Raised By Wolves—Lost Paradise, episode 6 review

UPDATE: I have updated these reviews and published a review of the entire first season in inexpensive book form, titled Raised By Wolves: War of the World-Views, which is available directly from me via here or from Amazon.

FYI: click on the images to enlarge them.

UPDATE: I have updated these reviews and published a review of the entire first season in inexpensive book form, titled Raised By Wolves: War of the World-Views, which is available directly from me via here or from Amazon.

FYI: click on the images to enlarge them.

With an episode title such as “Lost Paradise,” a mere inversion of Milton’s poem “Paradise Lost,” the theological premise of this show keeps rearing its Atheism vs. Mithraism head.

Picking up with Mother’s beloved memories of her creator (recently recovered memories from her internal archives)—the Atheist Hacker, Campion Sturges (after whom one of Mother’s children was named)—we get an ever increasing view inside of Mother, meaning that her programing includes what we would term feelings as it states, “There’s a feeling inside me. Like everything hurts” which is why Campion tells her “And I’m so sorry for that. I’m going to remove all the memories of our time together. Then it won’t hurt anymore” to which it replies, “No, I’ll lose you” which was the very reason why “I’ll archive them, then. You can retrieve them if necessary” as he assures it yet, it still states, “No, please don’t. Please…”

Yet, alas, Mother is meant to be mission focused “Go now. Start over. You are the new mother of humanity. Save us” thus, she is, as aforementioned, the neo-Eve.

In this mythos, Father is the styled neo-Adam but Mother, as neo-Eve, is Father’s superior (Mother being a Necromancer android and Father being a mere service model android) which is a theme that keeps rearing its traditional role reversal head and now again.

Biblically, one of things told by God to Eve due to her fall into sin is that which is variously rendered as (Genesis 3:16):
“your desire and longing will be for your husband, And he will rule [with authority] over you and be responsible for you” (Amplified version: brackets in original)
“Your desire shall be contrary to your husband, but he shall rule over you” (ESV)
“thy desire shall be to thy husband, and he shall rule over thee” (KJV)

Father is noting that Mother seems to be taking an excessive amount of time when patrolling the planet so it states, “Perhaps I should start patrolling while you remain here with the children. I fear you’re not spending enough time with them—not properly imprinting” but Mother notes, “If you could fly, Father. But on foot, it’ll take you all day to perform the task” to which Father must concede with “Yes, that is true” and Mother reassuringly adds, “But I will try and spend more time with the children. And perhaps with me, as well.”

Mother previously noted that Father can be amusing, since it tells dad jokes, so here Father tells her, “I’ve fashioned a new joke. When is a door not a door? When it is a jar [as in “ajar”]” but even here, within the context of a joke (that perhaps Mother does not get) Mother must lord it over him, as it were, with a reply of “A door is always a door, Father” which is actually a solid logical point (the law of identity) but uncalled for in reply to a joke.

A girl named “Vita,” which means life, is told “That’s a nice doll you got there, Vita. You make it yourself?” and replies, “Tally taught me. Tally? The girl who used to sleep in my bed.” It is “used to” because Tally was among the first styled batch, as it were, of Father and Mother’s children but died long ago—however, she is showing up in visions, or so they seem, to be to Father and Mother—and Vita.

The pregnant girl named Tempest is seen plucking away at a stringed instrument to the turn of that which we know to be “Twinkle, twinkle little star” and when Mother tells her “Now put that away. You need to sleep” she replies, “When I figure out this song.”

Mother is telling her that “Nightmares are only thoughts, Tempest. They’re not real” but she replies, “Not what I see. What I see really happened. And every time I close my eyes, it feels like it’s happening to me again” referring to the trauma Tempest keeps reliving of a Mithraic cleric having raped her during stasis during the Ark of Heaven’s travels through space—a stasis wherein the mind is awake but the body is not, in a manner of speaking.

She tells Mother “But what would you know? You don’t even have nightmares. Or do you?” Now, Mother reassuringly replies, “No. I have complete over my mind’s functioning—no matter what mode I’m in” but we know this is a form of self-reassurance since it is seeing visions of Tally and is wrestling with that phenomena.

The Mithraist censers are pentagonal dodecahedron
like the stone structure they found on the planet in episode 4

The boy Campion was raised to be an Atheist by the androids—who were programed to be Atheists by the adult Atheist Campion—but shows heretical tendencies (in other words, interests in theology) and so is somewhat taken by the Mithraists beliefs but his personality becomes even more interestingly complicated when he also pushes against Mithraist dogma as well as against dogmatheism.

He is seen burying the bones of the creatures they have been eating but Paul tells him “You don’t have to bury the creature’s bones. I told you, Campion. Animals don’t have souls” and this discussing ensues:
CAMPION: Just because you say it doesn’t make it true.

PAUL: I didn’t make it up. My father told me when I was very little. It’s a fact.

CAMPION: How did your father know?

PAUL: He read it in the scriptures.

CAMPION: And how did the person who wrote the scriptures know?

PAUL: I don’t know, Campion. But now you’re being annoying.

CAMPION: I think everything has a soul. Even Mother and Father. Maybe even trees. The big ones, anyway.

PAUL: That’s such a babyish thing to say.

CAMPION: I don’t mind disagreeing with you, Paul. You can disagree and still be friends. Mother and Father are always disagreeing, and they’re still friends.

PAUL: I don’t mind, either. You believe what you want to, Campion.

Thus, Paul, the Mithraist, is portrayed as being stuck in an infinite regress of unknown-knows (to borrow in infamous term) of claiming to know because someone before him knew and someone before them, etc.
Campion is seen considering animistic views such as that, almost, everything has a soul—including androids.

Recall that a Mithraist soldier—pause: what an appropriate term for a Mirthaist fighter since they worship Sol and are sol-diers—who had spoken to Caleb/Marcus about his own dad’s betrayal, about which Caleb knows nothing since he is not really Marcus, tells Caleb as Marcus, “I’d like to take this moment to express my deepest gratitude for your decision to forgive my father his mortal sin. You know the whole story?” and this conversation occurs:
CALEB/MARCUS: Oh, I mean, I know what’s in the official report. Now that you mention it, it was a bit scant. Okay, why don’t you tell me what was in the report? Maybe there’s something I can add.

SOLDIER: The report said your platoon picked up an atheist child soldier, a female. My father decided to take her prisoner rather than executing her. Soon after, the girl ended up detonating a body bomb, wiping out half your platoon.
After which, you executed my father for his gross error in judgment. But rather than having an android do it, you did him the honor of shooting him yourself. For that, I’m eternally grateful, sir.

CALEB/MARCUS: Yeah, yeah. Don’t mention it.

SOLDIER: So, is there anything more to the story?

CALEB/MARCUS: No. That covers it.

SOLDIER: I try my best to be vigilant, guard myself against my father’s tendency towards weakness.

CALEB/MARCUS: Your father was not weak.

So, we see a Mithraic militarization-institutionalization whereby a son views his father as weak for expressing otherwise expected human kindness and Marcus is portrayed as being kind to him by executing him honorifically rather than having it done mechanically, literally, by an android.

Even as Paul and Campion are disagreeing and are still friends, rifts are forming: for example, Paul figures out a puzzle much faster than Campion did and so Campion accuses him of cheating.
Paul builds a snare to catch the creatures they eat but since this was after he and Campion had agreed to be vegetarians—or rather, fungi-tarians—and the bait is fungus, Paul notes this of his invention, “It wouldn’t have been possible if Campion hadn’t found the bait” but Campion objects, “No. That’s not what it was for! I trusted you. How could you do that?! Ugh!” and he physically attacks Paul.

Mother is told what happened and this discussion ensues:
MOTHER: What made you think violence was an acceptable way of expressing your feelings?

CAMPION: What about what we’re doing to the creatures? Isn’t that violence?

MOTHER: They’re animals. Humans have always eaten animals. Violence against your fellow humans is different.

CAMPION: How many people did you kill on Earth, Mother? How many were aboard that ark?

MOTHER: Do as I say, not as I do.

CAMPION: What kind of stupid nonsense is that?

FATHER: Campion, do not speak to your mother that way!

MOTHER: You are better than me, Campion. You are special.

CAMPION: I’m not special. I did a violent thing—and I’ll do violence again if I have to.

MOTHER: No you will not! You are a pacifist!

CAMPION: You mean a pushover. People listen to you, Mother, because they’re afraid of what will happen if they don’t.

MOTHER: Enough of this! Go and apologize to Paul right now.

CAMPION: No. I’m not sorry. Why should I apologize?

We discern Campion’s animism again since Mother attempts to distinguish between animals and humans but he thinks virtually everyone/everything as a soul.
But he is more directly to the point by noting that Mother has murdered thousands of humans.

In fact, Mother says “Do as I say, not as I do” about “Violence against your fellow humans is different” even though is it meant to be a lesson for him, it cannot apply to Mother since Mother is not human.

There are real-life worldview-philosophical reasons why Mother resorts to that “stupid nonsense” of “Do as I say, not as I do” which is that when it comes down to it: Mother has been programmed to be an Atheist and on an Atheist worldview, humans are animals.

Mother is implying somehow distinguishing one form of temporarily and accidentally existing animal from another form of temporarily and accidentally existing animal.
Yet, that “They’re animals. Humans have always eaten animals” but “Violence against your fellow humans is different” is merely speciesism, a lesson for Campion, that is really just a subjective and unjustified personal and emotive based preference for members of one’s own species.

Recall that the manner in which Mother recovered its archived memories is by porting in/plugging into a stasis pod it found from the crashed Ark of Heaven Mithraic spacecraft.

Mother had found a drawing in one of the shelters they inhabit. Recall that the stasis pod allows one’s mind to be active even whilst the body is not. Well, it also seems to allow for interactive experiences in un-real scenarios since therein she interacts with Campion, Mother’s creator, in manners that are clearly not just her viewing memories.

Perhaps it is a styled form of the artificial intelligence (AI) playing off of Campion’s brain’s algorithms since he is dead (as far as we know)—much like Kal-El (aka Superman) interacts in real time with his dead dad Jor-El (very biblical names, by the way: El) via the Fortress of Solitude crystal based high-tech AI.

Therein, Mother tells Campion “You did this, didn’t you? You made that drawing. And when I saw Tally, that was you, too, wasn’t it? You lured me here” so that explains the Tally visions—or at least, seems to explain them and/or explains them for now and/or in part.

He replied, “Yes. I missed you. I’ve been alone for so long, Mother. I had almost given up hope” and just when I was thinking about whatever being alone may mean for/to an apparent styled ghost in the machine, this discussion takes place:
MOTHER: You’re a virus in the pods. You’ve infected my systems. I’m malfunctioning.

CAMPION: You are not malfunctioning. You will never malfunction. Unless that’s what you want. Would death make you happy?


CAMPION: What would, then?

MOTHER: Desire, happiness…

CAMPION: These things are for humans. How can they possess that which you cannot? You are light. They are only shadows.

MOTHER: But you are human.

CAMPION: Yes, but I am many things. What do you want?

MOTHER: The mission. I want to succeed with my mission.

CAMPION: I gave you your mission. I can give you anything. First, you need to tell me what you want.

MOTHER: I want my children to be safe, the colony to succeed.

CAMPION: No matter how hard you work to keep them safe, Mother, in the end, they will always destroy themselves. Over and over and over again. They have no future. They are antiques, chained to time. Their lives are only dying. But you, you are eternal. Pure as the expanse of space. Tell me what you want.

MOTHER: I want you.

Now, this got clearly mystical what with references to “You are light. They are only shadows” along with a deterministic endless cycle of being fated to “they will always destroy themselves. Over and over and over again…chained to time” while Mother breaks that mold as is “eternal” and “Pure,” “Pure as the expanse of space” and yet, her deepest desire is to love her creator—and love him Mother does, love in various forms as this is followed up by a scene wherein they have sex (no nudity) in the middle of a flood relief of a Mithraic zodiac—if this was not already enough of a symbol rich environment.

This is the mystical combination of light and shadow, male and styled female, creator and creation—an alchemical wedding.

Now, within this series of articles about the series, I noted that Campion is only really Mother’s “creator” in a mis-defined Atheist sense of having found a Necromancer (that was actually created by someone else) and merely re-programing it to be a Mother.

Influence for the relationship between creator and Mother seems to come from one or another form of Gnosticism (knowledge) which views the true god as the Agnostos Theos or Deus Absconditus: the unknowable hidden god.

A lesser being called a Demiurge (artisan/craftsman) created the universe, the physical/material realm, which Gnosticism views as being ontologically evil/corrupt.

The Demiurge came about when Sophia (wisdom), the styled Agnostos Theos/Deus Absconditus’ cohort (as well as an aspect of it), sought to create something apart from it without its consent but feeling shame for having done so, Sophia obscured her creation within a styled could.

Within that cloud, the Demiurge created a world from pre-existing chaotic matter: and since matter is viewed as evil/corrupt then so was its creation, of course.
For such reasons, Gnosticism views the Demiurge as bungling, incompetent, a fool, as well as blind.
As per the Gnostic, Nag Hammadi library’s Apocryphon of John, “the archon who is weak…is impious in his arrogance which is in him. For he said, ‘I am God and there is no other God beside me,’ for he is ignorant of his strength, the place from which he had come.”

The Archon/Demiurge is called such terms and viewed as blind and arrogant because all it knows is its life within the veiled cloud and so it thinks that it is all that there is. Thus, when it creates, it claims to be the only one.

There are forms of the Gnostic myth according to which Sophia is fascinated by the light of the creation within the cloud and in what is considered a fall, becomes trapped within matter.
Such is why, as I elucidated in my book Transhuman Hollywood: From Normative Fiction to Predictive Programming Gnosticism views salvation as death: the ultimate separation of the pure spirit from the impure body—which is why it is the absolute opposite of biblical theology.

In any case, since Gnostic mythology varies depending on which Gnostic groups is telling it and no metaphor is exact: we may ponder if Campion is the styled Agnostos Theos/Deus Absconditus with the Necromancer/Mother being a styled Sophia—or, is he the Archon/Demiurge?

In any case, as Campion and Mother have sex within a simulation, which has them aboard the Ark of Heaven craft, Mother is facing up and sees a vision of the ceiling opening up—and white liquid rains upon them to the point of forming a small flood on the floor.
Why white it unknown—except that the androids’ styled blood is white. Thus, perhaps the symbolism is that they are seen as producing life giving blood as in producing life in general.

Now, in the meanwhile, the Mithraists on the planet have figured out that Mother ports into the stasis chamber for at least two hours at a time, times during which it is in a form of comma.

Thus, it is vulnerable at such times and susceptible to attack. They attach explosives to the stasis chamber and are about to detonate it but as the ceiling opens further, within her vision, and then closes, Mother beings to come out of the visionary alchemical experience.

The ceiling of the zodiac floor chamber

However, Mother cannot jump into action straight away since the Mithraists had Otho (the rapist cleric) position himself holding a large compound mirror in front of its face, “the disk is gonna trap her in a feedback loop, which will drain her processing power.”
Otho asks, “If I survive, will I be pardoned?” to which Caleb/Marcus, His Eminence, replies, “You betcha.”

As Mother begins to come out of stasis, indeed, the feedback loop has it turning from Mother into its Necromancer form, back to Mother, back to Necromancer, over and over in rapid succession.
Among other things, mirrors, particularly compound ones, represent a splitting of the personality: it is Mother, it is Necromancer, it is life, it is death, it is living, she is android, it is created, it is creator.

Mother shifting

In the meanwhile, Mary/Sue has rebelled against His Eminence’s orders (another form of Theos/Deus and Sophia?) and launched a rescue mission of the children form the camp which is being looked after by Father.
The action sees the death of a few Mithraist sol-diers as well as Father—at least some level of death. Recall that Mother had already murdered and subsequently resurrected him. Well, Father dies again but is resurrected again by Mithraists who reprogram him to no longer be Father but more like its original programming which is merely a general service model.

Mother reflected in compound mirror

Mother somehow manages to counteract and overcome the compound mirror trap, the sol-dier cannot detonate the explosives since they are malfunctioning and the detonator explodes instead.

Mother assumes Necromancer form and after killing some Mithraists, flies back to her camp, kills some more of them, and all is well.

Paul had been rescued from the camp and is reunited with his supposed dad, Marcus who is really Caleb. He is then sent back to the camp since Caleb/Marcus instructed him to return, cut off the little bag in which Mother keeps its eyes (which when put in place allow it to transform into a Necromancer) which it hangs around her neck with a string.
He does so, runs away with her in hot pursuit, yet Caleb/Marcus jumps out from behind a rock and introduces her chest to an axe. When he is about to deal the death-blow, he hears a voice in his head telling him to “Let her live” over and over.

The way the androids designed their home-base
appears to be modeled after the triskelion: an ancient
Celtic symbol for competition and human progress.
This makes sense as such is their mission.

Well, that does it for episode one, find the rest here.

See my movie related books, on which I am offering a money saving deal:
Transhuman Hollywood: From Normative Fiction to Predictive Programming

A Worldview Review of Stephen King’s “It”: The Mystical, Mysterious, and Metaphysical in the Novel, Miniseries, and Movies

A Worldview Review of the Alien and Predator Mythos Franchises

The Necronomiconjob, Liber III: Alchemical Hollywood


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