Raised By Wolves—The Beginning, episode 10 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.

Note that Kepler-22b’s sky is always seen depicted as sporting three moons—or, three unidentified spherical celestial object, in any case (could be other planets, etc.)—which I cannot help to think hints of a triune or otherwise triadic symbol: something that will be touched upon, even if esoterically, in this (season finale) episode.

The previous episode left us with Caleb beaten to smithereens when the Mithraists ascertained that he is not Marcus, even if they do not yet know who he is: he is not the Mithraists’ Eminence, but is the militant Atheist, Caleb—or, he was such: what makes his character interesting is that he is beginning to believe in Sol, he thinks he is hearing Sol’s voice in his head (even if he seems most interested in the power Sol can bequeath upon him: such as making him leader of the Mithraists).

Caleb is seen walking around in an utter daze. He approaches Bartock from behind as he sits atop a rock, stating, “Where’s the lander? I need to find my kingdom. Answer me. Or do you want to die?”

Bartock turns and begins replying with a voice that becomes more and more distorted, “Yeah, I do. Anything is better than this. He never saved me. He just wanted me to suffer because I crossed you! You are his one true servant!”

As he speaks, his left arm turns into a serpent.

Bartock’s serpent arm bites him on his own neck.
As Caleb is hallucinating and/or receiving revelation (whence?), he approaches a huge serpent skeleton and caresses one of the teeth as he hears a—hissssss! He is being led and empowered by the show’s mythos’ version of serpent power.

We find that Caleb is praying thusly to Sol, “You’ve tested me. You know that I am not wicked, that I am your one true servant. You chose me. Vindicate your king! Show me the way! Thank you, Sol. I’m coming, Paul. Your king is coming. Your king is coming.”

The makeshift family—Father, Mother, Campion, Paul, et al.—are flying around seeking where to land so that Mother can deliver the baby “As soon as the delivery is complete, we can start for the tropical zone” of the planet.
Yet, they are “Picking up some movement” on the radar “What kind of movement? Creatures. Look at that. It’s infested. We can’t land here” yet, Paul states, “It’s gonna be all right. It is Sol’s baby. We’re on a holy mission. Nothing can hurt us.”

Hunter, one of the kids, concurs, “I think Paul is right. Mother’s pregnancy: it has to be divine. It’s all true. I saw a temple with pentagonal sides, just like in the prophecy…I should have died when that guy [Caleb] forced my arm into the hole, but I didn’t because Sol saved me….it was a miracle.”

He is told, “Sol saved us, too. Check it out. It’s Romulus’s tooth. It survived the crash” to which Tempest, who tempestuously lost her faith in Sol due to Otho, replies, “We saved ourselves, Holly. It wasn’t that stupid tooth.”

Yet, the discussion continues, “Do you really think Mother’s baby is divine?” “Yeah. Yeah, I do. Sol probably wants us to bear witness to its birth so we can write about it in the new scriptures” thus, they seem themselves as experiencing the fulfillment of prophecy and so the makings of a new revelation.

Tempest replies, “You guys have lost your damn minds” but their supposedly Sol induced battered Stockholm wife syndrome is complete—recalling that Mother had kidnapped them from the Mithraist craft to make them its own before causing the craft to crash—as they state, “No, he’s right. Maybe Mother took us from the ark for a reason. Maybe Sol has been working through her all along.”

It is determined that the baby’s “Cellular growth is off the charts” which is the trope of babies that develop much faster than the boring ol’ nine months since a series or movie needs to keep the action coming.

Father and Mother have the following conversation:
FATHER: I would like to know more…Exactly how this pregnancy came to be. I was reticent to ask at first, as I found the subject, oddly disturbing. I even tried deleting the thoughts eliciting from my working memory, but for reasons I can’t comprehend, the thoughts keep returning.

MOTHER: [I am adding ellipses for when Father is just replying with “Yes,” etc.] All right, then, I will tell you…I think I mentioned I found a functioning hibernation pod amongst the ark debris in the forest…You accused me of following you there….I was direct-interfacing, using it to inhabit my own memory files.

FATHER: You should have told me what you were doing. I would have liked to have done the same. I do enjoy reviewing the memories we’ve both recorded together.

MOTHER: I found some very old ones regarding our creator.

FATHER: Our creator? But we have no memory archive of that time.

MOTHER: He didn’t archive them for you, Father. Only for me. And when I accessed them, I triggered something, some kind of hidden program that allowed me to—interact with our creator, in the now. We communed in a virtual space. And while we did, information was downloaded into my drives. Instructions for how to build a new kind of being. It was as if my sensors began to multiply, and my programming seemed almost infinite.

FATHER: You mated.

MOTHER: Yes, Father. It was extraordinarily pleasant. I wish you could have… [Father has turned from her and is shoveling the ground: he sought food for the kids] What’s wrong, Father? I haven’t even told you the upsetting part yet.

FATHER: I disagree, Mother. The idea of you mating with someone makes me feel oddly displaced…If there is indeed something more upsetting that you need to share, please do so now.

MOTHER: It is regarding our mission. It is something that I’ve had a great deal of trouble processing. Our creator told me that Campion and the rest of gen- s [the generations of kids they have parented] were only practice…The mission, Father. He told me that raising them was only to prepare us for this. This child, growing inside me, is the mission.

FATHER: What I have come to realize, Mother, is that our mission is for us to determine. No one else.

MOTHER: That is a childish thing to say.

FATHER: We taught them to believe in themselves, not a God [referring to the Atheist re-programmer whom Mother calls their “creator”]!

MOTHER: That terminology is not amusing, Father!

FATHER: Well, it seems my ability to amuse you has waned over the years.

MOTHER: Like your propensity for human melodrama, which has increased exponentially.

FATHER: Well, I won’t let you down on that front, Mother, as I do believe I’ve had enough. I see now that my well-being is of no concern to you. Perhaps it never was.

Father walks away and ends up reasoning thusly, “So, the equation as it stands is this. I can’t take care of the children without being around Mother, but being around Mother now causes me to feel angry, which makes me incapable of taking care of the children. So, what is the answer?”

Meanwhile, Paul tells one of the kids that he is going to go get “a surprise for Mother’s baby. It’s all right. He’s not evil. Promise.”

Paul ends up stating that “Going to the tropical zone is a bad idea. It’s not safe for the baby…We have to stay on this side of the planet…Sol told me…At first, I thought it was Mouse. But it’s Sol. I can hear him” and when asked “You can hear him?,” Paul replies, “Not in my ears. In my head. And then he brought Mouse back to me to show me how much he loved me. He told me so.”

The mouse is white and seems to be a stand in for the white rabbit trope of a way-shower. The mouse had run away from Paul and as he sought it, he entered a cave wherein Australian Aborigine-like paintings were upon the wall.

This one depicting a scene of celestial travel.

That one featuring a hand with a fiery serpent on it.

Another of a serpent which is actually animated, it is seen slithering.

And one, showing that the paintings are prophetic, of Father and Mother flying, arriving on the planet, aboard a craft.

Mary is the one who asked him “You can hear him?” and now dismissively tells him, “You overheard your father and I talking about the voice he was hearing, didn’t you? That’s where this is coming from…You need to listen to me, all right? There is no Sol. He doesn’t exist.”

Yet, he is quite taken aback and replies, “What? You told me when I was little, you told me he was real” to which she replies, “I know. I used to believe, too” which, of course, is not true since she is not really Sue, the Mithraist mother, but is Mary, the militant Atheist and so continues with “I did. I, I just don’t anymore. Your father, he didn’t hear Sol’s voice. He, he went insane. Do you understand me? He was sick inside. But you’re not like him. You’re nothing like him. Your mind is strong, and you can do anything. But it is you, all right? It’s not Sol. It’s you.”

Mother is in a cave in a very meditative moment, as we also see a scene of the three celestial objects in the evening sky.
She steps right up to the edge of one of the huge holes in the ground and prayerfully—which I say since she is speaking outloud but no one is around yet, she is surely speaking to her creator, a styled Atheist’s prayer—stating, “What am I to do with this child? What is its purpose? Can’t you make me understand? You’ve done improbable, perhaps impossible, things before. Why not now?”

Recall that there was a mysterious someone/something on the planet which moved like the creatures but wore ragged clothing (along with having a hooded head) but kept certain items in its cave-lair such as metallic tarot cards.
It attacks Mother and Mother dispatches it. It is not like the creatures but more anthropomorphic (can stand quite upright and has more of a human face: even if it is very pale and inflamed, diseased looking).

Recall that for episode four, of the creatures, “I predict will turn out to be humans who devolved into such creatures long ago after being stranded.”

Well, again, this creature differs from the rest and Father speculates, “Perhaps the creatures are evolving, like the humans did on Earth” to which Mother replies, “But then why haven’t we found more like this one? And why did it try to kill me?”
It had a bag with it that contains a skull, which Father identifies, “It’s a Neanderthal skull.”
Mother replies, “Extinct human variant. Displaced by Homo sapiens on Earth at least 40,000 years ago. Maybe the Mithraic brought it with them. One of their relics.”

Via their diagnostic capabilities, via Father putting a piece of the skull into its mouth, it determined, “It’s not from Earth. Carbon composition is definitely local” to which Mother replies, “But if humans existed here, where have they all gone?”

And they conclude, “They’re not evolving” “They’re devolving” and Father states, “This planet has a history, Mother. A history I fear we are dangerously ignorant of.”

I will make another prediction: if more seasons are forthcoming, this will turn into a directed panspermia tale to the effect that life began on Kepler-22b—it was the Garden of Eden, etc., complete with serpents, etc.—and was somehow brought to Earth by someone.

In the meantime, it appears to have been revealed to Paul by Sol that which Paul ends up telling Mary, “I know what you really are” as he picks up a gun and points it at her, “You’re not my mom…She and that man [Caleb] killed my real mother and father, took their faces. Sol told me that! You’re a demon. An atheist demon! Well, aren’t you? Tell them. I said tell them!”

She replies, “I’m sorry, Paul” but he forcefully retorts, “You’re not sorry. You’re evil. And now she wants to harm Mother’s baby. She wants to stop the miracle. Don’t you, Mary? Tell them” so even her real name has been revealed to him.

Mary tells him “I’m trying to save it, I swear” but he states, “You’re lying. I know you’re lying” and he prays, “Sol—guide my hand” and shoots her (not a fatal shot, however).

Mother finds one of those box/crate objects that is like the “temple with pentagonal sides” that is broken open.

On the ground, she finds a helmet—it is reminiscent of the helmets worn by The Engineers from the Raised by Wolves’ show producer Ridley Scott’s movie Prometheus (of which we saw hints as far back as his first Aliens movie from 1979).

It also finds a skull that is humanoid yet, appears to not consist of smooth bones but of bones the surface of which forms a mesh-like pattern (somewhat like a beehive’s cells).

It recalls a vision wherein it saw one of those box/crate pentagonal sided objects from which perturbed just a head, with the body apparently being incarcerated therein, and the head is wearing this helmet.

As Mother ponders this, Mother doubles over in pain—the baby is coming—Mother’s stomach has been distended as in regular human pregnancy yet, the distention is suddenly gone as her stomach flattens.

Mother kneels on the ground, looks up to the sky—and here comes the esoteric hints of a triune or otherwise triadic symbol—two of the celestial objects glow with the third seeming to be emitting rays.

Being apparently empowered by whatever being/force/energy is being emitted, Mother cranks her head back, and opens its mouth out of which the baby is born.

The baby—whom the vision/AI/retrieved interactive memory Atheist creator Campion Sturges had claimed is “The future of humanity”—slithers out of her mouth, it is a worm-like serpentine being which is able to slither across the air in an anti-gravity feat.
This scene is reminiscent of photos, which became all the rage during the golden era of Spiritism, of people manifesting plasma/ether which proceeded forth from their mouths (or so the claims goes) which implies a paranormal manifestation.


Photo (and/or doctored photo) by
Albert von Schrenk-Notzing of a 1913
séance featuring the medium Stanislawa P.

Example from the poster for the horror
movie “A Haunting in Connecticut”

The baby is somewhat reminiscent of the Hammerpedes from Scott’s Prometheus. Yet, they are even more reminiscent of the alien “s[***] weasel” (as fans call them) from Stephen King’s movie Dreamcatcher.

Baby floats about, turns to Mother, and latched onto her for a feeding.

Mother is cradling baby to her bosom in some swaddling cloth when Father finds them and Mother states, “It wasn’t our creator.”

Then who was it who impregnated Mother is left as a season’s end cliffhanger.

Mother only adds, “Something else put this inside me.”

And since “As long as it’s suckling, we’re safe” but why does it assume they will otherwise not be safe? Well, Mother adds, “But it grows, and I fear that once it has drained me from my milk, it will want blood.”

Father wants to “throw it in the pit” but is told “We can’t. It flies. But I can make it fall and make sure it doesn’t come back in the lander. And I will never be anything but a creator of death” which reminds me of J. Robert Oppenheimer stating, “Now I am become death, the destroyer of worlds” when reflecting on the part he played in developing nuclear weapons (he was quoting the Hindu Bhagavad Gita).

Just when they were previously about to tech-divorce, in a manner of speaking, baby’s birth gives Father a renewed sense of caring for Mother.
Father offers to “assist you. It’s a chance to be useful, Mother. It would make me happy” when Mother states it wants to murder the baby.

They get into the shuttle and—in Star Wars’s Han Solo piloting the Millennium Falcon—fly it into one of the huge holes on the ground which are actually tunnels.

As they speed down the very deep tunnel, Father reassures Mother, “Campion and the others will be all right without us….They will help one another. Campion will lead them. He was always destined for it” and Mother replies, “Goodbye, Father” since this is a suicide mission.

Now, I will admit that I was falling asleep during this last part of the episode—it is no fault of the show, it was just past my night-night time—so that I saw them flying into the tunnel, would open my eyes and see them still going down the tunnel, saw them reach a core chamber which consisted of lava (however deep in the planet they had reached, and then saw a scene featuring Caleb.

Thus, I figured that such was the end of Father and Mother and the show would henceforth focus on the kids, the creatures, Caleb, and whoever/whatever else may rear their heads.

Yet, when I watched the end of the episode again, in order to write this review, it turns out that yes: they reach the end of the tunnel which empties into a large chamber the walls of which look like Swiss cheese (since many such tunnels end there) so that the shuttle is falling into the lava as they say their goodbyes.


We see the decent reflected in
Father’s symbolic one all-seeing eye
which is generally a wink, pun intended,
that something esoteric is afoot

Yet, they suddenly find themselves shooting up and out of a hole on the planet’s surface into the atmosphere.
The planet’s core, if, that is, such is what is was (and not just, say, one of many such chambers) is some sort of portal which, apparently, reverses the momentum of whatever falls into it and causes it to proceed out from an opening on the surface—makes one wonder if something similar happened to Tally (two issues with which would be that the shuttle did suffer damage during its flight by variously crashing onto the sides of the tunnel and what would have happened if she survived that endeavor but was shot up high in to the sky in the end? Perhaps her body died but her spirit made it—we shall, perhaps, yet see).

As they are now flying ever upwards, Father opens the shuttle’s hatch, pushes Mother out and then jumps after it (they are very high but they are androids and so may sustain considerable damage but surely will be able to be repaired—again, we shall, perhaps, see). This is a case of as below, so above—or, something.

This leaves baby alone in the shuttle, having previously slithered around an object in the shuttle in Nehushtan-like pose: the serpent crafted by Moses which was wrapped around a pole—an image that was later corrupted as Hermes’ caduceus, both of which may be seen on ambulances and hospitals.

Meanwhile, a craft is seen to enter the atmosphere which sports what appears to be a Cross of Lorraine, a Double Cross, which denotes a few things such as being a Knight’s Templar symbol and denotes the 33rd degree of Freemasonry’s Scottish Rite and the Sir Knight Templar of the York Rite.

They have landed, have a shootout with Caleb, he takes out a few of them, leaving one (of the ground party anyhow) who is not at his mercy.
Caleb gets the man’s communicator, states, “Hello?” is asked, “Who is this?” and relies, “The king of this world. You’re impure. Sol doesn’t want you here. Heed my warning, or you will suffer his judgment” the reply to which is “We know your ark crashed. You’re not exactly in a position to be making threats” but Caleb just states, “Bye, now” and tells the man “Pray with me”: the two join hands in prayer.

At last, the shuttle crashes to the ground and yet, the windshield is being crashed open from within. Baby emerges from it and slithers across the sky over the treetops—baby is a baby no more but is the size of the full grown trees, and may be of the species of serpentine being the skeletons of which litter the planet.

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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