War of the World-Views: Raised By Wolves—episode 1 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.

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 expand them.

The show Raised By Wolves was created by Aaron Guzikowski with Ridley Scott having directed the first two episodes and going on to serves as an executive producer in general. I have not heard of Guzikowski before but know that Scott is an Atheist since I researched him for my book A Worldview Review of the Alien and Predator Mythos Franchises.
This fact is actually relevant in that the show, which is set beginning in 2145 AD, is premised upon the results of a conflict between Atheists and adherents of Mithraism.
Mithraism flourished from circa the 1st-4th centuries AD. Fake-cumentaries such as Zeitgeist claimed that early Christians borrowed some of Mithraism’s claims and applied them to Jesus—the ol’ Pagan copycat conspiracy. Of course, actual research not only exploded such a claim but shows that if any borrowing was occurring, it was in the other direction. Thus, the future that the show envisages sees the death of Christianity and its replacement with one of its chief counterfeits.

In any case, one of the show’s tropes is the abandonment of Earth. In this case, humans, represented by adherents of Mithraism, built a spacecraft called “The Ark” (yes, as in Noah’s) whilst all we know, thus far, of the Atheists is that we see them represented by androids (anthropomorphic robots) who were sent to a planet (Kepler-22b) to raised human children. One was designed to appear as a male and is known as “Father” and the other, as a female known as “Mother” (a neo-high-tech Adam and Eve). Even some Atheists recognize that a one Father and one Mother family is the most natural and stable foundation for a family.

By definition they are all aliens to Kepler-22b and so the show begins in typical alien movie-trope-form by having them manifesting out of some sort of hyperspace and falling to the surface—”I beheld Satan having fallen as lightning out of heaven” (Jesus, Luke 10:18).

Their craft’s parachute looks like the Black Iron Cross (Schwarzes Kreuz)
of the Prussian Army, later coopted by Nazis

They arrive on the planet, establish a shelter and Mother is plugged into embryos which grow in tubs of fluid (octogenesis), “Initiating trimester one. Umbilicals in place.”
Once the babies are viable enough to remove from the tubs, the last one appears to not have made it so Father states, “Our programming dictates that we need to break it down, feed him to the others…We need to do it soon, before its cells start to deteriorate. You need to save your energy for the others.” Yet, Mother has been programed with motherly instincts and nurtures it so that it suddenly comes to life: he is named “Campion” since “Our programming dictates that we name the youngest of Generation-1 after our creator.”

Narrating once he grown into a boy, Campion states, “It was hard keeping us alive, but Mother and Father never complained, never got tired, or lost their temper. And they never took time for themselves, always making sure we were happy…All the bad stuff that happened wasn’t their fault…I’ve learned now that this world isn’t like Mother and Father. It doesn’t care if we’re happy, and it doesn’t get sad when we die. We don’t really matter to it at all.”
Campion is the only child to survive as the rest died of various deceases and, in one case, falling into a deep hole in the ground.

Mother carrying one of the dead kids for burial

Mother taught the kids, “…despite their advancements, the Mithraic remain stunted by the tenets of their religion. For instance, they believe that allowing androids to raise human children is a sin, which forced them to send an ark outfitted with stasis pods, rather than a lighter, faster craft, such as the one the Atheists so wisely used to send us. Belief in the unreal can comfort the human mind, but it also weakens it. The civilization you’re seeding here will be built on humanity’s belief in itself, not an imagined deity.”
About this, Campion asked “And if it’s not imagined? They won the war, after all.” He also asked, “What if praying will make [his sick sister] Spiria better?”
Yet, the reply is “No, Campion. Only science can do that. It didn’t help the others. Because we have more to learn. We will never advance
unless you resist the urge to seek solace in fantasy. You are Atheists. Peaceful, technocratic. And it’s the only path to progress.”
One question this raises is “progress” towards what, to what end, etc. since on Atheism life is accidental and objectively goalless.
In any case, from the Atheist propaganda we gather that what is envisages is a future wherein part of the attempts at technocracy is building Atheist androids—and even more horrifying, a future wherein mullets are a popular hairdo: the horror, THE HORROR!!!

Actually, Mother had pointed out, “We came here with 12 viable embryos, and 12 years later, we only have one child” which seems to play off of the myth that Mithra had 12 disciples.
At one point, during an Atheist catechism session, Mother asks, “Now, Spiria, can you please list the ways in which the number five relates to all manifestations of life?” and, FYI, episode two is titled “Pentagram.”

As time progresses, there are indications that the androids are beginning to “break down” as they term it. Father discerns that this will become a problem since if they cease functioning then Campion will be left all alone on the planet.
Thus, unbeknownst to Mother, a signal is sent from the craft in which they originally arrived at the planet which is picked up by the Ark.

Three humans and an android land on the planet and the first thing they ask Mother is “What is your faith?” to which she replies, “We are not believers.” They elucidate, “We represent the ark of the Mithraic. We thought all of Earth’s surviving refugees were aboard our ark, but it would seem Sol had other plans.” We are not yet told to what/whom they are referring by “Sol” but it means “Sun” and such is the symbol of their faith: a red Sun depicted with various rays proceeding forth from it—differing in number from scene to scene.

They ask “How did you get here? The atheists didn’t have the means to build an ark” to which Mother replies, “It doesn’t concern you. Now, please get off our land. We don’t want you here.”
They explain, “But it was you that signaled us. And to my knowledge, there are no laws here regarding land or anything else.
But I see that you have been farming. A lot. We are very hungry.”

Thus, they eat, discuss that they suspect she is an android, stay the night, decide to take Campion with them and direct their android, “Jinn. If the android doesn’t let us take the boy in the morning, you’ll need to deal with her” now “Jinn” is an Arabic term for the concept of benevolent and malevolent spirits as per Islamic theology.
Jinn replies, “Yes, of course. She appears to be a low-end model. I don’t anticipate any difficulty in shutting her down.”

They want Campion because “An orphan boy who dwells in an empty land” is “The prophet who will discover the Mithraic Mysteries” and so they ponder, “What if the boy is a prophet?”
Also, as per Father, Campion is a member of “an endangered species.”

Well, Mother discerns something is afoot and Jinn begins to attempt to shut it down by beating up Mother. Yet, Mother gets the upper-hand which is surprising since 1) it “appears to be a low-end model” and 2) it had been exhibiting various characteristics of malfunctioning—oh yeah, it had also ripped Father’s high-tech-heart out of its chest during a conflict with him about signaling to humans for the sake of Campion.

Mother is seen spreading its arms out in crucifixion pose, morphing into looking as if it is made of metal, and behaves somewhat like a Banshee which in Irish folklore are female spirits who herald death, wailing, shrieking, etc.

Mother dispatched Jinn and is then seen letting out a shriek that causes two of the Mithraists’ heads to swell, become grotesquely deformed (as if severely infected and bloated) so that they die—the third human, Marcus, runs off. When he calls the Ark crew to be rescued, he calls them “Heaven”: we learn in episode two that such is the name of the Ark—“an Ark called ‘Heaven,’” does this imply there are more?

Mother boards the Mithraists’ craft, makes it unto the Ark, shrieks many of them to death (this time, they literally explode into mere streams of blood as they utterly explode), and seeks their children.

Mother programs the craft to crash into the planet but the Ark’s artificial intelligence states “Security retinal ID required.” So, Mother finds some poor guy it had not exploded to death, rips one of his eyelids off, and forces him to be her security retinal ID—in a one all-seeing eye scene.

Mother finds were the kids are but before entering the room it decides that a little bath, as it were, was in order since it was covered in hot human gore. As it enters the space-shower, as it were, it does something mysterious that is not elucidated—at least, not yet (and never fully?): it blindfolds itself, “Begin ultraviolet shower” “Purification complete.”

Mother enters the kids’ room (a styled holo-deck wherein they are seen amongst trees, enjoying snowfall) and takes them, causes the Ark to crash into the planet so that of the 1,000 people onboard (all that was left of humanity?) die, and only Marcus and a handful of kids survive.
Mother does all of this blindfolded, which in Freemasonry is symbolic of her being in darkness and seeking light.

Considering that it was programmed to be an Atheist, Mother is variously seen in what appears to be ritualistic actions.

In one ecstatic visionary experience, it sees itself floating above a war-torn Earth in its typical flight-floating pose which is the crucifixion pose.

Having experienced Mother’s deadly actions, Campion esoterically states, “‘I know I’m not safe with her now. But I guess I never was. That part of her was always in there, hiding. Maybe there’s something hiding inside of me, too.”

We learned that Mother can shapeshift (typical of lore pertaining to evil beings) and we will learn, in the next episode, that it is not actually a “low-end model” but is a “Necromancer.” This is traditionally a term descriptive of an occult art whereby someone who supposedly communicates with the dead but here is meant as descriptive of it being some sort of weapon of mass destruction, “They’re built for mass extermination.”

When androids bleed, the bleed white liquid which is clearly derived from Scott’s depiction of the vital fluids of androids from his Aliens movies.

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

Overall, the show appears to be an interesting intersection of a clash of worldviews, Transhumanism, symbolism, perhaps numerology, etc.

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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