Burt Wonderstone Versus The Anti-Christ, Part Two

Dark Messiah

When we last left "Burt Wonderstone (Philosopher's Stone, "Stone-Worker") vs. The Anti-Christ," our magician/magickian was just about to meet a man that would change his life forever: the self-mutilating dark messiah, Steve Grey (Jim Carrey). Their face-off will be a metaphor for two very different paths of spiritual self-actualization.

As I've written at length in a previous post, Jim Carrey is no stranger to playing shamanic figures, so the role of Steve Grey fits right in. He reportedly wanted to make the role "more Jesus-y," (and there is, of course, the mystical "JC" initials) and so Grey specifically became a long-haired messianic figure, perpetually bleeding and influencing his entranced followers ("sights and wonders"). Whereas Wonderstone derives his magic/magick prowess from a long-standing tradition dating back to ancient times (and which, the movie hints at though primal symbolism, could be Masonic/Sun-worshiping in nature), Grey is a hardcore New Testament sort of dude.

The Prestige: Peter vs. Simon Magus

Wonderstone vs Grey

Their conflict will be no less than that of Saint Peter versus Simon Magus, the "New Religion" threatening to supplant the old.

Like Jesus, Grey eschews the "temples" (Wonderstone's Aztec Casino venue) to perform his miracles, instead taking it to The People out on the street. In comparison to the spoiled Wonderstone, this makes Grey somewhat (at least on the surface) a populist magician, as Jesus was a messiah "for the people." Wonderstone watches as Grey's tricks culminate in a bloody scene: the "Jesusy" man cuts open his cheek to pull out a gore-stained "Queen" card.

"turn the other cheek"

The unusual card trick brings several images to mind:
1) Jesus telling the people to "turn the other cheek" (the trick involved a staged "fight" with an onlooker in which his mother was called a whore).
2) The Manchurian Candidate (long-haired messianic figures like Charles Manson were sometimes said to be created through mind-control techniques -- and Manson, who Grey resembles and acts like to an extent, certainly knew how to use mind-control tricks on others).
3) A strange representation of the Adam & Eve myth ("Eve" -- the woman on the card - born from Adam)

When Wonderstone visits Grey at his van after the show, the latter blows him off as not "real" enough. In the New Religion, "real" religion means viscera -- not the airy-dairy world of Spirit.

3 days until release/resurrection

Realizing that he is losing popularity to Grey, Wonderstone "updates" his look and devises his own masochistic stunt: spending three days in a clear plastic cube suspended in the air.

Note the significance of "three days" -- Jesus ressurected within 3 days, and Wonderstone is imitating him in order to "keep up" with the New Religion. Only Wonderstone's "crypt"/"cave" is spiritual -- a clear box. It is not enough -- the New Religion is dazzling the masses with self-flagelation and torture -- and Wonderstone fails in disgrace. Wonderstone also "breaks up" with his partner/Anima, the effeminate Anton Marvelton; now he is only half a person, the yin/yang Animus/Anima dichotomy split.

Wonder-Stone with his false idol in the background

Wonderstone and Grey are now mortal enemies, with Grey's New Religion taking over the world. Wonderstone is thrown out of the (Aztec) temple, and must go into exile with a profane idol of himself (the advertising standee) "mocking" him with the memory of what he once was. He will have to go back to the realm of the ancients (the nursing home) and relearn the essential truths of spirit and magick from the source (his virtual "teacher," Rance Holloway).

Meanwhile, Wonderstone's former assistant Jane (Olivia Wilde) plays a literal "Scarlet Woman" to Grey, dressed in red with a red mask (think back to the bloody Queen card). Grey isn't as "Jesusy" as he likes to portray himself -- like Jack Parsons, who cultivated a "Scarlet Woman" of his own as in the Crowleyan style, Grey is far more Anti-Christ than Christ. In addition, Grey expresses no care for the safety of his "followers," including the children -- again, more Manson than Jesus.

Grey/Anti-Christ with his "Scarlet Woman"

Getting back his "mojo," so to speak (and I can only think of a similar "fall from grace"/literal loss of mojo storyline from the "Austin Powers" movies), Wonderstone must complete his re-initiation by coupling with a Jane -- the Great Working, the Sword and the Chalice, Animus/Anima combined. Unlike his previous platonic relationship with Anton, this new pairing is a sign of Wonderstone's maturity -- he has gone from dwelling in sentiment with his childhood friend, to taking full responsibility for his life as a man.

Meanwhile, Anton has gone all Terrence McKenna and scores plant-derived hallucinogens in Cambodia. More on that in a bit.

"JC" vs. Carell

We now get to the great showdown between Wonderstone and Grey, which takes place appropriately enough during another "initation" ceremony -- that of a birthday party for a young man. As we watch the two complete -- and especially as Grey "bewitches" Wonderstone and embarrases him -- we can only think back to another battle between actors Steve Carell and Carrey -- in "Bruce Almighty."

Who can forget Bruce -- who is granted powers from God, in a "Jesusy" way -- making his coworker Evan speak in tongues on a live broadcast? In the sequel to "Bruce Almighty," Evan will play another Biblical figure -- Noah.

Wonder-Stone/Noah with "God"

Here's where things get even more subtextual and synchronistically weird.

Carrey recently slammed former NRA prez Charlton Heston in his Funny or Die video "Cold Dead Hands." Who is Heston most famous for playing (right after that dude from "Planet of the Apes)? Another Old Testament hero, Moses. So we have "Jesus"/Steve Grey/Carrey/Bruce/Funny or Die Guy up against Moses/Noah/Wonderstone/Carrell/Evan/Heston. You have the New Religion -- one of viscera and blood -- going up against the Old Religion (Old Testament teachings deriving from the same well as Wonderstone's ancient wisdom/Masonic roots).

Carrey making fun of Charlton Heston in "Cold Dead Hands"

Heston as Old Testament hero Moses

But in the big magic/magick competition at the end of the film, Wonderstone will delve deep, deep, deep into the literal roots of the Old Ways -- by utilizing the plant-derived hallucinogens to win. From the medicine man deep in the jungle to Cagliostro, doping up (or tripping out) onlookers and patients were part-and-parcel of the workings at hand.

Better shamanism thru plant chemistry

The peyote/mescalin/mushrooms are the doorway into magickal experience and spiritual growth, and indeed Wonderstone literally drugs the audience; when they awaken, they are no longer in the temple, but in an open field. By utilizing the natural hallucinogenic powers of plants, Wonderstone and Co. has helped the audience "escape" the confines of the temple and open up their mind.

Bad trip.

On the other hand, Steve Grey -- true to his philosophy -- utilizes a far more literal approach to opening one's mind, taking a drill to his brain. This is, of course, the act of trepanning -- modern practitioners believe that by boring a hole in their skulls they will achieve a deeper state of consciousness. This apparently doesn't work for Grey, who now has brain damage -- he has literally gone on a "bad trip," choosing the New Religion yen for sado-masochism over the gentle plant-worship of the ancient shamans.

In closing, "The Incredible Burt Wonderstone" is a parable of the mystic knowledge of the ancients going up against the prevailing New Religion -- and winning. True enlightenment does not have to come through the mortification of one's body, or through "blood sacrifice." The movie encourages the shamanically-inclined to search for the roots of magick -- the literal roots, all the way to the Source.

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Burt Wonderstone Versus The Anti-Christ, Part One

Wonder-Stone The Sun God With Doves/Spirit

I've referred to Jim Carrey as a "Pop Culture Shaman" on this blog before, so it is no surprise to see him play another -- the self-mutilating Steve Grey -- in the movie "The Incredible Burt Wonderstone." His "Bruce Almighty" co-star Steve Carell is also on board in the film, as the magician title character. As you will see, the conflict between these two wielders of magic is as timeless as history itself, with Grey being a false prophet and Wonderstone having access to the true wisdom of the ancients.


Oh, Christ: Carrey as "Steve Grey"

A young Burt shows early promise as a magician -- like many of the hero archetype there is no biological father present in his life, and he is instead tutored by a "village wise man" (Alan Arkin as Rance Holloway) via video cassette in the ways of magic. Thus, The Great Tradition is passed on to the next generations, as it is meant to be (and we will delve a bit deeper into exactly what that Great Tradition might be in a little bit).

The "Great Tradition" is passed on by the Wise Man

While this movie is on the surface about "stage magic," many of the "tricks" here are clearly fantastic in nature, and it becomes quite obvious that this movie is about a lot more than performers in Las Vegas. In fact, in earlier drafts of the film's script, far more "Harry Potter" type magick -- rather than card-counting magic -- was supposed to be included.

Wonderstone and Sorcerer's (Philosopher's) Stone

While we are on the topic of Potter, it is interesting to note that Wonderstone's name is, literally, "Wonder Stone" -- like the fabled Philosopher's Stone, which was the most sought-after item in Western Alchemy and was fabled to have the power of transmutation. Wonderstone is thus linked to a very long tradition of magick -- the recipient of secret rituals (we all know the taboo against a magician revealing his "secrets") that Holloway has passed down to him on the boy's birthday (an initiation day of sorts).

A "worker of stone"

Burt is thus a wonder-worker of stone -- a worker of stone being also known as a "mason." Yes, I totally went there.

But if we regard Freemasonry as being the continuity of ancient metaphysical traditions and not simply the cause of every conspiracy on the planet, Burt's journey is placed in clearer context, and it will lend his conflict with the "Jesusy" Steve Grey far more meaning.

Anton & Burt: Anima & Animus

Like every good alchemist, Burt Wonderstone has to balance the animus and anima, which he does by having an effeminate assistant, Anton Marvelton. When the young Burt meets Anton at school, the latter claims to lack testosterone and thus has to take pills prescribed by his doctor. In contrast to his partner Anton is very passive, and thus takes on the anima/female role for the time being, until such Burt fully "matures" later in the film and is ready to take his magick to the next (tantric) level with an actual woman (leaving behind his childhood for good).

The concepts of Animus and Anima were crucial to the alchemists

We see this play of animus/anima -- transmutation of matter -- with Burt and Anton's "trick" where they switch the heads of a man and a woman.

Burt and Anton are soon very successful stage magicians, performing at the Aztec Casino. The use of the word Aztec is quite apt -- as the Aztecs worshipped the Sun, and Burt has styled himself as being a representative of the Sun in his dress. He wears a long blonde mane of hair (Sun=lion), a jumpsuit with Sun-like streaks on it, and a big Sun pendant on his chest.



Resonating the Sun

Aztec Sun God Tonatiuh

Before there was the worship of the Christ, there was worship of the Sun -- indeed, Jesus is the Son/Sun of God. More links, therefore, to the Old Traditions.

One more "sync" -- Carell and Arkin starred together in the film "Little Miss Sunshine."

Carell/Arkin reunited

Going back to the Freemasonry connection, Burt's centerpiece magical performance involves a simulated hooded hanging -- which just happens to be an actual Masonic ritual. It simulates death and resurrection -- just as the Sun "dies" when it sets and "resurrects" when it rises.

The "Hangman" stunt

Masonic hanging ritual

So Burt Wonderstone is literally the "Golden Boy" of the magic/magick circuit, the Sun God who periodically dies and is resurrected within an ancient ritual passed down through the generations-- until a masochistic bloody fanatical long-haired "magical messiah" comes on the scene, ready to "Brain Rape" (which is the actual name of his show) his awe-struck and adoring followers fans. Not since Simon Magus squared off against Saint Peter have we seen such a titanic battle of the mystics! Stay tuned for Part 2 of "Burt Wonderstone Versus the Anti-Christ!

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"Man Of Steel" Trailer Decoded: We Love You, Space-Jesus

Watching the trailer for "Man of Steel" last week greatly excited me, as it fulfilled all the criteria for the Kid Messiah archetype as laid out in my post "Looper and the New Aeon, Part 1" -- plus a healthy dose of "Alien Messiah" archetype just for shits and giggles.

Now, the connection between Superman and Jesus/"Son of God" has been around for quite some time, so that's old news. New news: just how jaw-droppingly blatant the symbolism is in this upcoming movie.

Here's the first shot in the trailer, with choir-like music in the background:

Classic crucifixion pose, down to the rags he wears; only the orientation of the body is different. Hanging in "space" like that, he reminded me of the Dali painting:

This is a Cosmic Christ crucified in time-space, rather than with nails; the cross representing the axis-point upon which Spirit is tied to this material plane of existence. Young Clark Kent comments on this feeling of oppression by burdenous ties to the Physical when he narrates: "The world's too big, Mom."

Then we see another classic "Jesus" shot of Superman, complete with beard:

Here we have the story of the son of God, a "super" man: Kal El, "El" meaning the word "deity" in a whole host of languages including Hebrew, Arabic, and Phoenician. In the Canaanite religion, "El" means "supreme god."

Superman's pose, submerged in the water, also brings to mind another "Alien Messiah" from pop-culture: Valentine Michael Smith from Robert Heinlein's "Stranger in A Strange Land":

Smith is technically human but was raised on Mars, and, like Clark Kent, also has "super powers." He initially is chased by the authorities as a menace, but will eventually be something of a "New Messiah" who will bring about a new era. "Stranger" was written in 1961, heralding the deep changes in society during the 1960s. Smith is the herald of the New Aeon, the Age of Aquarius, literally a "water god."

The trailer now focuses on the travails of young Clark, exhibiting classic cinematic "Kid Messiah" traits such as struggling to control his powers and apparently some sort of psychic/ESP ability:

He complains about the world being "too big," but his mother Martha advises him to "make it small." This advice is narrated over shots of a bunch of pencils and words being written. The Word = Superman = Christ. Christ is "The Word." He will make the "too big" world small by bringing people together across the globe, by being the Alien Messiah that transcends world borders.

As we switch to a scene of water -- a school bus falling in a river -- we again are reminded of Valentine Michael Smith, the "water god" ushering the Age of Aquarius:

In a controversial scene, Clark's adoptive father, played by Kevin Costner (no stranger to playing Messiah/Jesus types in movies), advises the boy to hide his powers -- even if it means letting innocents die. His perceived callousness would make sense in the context that he is trying to protect the boy, who, like a young Jesus, would be persecuted if "found out." But the reluctance to protect the "innocents" also demonstrates an "old Aeon" old-school God (compare to the character of "Old Joe" in "Looper").

It is through getting back in touch with the feminine side of Deity -- the Goddess-Mother -- that Clark can transcend this old-school way of thinking and truly be an evolved Messiah for our times. As his adoptive father advises him: "You just have to decide what type of man you are going to be."

In the shots that follow, we see the familiar red flowing Superman cape -- but it is filmed in such a way (from behind and from an extreme long shot) that it looks similar to the robes of Jesus:

Superman's trek through the snowy peaks -- his "vision quest" to figure out "what sort of man" he will be -- parallels the "lost years" of Jesus, which some theorise took place in areas like Tibet:



His meditation -- and subsequent enlightenment -- sends him on literally a cosmic journey:



It also should be noted that by this point in the trailer, Superman displays "powers" that are very rooted in "Kid Messiah" lore -- far more like telekinesis (which, in theory, could be scientifically measured) than vague wondrous abilities. Compare the concentric rings of energy emanating from Superman's fist in this shot to a similar one in "Looper":

What follows next in the trailer is the standard "destruction of cities" imagery that by now we are quite used to in movies; the unique part here is that it is contrasted with the destruction of Superman's homeworld Krypton (are we just as arrogant as the Kryptonians that the world as we know it will always be the same? Did we "heed the warnings of God" -- Superman/Kal El/Son of God's dad?). In any case, these scenes further link "Man of Steel" to a Biblical, Apocalyptic narrative where the "second coming" of Jesus has to step in:



Earth is being attacked by an evil, outside, "Satanic" force: General Zod and his minions. Zod has the classic, pointy "Evil Goatee," almost striking an Anton Lavay pose:*

It is up to Superman to return from his Vision Quest, and bring back what he has learned to his community -- just like any good hero from a Joseph Campbell template. Zod takes the place of Pontius Pilate and Superman is forced to kneel to him:

Superman also "rocks" the traditional "Jesus in bondage" pose, as he is arrested:

But at this point, it must be asked: is Superman purely a traditional "Jesus" figure here?

He "fell" from the heavenly city of Krypton, away from his father/God.

He is depicted several times towards the end of the "Man of Steel" trailer on fire or within fire:

Is he Jesus, or the "Fallen One" -- Lucifer, who gives light and understanding to the people, liberating them from the slog and ignorance of Old School religion? Prometheus, who literally gave fire and heat to humanity, to help them grow?

Are these the flames of a Cosmic Christ, in flight like the bird Horus, usher of a New Aeon?

And that is why, though placing Superman within the traditional Christ narrative is helpful, it can also be misleading. It is only a template, the same way older Messiah Gods were templates for newer ones:

Superman is that next "god" in line, the usher of the New Aeon. He is a "god" of our times. That is why there has been so much hustle and bustle about his ownership in the courts, that's why the intense power of his icon transfixes the public. If you own Superman and can control his stories, you are, in a sense, "owning" the narrative of what has become a universal Messianic figure.

I believe that "Man of Steel" will succeed in the box office in part because it boldly reappropriates these primal religious images. It gives the public the hero -- the Savior -- they are so desperately looking for at this time.

But the movie also works as the herald of a New Aeon, and this era will transcend the "candy store" version of superheroes and the fire-and-brimstone teachings of the Old School. These are all remnants of our childhood as a species. We can find the Superman -- and the power -- inside ourselves, in our own DNA that looks so much like the "S" in the Superman logo, the twin serpents of the caduceus:

*When I say "Satanic," I am by no means making a value judgement on the Satanic religion as established by Anton Lavey. I am merely pointing out common tropes used in pop-culture.

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