Worldview review of the movie Vivarium

The movie 2020 movie Vivarium was directed by Lorcan Finnegan and based on a story by he and Garret Shanley.

Seeking a home, protagonists Tom and Gemma consult with a real estate agent named Martin who shows them a home at a new development called Yonder.
As you can see from posters such as this one, the setting seems to be a commentary on cookie cutter suburban life with each home, garden, and street looking just like the next—impersonal corporate life by design.


The movie 2020 movie Vivarium was directed by Lorcan Finnegan and based on a story by he and Garret Shanley.

Seeking a home, protagonists Tom and Gemma consult with a real estate agent named Martin who shows them a home at a new development called Yonder.
As you can see from posters such as this one, the setting seems to be a commentary on cookie cutter suburban life with each home, garden, and street looking just like the next—impersonal corporate life by design.

Martin is a bit odd and at one point repeats a statement by Gemma right back to her.
He ushers them into the back yard, and after looking it over they call out for Martin but he is gone.

They drive away but find that they are merely driving in styled-circles which always leads them back to the same house.
Tom climbs on the roof only to find that the development goes on forever. At one point, they decided to follow the sun on foot as they walk across yards, hop over fences, etc. until at sundown they find a hose with lights on, enter it, and it is the very one they left—their home, the one in which they are stuck. They appear to be the only ones living in the development.

The sky is always perfectly placed by which I mean that it always looks picturesque. At one point, Gemma notes that the clouds there always look like clouds and Tom notes there is never any wind. All indications are that they are stuck in a simulacrum.

Tom decides to burn the house down out of desperation and as a smoke signal. They fall asleep on the sidewalk and awaken to find that ol’ is back, looking like new.
They also find a box on the street which contains supplies such as food.

Boxes are regularly delivered and the boxes they place on the street which contains their garbage are taken away but they never see anyone delivering or picking up even thought this is sometimes done while they are where they would have seen or heard something.

One day a box is delivered which contains a baby and instructions that simply reads, “Raise the child and be released.”

89 days in, the baby has actually experienced accelerated growth and looks to be a boy of around 7 yrs. old. His voice is that of a man, he is very much into mimicking Tom and Gemma—repeating their statements back to them. He also watches a TV which only ever displays black and white soft fractal-like repeating patterns.
When he wants cereal for breakfast he will smirkingly scream at the top of his voice until bowl, cereal, milk, and spoon are placed before him—he makes screaming this way into a bit of a habit. He is also seen peeking in to watch Tom and Gemma having sex.

After months have passed, Tom spends every waking hour digging a hole in the front yard, even sleeping in it sometimes. He is also seen to be suffering form some sort of disease. He is utterly distant from the boy whom he refers to as “it.”

Meanwhile, Gemma develops some sort of relationship with the boy but constantly tells him, “I’m not your mother” often with an expletive between “your” and “mother.” Overall, she seems to have a pragmatic relationship with the boy—as we shall see.

Once the boy cannot be found and returns with a book written in some cryptic alphabet. We see it contains illustrations of what the boy watches on TV, one what appears to be a human head but with a frog-like bulging neck with squiggly lines illustrated indicating the emission of sound, and one that seems to depict orbiting planets beneath which is illustrated a man and a woman between which is a child—perhaps reminiscent of the golden record that NASA sent out into space within Voyager.

Ah, the good ol’ days when we know there were sexes/genders—today, this would be, like, considered an oppressive patriarchal gender binary, and stuff.

The boy begins regularly leaving home for the day and Gemma attempts to follow him, to not avail. By pragmatism I mean that she seems to use the odd boy to derive any info she can. This comes to a head when she asks the boy about a new person he states he has met, but about whom he is not allowed to speak. However, she gets him to play a game herein he mimics her, Tom, a dog, and finally this mystery person—the impression he portrays is to make his neck bulge out in the frog-like manner whilst emitting a croaking-like sounds.

Within however long, not long, the boy becomes a man. Gemma is very suspicious of him, Tom essentially lives in the hole, and the man keeps going off for what appear to be his lessons with whoever the mystery person might be.

Tom ends up finding something at the bottom of the hole which appears to be a bag that contains a skull but it is cut away from very quickly.

He ends up laying on Gemma’s lap on the sidewalk. Gemma asks the man for help and he stoically replies that maybe it is time for Tom to be released as he heads off. Tom and Gemma reminisce, and he dies. The man returns with a body bag, stuffs Tom into it and unceremoniously dumps him into the hole.

Emma ends up attacking the man, injures him, he gets away from her by surrealistically lifting the sidewalk enough so as to crawl underneath it, she manages to slip in as well, he is seen crawling and hissing very animalistically as he scurries away from her.

What follows is quite phantasmagoric. She is seem entering a house just like all of the houses are in the development but the entire seen is green, she sees a distraught woman sitting at a table, the woman appears to be able to see Gemma but Gemma sinks right into the carpet only to find her self at yet another level beneath, then another, etc., blue this time, red the next, etc. seeing the boy in one, a man who had committed suicide in the bathtub in another, etc., until she finds her self back in number 9, she dies shortly thereafter with her last words being to tell the man, who is stuffing her into a body bag before she has breathed her last breath, that she is not his mother. She dies and he dumps her in the hole.

Now, the Tom had the idea to build a hole when he haphazardly flicked a cigarette on their lawn and the spot on which it landed caused the grass to disappear, forming a small dirt circle. The man ends up filling the hole back up and when he does so, grass instantly forms over the spot so it looks like a new lawn again.

The man drives away, enters the real estate office to find Martin dying right there on his office chair. He takes off his name tag and gives it to the man who puts it on—Martin 2.0. Neo-Martin pulls a boy bag out of a drawer, stuffs ex-Martin into it, folds it in a physically impossible manner, stuffs it into a drawer, and is seen sitting at the office desk until a couple comes in who is looking for a home.

Being more drama than anything else, it is the sort of movie that elucidates nothing.

What the boy/man/Martin is/are is unknown. I take him/they to be an alien species who seek to become as human as possible so as to pass for human. This calls for them to be raised by humans, as human, so as to experience humanity. However, as in the case of Tom and Gemma, the experiment has failed as of yet and so there is a styled “eternal” return to the experiment.
The boy/man/Martin are odd because they are not quite there yet. The key element seem to be to be loved and thus, to learn to love. This has not yet happened which is why he/they exhibits stoicism.

The plan seems to have been to place an—oh no!—traditional couple in the simulacrum, what aliens think would be a perfect setting, and have them raise the alien baby. Much as was seen in the horror-sci-fi movie “The Birdcage,” love is the key—and yet, love can be much more than a beneficent emotion.

For example, Aleister Crowley’s infamous motto is “Do what thou wilt shall be the whole of the law, love is the law, love under will.”
Ozzy Osbourne, who sang a song about Crowley, wrote one titled “N.I.B.” wherein it is stated “Some people say my love cannot be true, please believe me, my love, and I’ll show you, I will give you those things you thought unreal, the sun, the moon, the stars all bear my seal…Your love for me has just got to be real…Our love grows stronger now with every hour” and “Follow me now and you will not regret, leaving the life you led before we met, you are the first to have this love of mine, forever with me till the end of time” yet, this is because “Now I have you with me, under my power” and finally, the reveal, “Look into my eyes, you’ll see who I am, my name is Lucifer, please take my hand.”

As a wise friend of mine said, “Love without truth is deception.”

Gemma’s phantasmagoric journey was to the various levels of pseudo-reality where the experiments ran. Also, the shifting colors of each seem may hint to the occult symbol of the rainbow.
For example, Fritz Springmeier noted, “The Rainbow: With its seven colors have long had an occult significance of being a great spiritual hypnotic device. Constance Cumbey, in her book The Hidden Dangers of the Rainbow, which exposes the New Age Occult Movement, correctly writes, ‘The Rainbow (also called the Antahkarana or Rainbow Bridge). This is used as a hypnotic device (p.261). The Supreme Council of the 33rd degree of Freemasonry has used the rainbow on the cover of their magazine. In a book teaching Druidism (as in Illuminati Druidism), The 21 Lessons of Merlyn, the Rainbow is described as ‘A true sign of Magic…it exists in both worlds at once!”[fn]From his book “The Illuminati Formula Used to Create an Undetectable Total Mind Controlled Slave”[/fn]

Dr. Cathy Burns, wrote, “In Masonic symbolism, we find that the Rainbow appears as the representation of Lucifer, the Light Bearer. The rainbow bridge (also called the antahkarana) is referred to frequently by the New Age movement and is found repeatedly in occult literature…The rainbow is a popular symbol with the New Agers and occultists…Masonic author, George Oliver, remarks:
‘It is remarkable that in all the ancient systems of MYTHOLOGY, the Great Father, or the MALE GENERATIVE PRINCIPLE was uniformly symbolized by a POINT WITHIN A CIRCLE. This emblem was placed by the Scandinavian priests and poets on the central summit of a RAINBOW, which was fabled to be a bridge leading from earth to heaven.’
In Scandinavian mythology, there was a rainbow bridge called Bifrost. This bridge was ‘also known as the ‘devil’s bridge’’ and was equated with the river Styx of the Egyptians, which was the river that they believed flowed through hell.
In Babylonian literature the rainbow was ‘a sign of wrath, of terror, and of ill, and as an attribute of the goddess Tir-an-na, bringer of misfortune.’”[fn]From her book “Masonic And Occult Symbols Illustrated.”[/fn]

If there is anything I learned from writing my books “Fifty Shades of Gray Aliens” and “A Worldview Review of the Alien and Predator Franchise Mythos” it is that the difference between alien and demon may be a difference without a distinction.

Now, the movie began with a scene of a bird’s nest wherein one baby bird knocked an egg and then another baby bird out of the nest. This was a coocoo who are in the habit of placing their eggs into the nests of other birds, when it hatches, the baby bird will do just that, and will thus be raised by a bird of a different species even whist causing the death of that very bird’s real offspring.
This, in essence, was what happened to Tom and Gemma.

We also see a girl looking at the dead baby bird on the ground and when her teacher, who is Gemma gives he a very Darwinian explanation that such is nature, the girl states that she does not like it, Gemma tells her it is not all bad, etc.—and we notice that the pillars of the walls of the classroom behind them are painted in rainbow colors.

Their ever present house is house number 9—something which is repeated time and again. “Number nine, number nine, number nine, number nine”—The Beatles.
One signification of the number 9 is that occultists view it as the number of the beast via reduction whereby adding 6+6+6=18 and 1+8=9.

As Tom and Gemma drive to the development, we see an owl air freshener hanging off of their car’s rear view mirrors. Owls traditionally symbolize wisdom: it was they via whom the aliens/demons were to gain the wisdom to become convincingly human.

The bedside lap includes imagery of plants as well as a monarch butterfly which is indicative of that through which they were going which is the Monarch mind-control, personality splitting experiments.

There is also some great ska music in this movie, along with some terrible dancing.

Everything that Satan does is a copy but corrupt version of that which God does—Satan just does it inside out, upside down and backward.

Thus, beneath it all, this is a tale about aliens/demons co-opting, deconstructing (to death), and seeking emulate humanity.

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