eve, being emanated together from the Throne of Glory as a counterpart.” Other examples of Jewish esoteric art such as Annihilation may imply that Jews are Qliphoth so this description of Samael and Lilith in no way contradicts our understanding of Sam and Quorra.

In the Book of Enoch 1, it is said that Samael is one of the Watchers who descended to Earth to mate with human women. This is similar to the serpent seducing Eve, or Sam descending into the Grid where he partners with Quorra. In Brahmin’s estimation the Watchers are Aryan figures,[23] yet Samael would be the exception. He is, after all, conflated with Satan as both the planter of the Jewish Tree of Knowledge and the serpent who entered the Garden of Eden. Yet despite being Semitic, Samael has an Aryan appearance. This contradiction might explain why in Songs of Songs Rabbah 3:6, the amora has Jacob say to Esau: “your countenance resembles that of your guardian angel.”[24] If indeed Samael is understood to be Aryan like other angels, wouldn’t his resemblance to the Aryan Esau go without saying?

That Samael is Semitic but looks Aryan is also hinted at in the Gnostic tradition. There, Samael is thought to be the Demiurge, a heavenly being that mistakenly believes himself to be the highest power, when in reality he is subordinate to the Supreme Being (again, we find a parallel between Jesus Christ and God). Remarkably this Demiurge may be depicted as a serpent with the head of a lion; in the JEM this would translate as a Semite with an Aryan appearance. These descriptions of Samael suit Sam both as an Aryanized Christ and as the serpent who slithers into the Garden of Eden, the latter examined in the next section.

A lion-faced deity found on a Gnostic gem in Bernard de Montfaucon’s L’antiquité expliquée et représentée en figures may be a depiction of the Demiurge, Samael. As a serpent with a lion’s head, this would suit Sam as an Aryanized Christ figure and may relate to the serpent-like “89” symbol discussed above.

For her part, Quorra shares much in common with Lilith. In Kabbalistic mysticism, Lilith has numerous origin stories. In one version, she emerges out of the Great Supernal Abyss spontaneously. This, of course, matches Lilith and the ISOs appearing spontaneously inside the Grid. In another version of the story, a thousand souls emerged from the Left (evil) side, i.e. the Qliphoth, and attempted to attach themselves to Adam but God stopped them. Again, this reads as the ISOs appearing in the Grid which CLU then exterminated (they are also shown arriving from the left).

Just as Quorra has never seen the sun, so too is Lilith a nocturnal spirit or entity. From Wikipedia: “Archibald Sayce (1882) considered that Hebrew lilit (or lilith) לילית and the earlier Akkadian līlītu are from proto-Semitic. Charles Fossey (1902) has this literally translating to ‘female night being/demon.’”[25] And “Eberhard Schrader (1875) and Moritz Abraham Levy (1885) suggest that Lilith was a goddess of the night.”[26] For this reason, Lilith is often thought of as a succubus responsible for wet dreams.

Furthermore, an etymological link ties Lilith to a figure in Ancient Greek mythology. The early fifth century Latin Bible translates references to Lilith as Lamia, a half-woman half-serpent monster that is also considered a night demon. “Modern scholarship reconstructs a Proto-Indo European stem *lem-, ‘nocturnal spirit’, whence also comes lemures.”[27] That Lilith and Lamia are synonyms is corroborated by their destruction of unborn infants and newborns.

With Lamia, we discover why Quorra would suggest seeking aid from Zuse. In Ancient Greek mythology, Lamia was a woman who was transformed into the monster “after her children were destroyed by Hera, who had learned of her husband Zeus’ trysts with her.”[28] Consequently we may infer that Quorra and Zuse were lovers! Lamia was also “able to create an illusion of a sumptuous mansion, with all the accoutrements and even servants.”[29] This may explain why Flynn’s secret hideout is so luxurious.

If Quorra is Lilith, this suggests that CLU is a veiled Adam figure. “In the 13th-century writings of Isaac ben Jacob ha-Cohen, Lilith left Adam after she refused to become subservient to him and then would not return to the Garden of Eden after she had coupled with the archangel Samael.”[30] In the Zohar, Adam is also compared to the sun just as CLU may be interpreted as Apollo: “Two female spirits, Lilith and Naamah – found Adam, desired his beauty which was like that of the sun disk, and lay with him.”[31] If CLU is Adam bereft of his Eve, this would explain his meltdown when he sees the apple ornament in Flynn’s hideout, and his hostility towards Quorra (when he encounters her, he threatens that he has something “special” planned for her).

One final note on Quorra as Lilith: In the Middle Ages, myths surrounding Lilith came to include legends about another world. This “Other World” was called Yenne Velt in Yiddish and was said to exist side by side with our world. This complies with the concept of the Grid, a computer simulated alternate reality.

Sam as Serpent in the Garden of Eden

Sam successfully breaks into CLU’s headquarters where he retrieve’s Flynn’s disc. The scene plays out almost identically to the one in the first act, where Sam breaks into Encom’s headquarters and parachutes away. Both scenes are allegories of the Jewish serpent sneaking into Eden. Here, we recall, Samael is conflated with Satan, and “the serpent as a symbol is a synonym of the Vine of Judah as well as the Vine of Bacchus.”[32] As discussed earlier, Christ is a synonym of Bacchus/Dionysus, therefore the Jewish esotericist may conflate Christ with Samael/the serpent.

At Encom Sam has to hack the electronic lock of a ridiculously thick door like something protecting a bank vault. Encom is Flynn’s company but it’s being mismanaged in his absence, just as the Grid is being mismanaged by CLU. Once inside, Sam hacks the company’s mainframe and leaks its latest operating system online, thus breaking the company’s monopoly – an allegory of the Semite stealing the desired Aryan genes, or Prometheus stealing fire from the gods.

Here Dillinger Jr. (Cillian Murphy) is the real-world equivalent of Apollo and the company’s security expert. He boasted that Encom’s OS12 was the most secure ever, so when it’s unexpectedly hacked he coyly suggests they pretend the leak was “all part of the plan,” just as the Romans would adopt Christianity as the new state religion.

In a rather silly scene, Sam base-jumps from the tower’s rooftop to escape the security guard before being stopped by police. There he was unsuccessful in avoiding arrest, but in the Grid he escapes CLU’s henchmen using a similar tactic. Thus the intro was a “dry run” for his adventures in the Grid. Here we recall that Samael was said to fly through the sky and is sometimes described as a miscreant.

Once CLU discovers what has happened, he kills his Goebbels-like underling Jarvis (James Frain) in a fit of rage. Jarvis means “servant of the spear” and comes to us from a saint martyred under the Roman Emperor Domitian, significantly the last member of the Flavian dynasty. Hence Jarvis’ name telegraphs that CLU’s reign will soon be over.

CLU as seraphim, Rinzler redeemed, and the Pearly Gates

CLU’s fighter jet has six wings indicating he’s a seraph, an angel of the highest order in Christianity (but a of a much lesser order in Judaism). Here, the seraphim’s six wings esoterically identify them (and CLU) as Aryan in accordance with JEM number symbolism. The seraphim are described as “those who kindle or make hot” possessing an intense and perpetual heat – befitting the Sun God Apollo.

It’s revealed that Rinzler is actually the corrupted form of Tron, an avatar created by Flynn’s business partner and friend Alan Bradley (Bruce Boxleitner). Like CLU he is a fallen angel, however he has a crisis of conscience and snaps out of CLU’s control (“I serve the Users!”). He smashes into CLU to save Flynn, Sam, and Quorra from CLU’s pursuing fighter jet. However, as they free fall, CLU manages to steal Tron’s spare jet and continues to pursue them while Rinzler/Tron is left tumbling into the Sea of Simulation.

Notably Rinzler/Tron has what appears to be a “T” on his chest. In fact, this is likely a cross indicating his allegiance to Christ. It has been truncated so as to make the connection less obvious, similar to the modified “plus” symbol used in Israel (the “﬩” symbol). The latter was adopted by Israelis to avoid writing a symbol that resembles the Christian cross.

Tron’s real-world equivalent Alan Bradley has a fortuitous name, inherited from the first film. Bradley means “broad wood” or “broad clearing,” the former equating him with the Aryan wood of the Tree of Life, a consumable resource for the Jewish Fire God. Alan has numerous meanings, including “handsome” (which would also designate him an Aryan) and “little rock” (which would indicate him a Judaized servant of the Stone, a symbol of the Jewish God).[33] Like “Kevin Flynn” the name was inherited from the first film so the meaning may be coincidental.

As expected there’s a final standoff between Flynn and CLU at the terminal, which resembles a glowing cross from afar. CLU snatches Flynn’s disc out of his hands, only to discover it has been swapped for Quorra’s, which is useless to him. Sam and Quorra escape to the real world as the Grid collapses in on itself, taking Flynn and CLU along with it.

Unlike The Matrix films, which end on an uneasy stalemate of coexistence between humans and the A.I. (Jews and the goyim) here the non-Jewish world is completely deleted. This reflects the destruction of the Greco-Roman pantheon and the civilizations they inspired.[34] Here, Sam has truly become Samael, “a leader of the divine forces of destruction.”

 CLU’s fighter jet has six wings, associating him with the seraphim, angels of the highest order in Christianity, as well as the Aryan per JEM number symbolism.

Color symbolism in Tron: Legacy

The real world city is mostly lit in a golden hue at night, identifying it as the Aryan realm. CLU’s suit is lit up in orange-yellow, identifying him as Aryan.

Yet Sam is also juxtaposed with yellow and blue (Aryan colors related to blue eyes and blond hair). As a child his bedding has a combination of blue and yellow; at Flynn’s he’s illuminated by the blue light of the Tron arcade game; at Flynn’s workstation he’s bathed in gold light streaming in from an eye-like window; and when he and Quorra leave Flynn’s arcade in the ending, posters combine blue and yellow. However, as mentioned Sam is a Jewish cipher. This may be why he rides a Ducati motorcycle; the manufacturer’s name can be taken to reference the ducat, a gold coin. Thus he has expropriated these colors, and controls the Aryan as his personal resource.

Above: Sam is illuminated in blue light from the Tron arcade game. Below: Sam loads up Flynn’s computer while bathed in the gold light streaming in from an eye-like window watching him from above.

When Rinzler / Tron turncoats against CLU and plunges into the Sea of Simulation, his color changes from orange-red (the “evil” color) to a pure white, indicating he has been redeemed. It’s a symbolic baptism – in this case representing a program’s deference to the User – and thus Tron’s emasculation and enslavement to the Christian god.[35]

As Brahmin elucidates, color combinations can be used to symbolize various thematic elements in the JEM. Even outside of JEM conventions evil characters are often tied with red, so here orange is a strange and rare choice. Orange is of course a mixture of red and yellow, hence it might symbolize red as Aryan blood (normally symbolizing vulnerability to Jewish admixture) mixed with – and fortified by – the yellow/gold of the Aryan/Apollonian. Though admittedly I’m just spitballing here.

CLU’s orange-yellow burns brighter than his followers, who are orange-red.

Number symbolism in Tron: Legacy

When Sam is taken to the arena, the room where he receives his new suit and disc has the number three on the floor. Normally in the JEM the number three is a reference to Semitic insemination of the Aryan; here it may indicate the Semitic infiltration of the Aryan realm. Alternatively the number three in the room with the female attendants is a Triple Goddess reference (disguised here by four attendants). The helmet he wears during the disc and lightcycle battles has a three on it as well. Possibly this relates to the Holy Trinity, or to Samael, who is said to preside over the third day of the week, or to his rulership of the third hell in the Midrash Konen.

When Sam runs up the stairwell of Encom’s office building, he passes by the sixtieth floor. The ampitheater is marked G6, and a competitor numbered six is destroyed as Sam escapes from the disc wars. In addition to CLU’s fighter jet’s six wings, he is accompanied by five other fighter jets in the chase sequence, making six. Six is a number representing the Aryan and the Aryan as solar resource.

The number twelve also pops up often in the film: Sam was twelve years old when his grandparents died; Encom is planning to release its twelfth operating system at midnight; Jarvis informs CLU that “initiatives should be operational in twelve cycles,” and so on. According to Brahmin, “twelve is a reference to the Zodiac, the wholeness of the cosmos and humanity or at least that portion of it under Judah or Jewish sway.”[36] Here it may also hint at the twelve apostles of Christ, or to Samael’s twelve wings.

Anti-populism sold to the goyishe populace

It goes without saying but bears mentioning that Tron: Legacy demonizes populist movements that would free us from Jewish oligarchic rule, whilst simultaneously glamorizing Jewish messianic movements. The brainwashing is psychologically reinforced with imagery that is highly evocative of historical fascist dictatorships (as with Star Wars: The Force Awakens and its “First Order”). On its face CLU’s empire is simply the neon version of the Ancient Roman Empire or the Third Reich.

Things have changed so much that homogeneous, unified, and harmonious societies seem foreign to us. Now the average white person views the world – and certainly CLU’s Grid – through a specifically Jewish lens: one in which we’re forced to identify with malfunctioning programs, harmful bugs, and insidious viruses. As such we’re “programmed” to side with the rejected outsider, the self-appointed Jewish god or messiah, when we really ought to side with the sovereign majority defending its interests.

There is one final moral to be taken from the film. Since CLU is plotting to transport his computerized army into the real world, the story functions as a warning to Jews that “internet Nazis” may take their anti-Semitic views offline. Though it hardly seems likely that Jewish-owned companies such as Google, Youtube, and Facebook, and virulently anti-white Jewish organizations like the Anti-Defamation League needed any more encouragement to censor the internet. Given that, it’s rather ironic that the people who most closely resemble the ISOs being digitally “purged” are not Jews but dissidents opposed to Jewish hegemony.

Notes and Citations

[1] During the Encom boardroom meeting early in the film, the Encom logo is seen conspicuously reflected on the glass table, reading “EUCOW.” This would be an incredibly subtle reference to Europa and her bull.

[2] Mark Brahmin, REM: Racial Esoteric Moralization (Washington Summit, 2020), chapter: “The Message and Theme of JEM

[3] M. Brahmin, ibid., book #, chapter: “Esoteric Apollo: The Unmentionable, Untarnished Apollo & The Demon Abaddon

[4] M. Brahmin, ibid., book #, chapter: “The Abrahamic Faith: The Cuckold’s Faith & Israel as ‘God’s Sarah’

[5] see “Adam the red,” M. Brahmin, ibid., book #, chapter: “The Garden of Eden Part I: Adam the Aryan Cuckold

[6] M. Brahmin, ibid., book #, chapter: “The Racial Identity of Christ’s Parents Part II: The Annunciation Proof

[7] Sam’s mother died before the film begins. However, she’s shown in a family photograph next to the young Sam’s bed. She’s a blonde, a nod to the Semitic bride gathering cult. Sam also keeps a globe and telescope by his window, subtly suggesting the celestial.

[8] See “The Jewish God as Da’ath’s qlipha seeking its Aryan sephira” in my analysis of Annihilation (2018) for more on the Ouroboros and Alchemy’s relationship to the Aryan.

[9] M. Brahmin, ibid., book #, chapter: “Esoteric Apollo: Lucifer, an imperfect name describing an Aryan God

ii. It’s said that Abaddon/Apollyon rose from the abyss or primordial sea, and this may apply to the Grid, as it is surrounded by an infinite ocean called the Sea of Simulation.

[10] M. Brahmin, ibid., book #, chapter: “Saturn, A form of The Jewish God. Seven, a Reference to Saturn

ii. It is subtly suggested that Flynn is a god-masked Saturn in his hideout, which is a home chiseled out of black rock. There is also a timepiece over the mantle, which CLU and his henchmen briefly examine when they raid the place.

[11] Similar to the story of Nimrod building the Tower of Babel to invade heaven, identifying Nimrod a proto-Luciferian figure.

[12] Rinzler’s unusual name is likely an attempt to indirectly and subconsciously evoke “Hitler.” When the crowd chants his name it sounds like they could be chanting Hitler.

[13] M. Brahmin, ibid., book #, chapter: “‘Blood Magic’ in Plant Color Symbolism: the Rose, the Holly and the Mistletoe

[14] M. Brahmin, ibid., book #, chapter: “The Blood and Venom of the Serpent, the Juice of the Vine

[15] The lightcycles were originally designed by legendary concept artist and industrial designer Syd Mead. French artist Moebius (Jean Giraud) also worked on the first film. These artists are venerated in Tron: Legacy, where Flynn’s arcade sits at the corner of streets named Moebius and Mead.

[16] M. Brahmin, ibid., book #, chapter: “The Apollo Cult

[17] Wilde is herself only 1/64th Sephardi Jewish (tellingly this detail still warrants a mention in her Wikipedia entry). However, she’s also the granddaughter of Claud Cockburn who was a Communist author and journalist suggesting she may have crypto-Jewish roots (two of Claud’s other granddaughters echo Brahmin’s Laurel motif; Laura and Stephanie).

[18] M. Brahmin, ibid., book #, chapter: “Semitic Fire Gods

[19] The cynic might well view this “cyber romance” as an allegory for the internet porn industry, which hypnotizes young men with illusory lovers. It bears mentioning that despite banning internet pornography in Israel, the Israelis have weaponized pornography against the Palestinians and Jews play a disproportionate role in the porn industry.

[20] Samael, Wikipedia

[21] Samael, Jewish Virtual Library

[22] ibid.

[23] M. Brahmin, ibid., book #, chapter: “The Bride Gathering Cult Part IX: Judith: Jewess as Negative or Non-Identity

[24] Samael, Jewish Virtual Library

[25] Lilith, Wikipedia

[26] ibid.

[27] Lamia, Wikipedia

[28] ibid.

[29] ibid.

[30] Lilith, Wikipedia

[31] Raphael Patai, Adam ve-Adama, tr. as Man and Earth (Jerusalem: The Hebrew Press Association, 1941-1942), p.232.

[32] M. Brahmin, ibid., book #, chapter: “Garden of Eden Part II: The Jewish Serpent & Jewish Tree of Knowledge

[33] M. Brahmin, ibid., book #, chapter: “The Stone: A Symbol of the Jewish God

[34] Supposedly Tron: Legacy was planned as the first film in a trilogy, and later a sequel simply titled Tron 3 was in development. Given our esoteric understanding of the plot, it’s difficult to see how the story would evolve to moralize Jews. Obviously it would not be of much interest to Jews to present the reformatting of the Grid as something akin to the Holy Roman Empire. Instead, Disney produced an animated show called Tron: Uprising which appears to regurgitate its antifascist themes.

[35] M. Brahmin, ibid., book #, chapter: “Baptism and Anointing: Symbols for Copulation and Sexual Interaction

[36] M. Brahmin, ibid., book #, chapter: “The Parabolist’s and Propagandist’s Quick Reference Guide for Creating A.I.M.

8 thoughts on “Tron: Legacy – Christ dethrones Apollo – By Hugo Adrian

  1. Is there any possibility I could contact this ‘Hugo Adrian’? I was discussing the theory of JEM with some non-political, but sympathetic, friends and a hindsight realisation over one children’s film prompted me to actually write a quick essay about it, I’d rather not waste your time, but I figured it could maybe inspire further analysis if placed in the appropriate hands.


    1. Hi. Calcandi, thank you for your interest. If you’d like, you can leave your essay as a reply here or email it to Brahmin and he will CC it to me. For the time being I am not publishing my email address publicly. Is it the Transformers animated Movie by any chance? That one certainly appears to contain JEM and was written by one of Stan Lee’s Jewish collaborators. I have an analysis of that one in the works. The Land Before Time is another, it has already been covered here:


      1. No, it is not transformers, I was discussing the film ‘Heredity’ as a depiction of 1.A dark messianic figure, 2. An illustration of bride gathering and 3. A demoralisation of aryans/transvaluation of Aryan sensibilities. Remarkably a friend suggested that the children’s movie ‘Wall-E’ could be analysed in precisely the same light, I suppose he was trying to imply that our Interpretatio Romana is simply selection bias, I actually think he drew attention to quite another realisation, here it is: Wall-E as a Jewish Esoteric Moralisation and a possible Rosetta Stone of mythic clues:
        The film Wall-E is ostensibly a promotional piece for modern environmentalism, itself an eschatological movement grounded in the humanistic pantheism of the hermetic tradition, i.e a primitive-Christian and thereby Judaic myth-body. This is only the first, and arguably least important, layer of detail that identifies this film for the subversive piece that it is. We should begin by announcing that both authors of this story line are indeed gentiles as far as research has concluded, nevertheless one of these men admits his loyalty to moralistic-Christianity and is also apparently cognisant of themes and motifs as derived from the classical world. These two are, without any doubt, only the European faces hiding the Semitic myth-manipulator behind the curtain. The reader will assuredly avoid wholesale disbelief in the analysis that is laid out below, especially since we know that Pixar Studios, Hollywood no less, is thoroughly inhabited by the most cunning of Jewish propagandists; this is, of course, the case with Wall-E as a little bit of research will uncover. Without further ado— the synopsis: We first are provided with a dose of sentimentality and an eerie God’s eye view of Earth as reduced to an abysmal trash heap. Amidst this filth is a miserable form; Wall-E. In short Wall-E compacts rubbish into a cubic form; the Platonic solid representing the earthen element among many other pertinent ‘Abrahamic’ icons, although let us not read too much into so little. Skipping needless details, this robotic slave witnesses the descent of a spaceship out of which appears a stunning work of precision; a glistening white, almost alabaster or marble-like work of aerodynamic technological perfection. Wall-E, like David at the sight of Bathsheba, develops an infatuation. Long story short, eventually we learn that, of all possible names, the fluorescent-blue eyed statuesque love interest is identified as Eve. In little time this Celestial goddess finds herself in the ‘dwelling-place’ of the earthen, dusky Wall-E. The two cohabiters are eventually brought together as Wall-E wastes little time and exposes the naive Eve to… HIS SEED! Perhaps the skeptic sees our insistence on this display as innuendo as more so the prurience of the critic than the malignant intent of the artist. Make no mistake! After becoming noticeably awkward and giddy upon this indecent exposure, Eve is transformed into the shape of… AN EGG! This is an unmistakable portrayal of interracial impregnation, even leaving aside the fact that the myth-manipulators used recognisably Orphic symbology, it would take an exceptionally wilful-dupe to miss the clear portrayal of ovulation! Who can pretend to see only triviality in this arrangement? Was it an accident that a visually-insulting rusty (read racially aged) scrap heap comprised of a lesser metal (read lower racial type) would beguile what amounts to the mechanical equivalent of Pygmalion’s sculpture? With satanic joy in his face, the brown scrap-machine lurks in wait for the unsuspecting female whom he defiles with his seed, thus stealing her from her kind. After this ‘original sin’ had transpired the heavenly Merkabah returns to repossess its expat, Wall-E and an egg-shaped Eve, still in her state of pregnancy, board the craft and are taken up to a higher of the shamayim. After infiltrating Mount Olympus through blood pollution, the lowly, contemptible, defiler is immediately identified by a neoclassical/brutalist cleaner robot as a “foreign contaminant”! Strikingly the name Wall-E, of course a corruption of Wally, the shorthand of Wallace, is a name derived from the old English Wylisc meaning… foreigner, stranger! One need not even recognise that this film is the calling-card of an ancient bride gathering cult in order to confirm that this media, directed toward children, contains not only racially-dangerous humanistic themes, including the propagation of this abstract ‘environmentalism’, but also the very act of interracial defilement, barely disguised! This specific subtext is distracted from, in a sense it is rendered legitimate through dereliction of scandal on the part of the audience. To summarise, Wall-E then encounters an overgrown ,cattle like, enclave of denigrated humanity. This despicable, pudgy, herd is lorded over by the mechanical, so to speak, godlike Olympian race to which Eve belonged, prior to her ‘going under’, her ‘baptism’ in the ‘waters’ of deleterious breeding. Predictably this “foreign contaminant” Wall-E will make his debut as a Prometheus figure; a revolutionary rabble rouser who blasphemes against the authority of the pantheon. This Mosaic Bolshevism and the prior sequence of race-scandal have the joint effect of deluding the audience into identifying with the presumably exploited mortals, fattened and foolish (those of our persuasion might grant them this self-assessment), and therefore their ‘good shepherd’ Wall-E who, in suicidal moralistic terms “humbles the mighty”. The first of these bovine mortals to be encountered by Wall-E are intelligently named ‘John’ and ‘Mary’’, the fleshly avatars of Wall-E and Eve. John being a reference to John the Baptist: the fur-covered dusky wild man and sex guru who eats insects in the desert, while Mary is, it should be well established by now, a reference to Venus as the triple-goddess; the sexually-accessible Aryan in Jewish Esoteric Moralisation. The only other character that comes to mind as especially relevant is this sort of Jupiterian overlord named “Auto”, his demeanour is not Jovial, as such, but is in fact quite punctual and exacting, a common attribute of authoritarian aryans in media, Terminator comes to mind, the idea of the Aryan as “cold and calculating” combined with the insistence upon a “mechanised slaughter/ murder on an industrial scale” is also a reoccurring trope in the holocaust mythos. As we have said, the audience (aptly) compare themselves to the disgraceful mortals while also lauding the swarthy foreigner whose rebellion is an assault on “Auto”, literally THE SELF! Wall-E is a type of Christ in this sense that his moral-doctrine is of such a perverse and ignoble variety that it demands only humiliation and self-abasement from those naive enough to have their minds ‘christened’, in exact manner to the great deception of contemporary Environmentalism, a distraction which preaches anti-Natalism to aryans, when the only solution is the most obvious, to discontinue the patronage of, and if possible reverse by exceptional means, the birth rates of coloured super-populations. Besides both being Jewish messianic figures, Wall-E is also portrayed in such a way that the sexual undertones are not made blatant, in the same way that the Christian liturgy is little more than a distorted bacchanal ritual where the erotic has merely been hidden rather than sublimated, as some have proposed. One could even see Wall-E’s seedling, not only phallic/spermatic but also as the rose of the dying and rising god Adonis, also a Semitic defiler of a Goddess, and upon whom the Christ myth is founded. With this Christian assault on “Auto”, the self, there is the clear desire that the spectator be demoralised to such a degree that this kind of forgoing of one’s will, this pacifistic universalism, humanitarian ethic, is bought hook, line, and sinker as it turns out this is precisely the culmination of all of this meddling by Wall-E. The final battle is between the messianic Wall-E, meaning foreigner, and the authoritarian “Auto” which most obviously means ‘the self’ but can also mean ‘Native’. In an egregious episode of wishful thinking Arya is toppled and Pariah is successful in literally dragging the herd to a lower level, where they will “return to Earth” (you’re only dust, and to dust you shall return; the ultimate demoralisation) as a servile labour class to Semitic Prometheus/Jesus, he who’s mission is the transvaluation of all aristocratic values. To conclude the film we are presented with an uncanny portrayal of the Jewish messianic age; the earth becomes one big kibbutz, the goyim have “beaten their swords into plowshares” as is predicted in the profoundly revealing incitement to pacifistic universal slavery of the “gentiles” found in the ‘prophetic’ Torah verse of Isaiah 2:4. Doubtless this symbolism is identical to that which the heroic-father god Jupiter brought to an end; the age of Kronos which Judaic myth, as practiced through t’kun olam, attempts to solidify. Not to digress too greatly, but it is quite relevant to mention that of course the plowshare or the scythe are Saturnian indicators as seen most prominently in the sickle and hammer of Bolshevism, sharing the exact same prophetic curse that the bible assigns for the ‘gentiles’, and that environmentalism in our day centres around. This humiliating condition of passive-slavery should never be mistaken as akin to the infinitely noble concept “blood and soil”, neither should our statements above be taken an appraisal of hedonism. We only wish to remind the reader that the ultimate paradise of the Jew, as inculcated in him since his bondage to Pharaoh, is the ‘perpetual sabbath’, where he takes his “rightful” place as the slothful man of leisure and his racial enemies have been so thoroughly degraded that they are reduced to little more than beasts of burden for whom the ‘day of rest’ means nothing other than the grave. We ourselves must never mistake either the passive herd or the roused rabble as worthy of sympathy, ours is an Apollonian and superhuman trajectory.


  2. I have not sat down to watch Wall-e since it was new, so I’ll refrain from commenting on it, but your analysis makes me want to watch it again. The main thing I would encourage to everyone is to focus on works where there’s little to no question of Jewish authorship (I will be doing this moving forward). Where this is unclear, such as due to crypsis, we might make the case by showing a pattern of JEM symbolism across a body of work. At this stage we’re still trying to convince as many people as possible that JEM is a real phenomenon, and as I’m sure you’re aware there are all sorts of people even on the DR/AR who are unwilling to entertain that it is. Which is not to say that you’re incorrect about Wall-e, of course, just that our argument is stronger where Jewish involvement is clear.


  3. “This reveals that much of the Jews’ hatred for Apollo and Hitler has to do with them being rejected, exiled, and prevented from accessing Aryan women. Likewise this explains Jewish opposition to any suggestion or movement towards racial hygiene by Whites.”

    LOL. I stopped reading this slop here because it says more about the author, than any of the Creators’ intentions.


    1. A classic pavlonian response. I would point out that this film has been described as a “Holocaust film” by at least one Jewish reviewer who also noticed the anti-Nazi subtext (see “Tron and the Jewish Question”, at this link: ). However, this is a good reminder that as we dissect films containing JEM, we’re bound to attract curious people who are completely unaware of the JQ. Ideally we will help open their eyes, so I will try to use more neutral language and not editorialize in the future.


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