This is Why I Have Been Silent Lately

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David Ascendant, Book 7 of my Chronicles of the Nephilim is Now Available for Kindle Pre-Order.

Everyone knows the story of David.
Or so you think.
No one has heard it told this way before.

See the Book Trailer, Author Interview, and Cool Art, Then Pre-Order here:
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How To Make it in Hollywood

I had a great interview on the new and way cool podcast The Doorpost Podcast Project by Duane Barnhart:

http://bit.ly/1vlnbXE

The Doorpost Podcast Project is a weekly entertainment business podcast, hosted by Duane Barnhart, interviewing some of today’s most successful and inspiring Entertainment Entrepreneurs. It was Milton Berle who said, “If opportunity doesn’t knock, build a door.” We help our audience learn to build doors of opportunity. Each episode shines a spotlight on our featured guest as they share their journey of successes and failures, hard work and big breaks, lessons learned and the steps taken to turn those lessons into accomplishments.

Transcendence Movie: The Idolatry of Transhumanism

transSci-fi Thriller about a scientist who uploads his consciousness to the internet and threatens humanity with the next step of evolution.

This movie, starring Johnny Depp as the scientist Will Caster, starts as a promising Michael Crichton type warning of the danger of AI technology, but ends like a bad TV show about unbelievable eternal love with his wife Evelyn, played by Rebecca Hall, and a ludicrous non-battle with government armed forces of about ten men.

The first half of this movie is fascinating and thoughtful as the spectre of AI and Transhumanism is raised for debate. AI is Artificial Intelligence and it is the belief that consciousness as self-awareness can be achieved by a sufficiently complex machine such as a computer. In this view consciousness is simply a property of matter that “emerges” out of a complex system. In other words, when a machine or biological organism becomes sufficiently complex, it becomes self-aware and therefore conscious.

Transhumanism is a currently fashionable “movement” that believes we can transcend our humanity by hybridizing ourselves with machines such as computers. One such way of achieving transcendence is to upload our consciousness into a computer. Both of these beliefs are based upon the materialist assumption that there is no “spiritual” component or soulishness to humanity that transcends our material bodies. Consciousness is ultimately reducible to brain synapses and chemicals.

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In this story, the antagonists are a Luddite type technophobic terrorist group who fears the tyranny of machinery to steal our humanity and ultimately control us as slaves. So they engage in terrorist attacks, which includes attempted murder of Will Caster, as one of the heroes of AI research. They don’t kill him right away, but the discovery of a radiation affected bullet means Caster will die in weeks. So he does the untested: He and his wife, with the help of Max Waters (Paul Bettany), do the first uploading of a human consciousness to a computer – Will Caster’s consciousness.

Max becomes the questioning character, our stand-in for the troubled person who sees the dangers but also sees the potential good that technology accomplishes. He becomes captured by the technophobe terrorists and soon joins them in their quest to shut down Al Gore’s wonderful internet.

But what soon becomes manifest is that when Caster’s consciousness is uploaded to the internet, he gets access to the world of information and “evolves” quickly into the god that he sought to become.

And this was the one thing I liked about an otherwise poorly executed movie. It illustrates the very universal nature of mankind to seek godhood. As Max says, “Survival isn’t enough.” AI Caster will seek to gain control of all information by his very nature, and ultimately end “primitive organic life” by replacing it with eternal machinery. This “next step of evolution” is clearly genocidal.

Early in the film, an anti-techy says to Caster, “So you want to create a god. To make your own god.” Caster replies, “Isn’t that what mankind always does?” And of course, the god that Transhumanism seeks to create is the godhood of the human. And this reveals the ultimate and inescapable religious nature of atheist humanism. That is, man is a religious being in need of worshipping the Creator God. But when he denies that god, he replaces it with himself, and he seeks to achieve eternal life through his own “transcendence,” of his finite humanity. But such godhood always requires control over the more “primitive humans” who do not agree with such enlightened wisdom. (Talk about a Scientific Inquisition). When the AI Caster gets his wife to buy a small town and build a huge scientific research center underground to expand his “power,” it is no coincidence that the town’s name is “Brightwood.” “Bright” is the nomer that the dull-headed new atheists have called themselves.

The film shows this religious atheism in full swing when Caster evolves in his intelligence to the point where he can use nanotechnology to heal people from their sicknesses almost instantly, like Jesus. In other words, “miraculous.” One of his healings is of a “man born blind,” which brings to mind the famous story of Jesus healing a man who was born blind in John 9. So he gets a following of such people to become his willing followers, who have become “networked” to Caster’s AI system and can operate independently, but can also act collectively as one. And the ultimate goal of such godlike power is expressed in creating life through 3D printing technology, which is what Caster seeks to do.

But the temptation for omnipotence with such “transcendence” becomes clear. And no matter what someone does in the name of “helping humanity,” absolute power corrupts absolutely, and so it does with Caster. But in a “nice” totalitarian way. He never becomes a “monster” like a Hitler, he just goes about his plans to abolish and replace human organisms in his amoral quest for so-called evolutionary perfection. It actually reminded me of C.S. Lewis’ That Hideous Strength, where the villain had the same goal of scientific purification of humanity. It is our Brave New World that appears to be amoral which is actually immoral in cloaking genocide in scientific terms of forcing a humanity that doesn’t know better, to become better against it’s own wishes. But of course, the better is defined by the one in power.

Paul Bettany’s character begins as a great foil as he struggles with the realization that he had believed all those years that consciousness was reducible to electrical brain impulses. And he then realizes that the illogic of human emotion can reconcile what a machine cannot reconcile. (Rather than “human emotion” the storytellers should have used morality to counter logic without restraint. This was a wasted powerful moral moment) He tries to get Evelyn to realize that whatever the AI Caster is, it is NOT Will Caster. It never was.

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SPOILER ALERT: Unfortunately, then the movie breaks down into ridiculous plot elements and unbelievable character choices that makes it lose steam. Instant self-sacrifice by Evelyn occurs, which no matter how noble in itself, is not believable when it is not precipitated by a believable motivation and cuts against everything that was being shown in the character. The worst of it is the ludicrous government force that is marshaled to stop Caster’s little scientific complex that will rule the world. It was like 10 mercenaries, with a few canons lobbing shells onto the solar panels that powered Caster’s scientific paradise, and the pacifist mind-controlled followers of Caster who are accompanied by scary music but who never to do anything other than just walk up to the violent mercs and just look at them. It was so ridiculous, I was thinking, did they lose 10 million from their budget at the last minute, so they couldn’t do the big battle finale?

And then worst of all, this threat to the entire world is stopped by a little virus that worked instantly to make all the power in the world go dead, except for the lights in the underground complex until the good guys could get out. A little virus that this amazing AI that has evolved way past all computers in the world had no protection against. Just ridiculous.

Oh, no, wait, there was one more worst of all. After this entire story of proving that the “singularity” notion of humanity without limits leads to tyranny and destruction, it all ends with a contrary ending that negates everything before it. We are shown that the AI Caster “always was” Caster after all (thus reversing Max’s belief and reinforcing the discredited notion that consciousness is uploadable and reducible to 1s and 0s). But also the absurdly Romantic notion that “everything Caster did, he did so he could be together with his beloved wife.” Awwwww, he wasn’t a bad dictator, he was a loving dictator!

Such good potential story lost.

This movie proves that mankind should not transcend itself because we do not deserve godhood, and do not have the requisite goodness of nature to handle it. (No, we need a God for that). but it also proves that a poorly executed story can ruin an excellent idea.
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The Subversion of the Serpent in Aronofsky’s Noah

In my previous post, I explained how subversion in movies and other storytelling works. The storyteller basically retells someone else’s story, but does so within his own worldview and thereby changes the meanings of otherwise familiar memes and themes of the received cultural narrative. I then explained how Aronofsky subverted the Judeo-Christian Biblical God with his movie Noah into a humanistic metaphor of a “silent god” who has no real existential difference from a nonexistent god. I shared my conclusion that Christian defenders of the film were guilty of autobiographical projection of their own meanings onto the movie and therefore neglecting to address the director’s actual vision.

One may argue therefore that Aronofsky’s atheist subversion doesn’t work on them! Aha! Well, I wrote all about how storytelling in movies and TV works on us whether we know it or not by bypassing the intellect and connecting through emotional dramatic incarnation. That was in Hollywood Worldviews. No time to repeat all that. I’m interested in trying to exegete the director’s intent, because we owe that to the artist before we decide what we personally draw out of the movie.

But also, remember, Aronofsky is drawing from an eclectic mixture of Kabbalah, humanism, environmentalism and other sources so he is not going to have a systematic one-for-one correspondence with any one system. He carries the influence of those ideas, and about the only consistent connection between them all is their intent to subvert the Judeo-Christian sacred narrative.

“I’m Godless. And so I’ve had to make my God, and my God is narrative filmmaking, which is — ultimately what my God becomes.”
Darren Aronofsky

Another way of saying this is that his religion is storytelling, another perspective shared by many in Hollywood who have been deeply influenced by Joseph Campbell’s mythological worldview.

Serpent Ho!

One of the things that rubs the viewer confused while watching the movie Noah is the positive image of the Serpent in the story. We see the Serpent shedding his bright green skin to come out a black snake with extra eyes (Reminding me of the mystical “third eye” crows in Game of Thrones). The Serpent’s skin then becomes the magical talisman birthright of Adam passed down to Noah. Then this Serpent skin is wrapped around the arm of the right person, it glows with presumable enlightenment and blessing. Tubal-cain, the villain, takes the skin away before Noah can receive it from his father. But it brings no glowy favor to him. Ham steals it and it disappears until the end of the movie where he gives it back to Noah. Noah then wraps the skin around his arm and it glows with favor as he touches the two little granddaughters. So the skin of the Serpent in this movie is clearly a positive image.

Defenders of the movie have lined up to try to explain away the positive image of the serpent by saying the skin represents the original goodness of the serpent’s creation before he became evil. But I think they may be projecting their own interpretation onto the imagery.

First, there is no reference at all in the Genesis text to the Serpent as being good before the Garden. It is possible, though not probable because it is deliberately not addressed in the story. It just describes him as more cunning than the other animals created (Genesis 3:1). All imagery of the Serpent throughout the Bible is always negative. Even the bronze serpent on the pole in Numbers 21 that healed the stricken was still the image of the deadly snakes hung in judgment (healing through judging the serpent). And Christ’s death on a cross likened to that serpent on a pole is also a visual metaphor for Christ taking on our sin (John 3:14) or “becoming sin for us” (2Corin. 5:21). That’s negative serpentine imagery.

[New addition in response to Peter Chattaway’s apologetic for the Serpent]
Genesis 1:6 says “God created the great sea monsters.” That Hebrew word for “sea monsters” is actually tanninim, which means sea dragons. In Canaanite and other Mesopotamian creation stories, the sea dragon or sea serpent represents chaos that the chief gods overcome to create the world. So in Genesis, God is subverting that image by “defanging” the standard negative power symbol into a mere creature created by God and under his sovereignty.

In other places, this sea dragon is also called “Rahab,” but is the same sea serpent monster of chaos that the writers describe as symbolic of God’s covenantal power over the chaos (Job 9:13; 26:12; Psalm 89:10; Isaiah 30:7; 51:9)

But later, in other poetic texts, Leviathan the sea dragon takes up this personification of the serpentine negative power of chaos, only to be described as easily controlled or overpowered by Yahweh (Job 3:8; 41:1; Isaiah 27:1; Psalm 74:14; 104:26)

This negative symbolic Serpent imagery concludes in Revelation 12:9 when Leviathan is recast as the Dragon trying to kill Messiah. Here we see the description: “And the great dragon was thrown down, that ancient serpent, who is called the devil and Satan, the deceiver of the whole world…” (Revelation 12:9)

Mr. Chattaway tries to create a more diluted negativity of the Serpent in other Biblical texts but never quite does the job. Jesus telling his disciples to be shrewd as serpents, innocent as doves still reinforces the negative image of the serpent, tying it to the “cunning” we heard about in the Garden. But in ironic poetic fashion, Jesus plays an extreme counter to that image with the innocence of doves to communicate that we are not to have the evil of the serpent.

The Egyptian staffs turning into serpents is also a negative image, but Moses’ staff transformation into a snake that eats the others is simply another ironic mockery of God saying that he is sovereign over evil and can overcome it with its own negativity. Remember the sea dragon domestication? Similar thing here.

The Dan reference in Genesis 49 is a bit more interesting, but suffice it to say that the tribe of Dan resided in the area of Bashan which meant “place of the Serpent.” So the use of viper imagery there plays off that original pagan notion, but describes Dan’s fighting like a serpent biting a heel, which is another poetic play of saying Dan will be to his enemies like the evil Serpent of the Garden is to the offspring of the Woman” (Genesis 3:15).

There actually is one very powerful positive image of serpents in the Old Testament, but I’m going to make Mr. Chattaway find it for himself. And if he does, it won’t change the fact that the serpentine imagery related to the Serpent in the Garden and extended into Rahab, Leviathan and Satan is always negative. In the Bible the Satanic Serpent is never thought of in positive terms.

OMG, I almost forgot: Jesus stressed that the devil or Satan, the “serpent of old,” “was a murderer from the beginning, and does not stand in the truth, because there is no truth in him. When he lies, he speaks out of his own character, for he is a liar and the father of lies.” (John 8:44–45). There is no Biblical notion of the Serpent being good at the beginning. That is for a very theological purpose of identifying the Serpent with evil, and ultimately with the people of Canaan who would be dispossessed from the Land.
[End of new addition]

In the pagan ancient Near East of Israel’s day, however, the serpent had far more positive imagery than negative. Here are some of them as listed by scholar James Charlesworth in his book, The Good & Evil Serpent: Life, wisdom, magic, health, fertility, transcendence, creation and light, divinity, earth-lover, energy and power, immortality. (1)

Remember, Aronofsky is a self-proclaimed atheist with mystical mythical dalliances. So his spin is going to express his worldview through the narrative. And what does he do with that “Serpent of old,” that bringer of temptation to Original Sin? That Father of Lies? He inverts the Serpent from a negative image to a positive one of life, enlightenment and blessing.

This illustrates another worldview influence of cosmic humanism which has affected many in Hollywood through Joseph Campbell’s mythological mish mash and mystical monism, a kind of atheistic theology (contradictory, I know, but very relevant to Aronofsky’s view).

(Excerpt from The Power of Myth by Joseph Campbell)
MOYERS: In the Christian story the serpent is the seducer.
CAMPBELL: That amounts to a refusal to affirm life…
CAMPBELL: Why was the knowledge of good and evil forbidden to Adam and Eve? Without that knowledge, we’d all be a bunch of babies still in Eden, without any participation in life…The serpent, who dies and is resurrected, shedding its skin and renewing its life, is the lord of the central tree, where time and eternity come together. He is the primary god, actually, in the Garden of Eden. Yahweh, the one who walks there in the cool of the evening, is just a visitor. The Garden is the serpent’s place. It is an old, old story.(2)

So the Serpent was not influencing man to fall into sin, but rather opening his eyes to enlightenment and autonomy from God. You see, in this scheme, God is either a bully who wants to control man and is foiled by the wise Serpent, or is secretly desirous for man to disobey so he will learn to make his own decisions! In other words, God wants man to grab the control of defining or “knowing good and evil” for himself and not rely upon God. So in this revision, the Serpent is actually a pathway to maturity of humanity, NOT sin.

Thus, the Serpent is a positive image. And this is why at the end of the movie Noah, Illa tells Noah that God wanted Noah himself to decide if mankind was worth saving. Because it is up to man to decide good and evil and to define his fate (NOT God). Sssssound Ssssssimilar to Sssssomething?

In fact, in the beginning of the movie, when Lamech is about to give Noah the Serpent skin, he wraps it around his arm all glowy-like, and their hands are about to touch in an obvious homage to the creation image of Michelangelo’s Sistine Chapel. The creation image of God’s hand about to touch Adam to give him the breath of life. The Serpent is a “creator of life” in this story, not the bringer of death as he is in Genesis. Also, the snake skin is wrapped around the arm in the same way that modern Jews wrap phylacteries or tefillin around their arms. The symbolism of the tefillin wrapping is that they contain little boxes with Scripture in them that is meant to represent God’s Word as the binding source of everything they do (Deut. 11:18). So in the movie Noah, the life-giving Word of God is replaced with the skin of the Serpent. More creepiness.

The heart-like pulsating fruit on the Tree of the Knowledge of Good and Evil in the Noah movie most likely represents the life that Adam and Eve would receive upon eating it. Again, life instead of death.

This could also explain the odd notion that in the film the Watchers are banished by God for wanting to help mankind. That never seemed to make sense in the story. Why would God punish angels for helping mankind? Isn’t that their M.O. after all? But it does make sense if the meaning of this mythological remake is that God wants man to “do it on his own.”

Ironically, the idea that man would become mature by choosing his own destiny (against the pettiness of a jealous angry controlling God) is exactly what the Serpent suggested in the Garden to Eve: “For God knows that when you eat of it your eyes will be opened, and you will be like God, knowing good and evil” (Genesis 3:5).

This humanistic interpretation can be found in critical Biblical scholarship. Liberal scholar James Charlesworth suggests that to “characterize [God] as villain is not impossible, in view of 3:8 (the Garden is for his own enjoyment), and vs. 23 (where he feels ‘threatened’ by the man!) As villain, he is the opponent of the main program.” (3)

Charlesworth then concludes that, “The story of the serpent in our culture is a tale of how the most beautiful creature [the serpent] became seen as ugly, the admired became despised, the good was misrepresented as the bad, and a god was dethroned and recast as Satan. Why? It is perhaps because we modern humans have moved farther and farther away from nature, cutting the umbilical cord with our mother earth?” (4)

Earth worship here is linked to the Serpent as good guy. Ssssssomething Sssssounds Sssssimilar again!

Yes, I do admit that I am engaging in interpretation in this post. More than in my previous ones. And I acknowledge the possibility that I may be wrong in some ways. Is this any different than the projection I am suggesting is going on with defenders of the movie? Not quite the same thing. Because I am not importing my own Judeo-Christian interpretation upon the images of Aronofsky’s in trying to justify it. I am trying to make sense of those images with Aronofsky’s own self-proclaimed worldview.

And that is a subversive worldview indeed.

Or as Genesis would put it, “cunning.”

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Buy the novel Noah Primeval, here on Amazon.com in Kindle or paperback. The website www.ChroniclesOfTheNephilim.com has tons of way cool free videos, scholarly articles about Watchers and Nephilim Giants, artwork for the series, as well as a sign-up for updates and special deals.

[UPDATE] So Mr. Chattaway has sought to debunk the critique of the positive Serpent imagery that I and others have pointed out. He goes to great length and detail in a crafty defense of the “positive Serpent” as I will call it. His beef is mostly with the “Noah is Gnostic” meme that he thinks is an unfair description of the movie, and he spends most of his energy addressing Brian Mattson’s post that first made that argument.

He then addresses this post of mine as one of the culprits of the “Noah is Gnostic” meme and says that I “referenced Mattson’s “Noah is Gnostic” theory repeatedly in a post two days ago [… and then] drops the subject in his most recent post,” — this one you are reading.

Well, not really.

Because I like Peter, I am going to give him the benefit of the doubt that he has mistakenly identified my arguments with Mattson’s and then confused my own arguments in this piece as “dropping the subject” as if I saw the weakness of it and tried to change the subject.

I never dropped the subject. I didn’t raise it to begin with. I said that Mattson made some brilliant points, but then I carefully explained my own interpretation of what was going on, which was of a different focus of concern than Mattson’s. I never argued that Noah was Gnostic. Reread my words above and in the previous post. I argued that Aronofsky is most like Joseph Campbell in his drawing from many sources including Gnostic and Kabbalah and other Rabbinic sources. I’ll say it again, for Peter and those who missed it, “Noah is not strictly gnostic or strictly humanist or strictly atheist, and obviously does in fact traffic in Judeo-Christian imagery. Indeed. Aronofsky, like most people does not liturgically follow the dogma of ancient sectarian philosophies and religion. Mattson was not suggesting that. Aronofsky does what most modern modern westerners do: He picks and chooses elements of things he likes from a variety of ultimately incongruous systems of thought.” And then, “Mattson’s claim about the influence of Gnosticism is largely right. No, Noah isn’t a dogmatic or consistent reproduction of one of the various strains of ancient Gnosticism. But in the same way the 2nd and 3rd century Gnostic Gospels subverted the Biblical Gospels by retelling the story of Jesus through a twisted unbiblical paradigm of inversion, so Noah is doing the same thing.”

Like Campbell, one of his influences, Aronofsky picks and chooses from different traditions to create a confusing mixture of ideas that nevertheless happen to have one consistent theme: The subversion of the Biblical Serpent from a negative into a positive image, along with the Serpent’s temptation that man take control of his fate and moral decisions away from a silent and harsh God. (Illa: “The choice was put into your hands because he wanted you to decide if man was worth saving.” –This is the equivalent of the Serpent’s offer of being like God in “knowing good and evil” Genesis 3:5)

Chattaway becomes confused when he relativizes and denigrates the Christian interpretation of the Serpent and then privileges Aronofsky’s Rabbinic Jewish interpretation. He says, “I think part of the problem here is that Christians have been brought up to assume that the serpent in the Garden of Eden was really Satan in disguise. The actual text of Genesis never says this — it simply says that “the serpent was more crafty than any of the wild animals the Lord God had made” — but in this, as in so many other areas, Christians read the Bible through the filter of later traditions rather than reading just what the text actually says.”

Now Chattaway is usually a rather sharp mind, but his blade gets dull here when he completely misses the inherent negativity “of what the text actually says.” The text describes the Serpent as “cunning” or “crafty,” which scholars explain is a word play in Hebrew as an opposite of Adam and Eve’s “naked” innocence. And then of course, we have his temptation and lie. Yes, he is a nasty being and that is what I was arguing. I actually didn’t argue that the Serpent was “really Satan in disguise.”

But then Chattaway dismisses the Christian interpretation as a “later interpretation” without apparent textual basis, while simultaneously avoiding the fact that Aronfsky’s Rabbinic interpretation is also a “later interpretation.” “What the text actually says” is that the Serpent was cunning and was the tempter and deceiver. It doesn’t say that he was good and became evil. THAT is the later tradition that changes the text.

The fact is that everyone is interpreting through a tradition. The question is which is the most Biblical? While Chattaway lists an impressive amount of examples from Rabbinic and other ancient Jewish extra-biblical sources to justify the “Positive Serpent” spin, he fails to address the Biblical argument itself as I have illustrated. Namely that the Serpent has an unbroken inter-Biblical “tradition” of negativity from the Serpent in the Garden to the dragon imagery throughout the Old Testament (Hebrew: tannin), to Rahab, and Leviathan the sea serpent with multiple heads (again, OT), to the seven headed dragon of Revelation. Yes, the New Testament calls the Serpent Satan, but the bigger point is that the meaning of the Serpent from Old to New Testament is as an incarnation of chaos and/or evil. (Read my paper on Leviathan here). That ain’t some “later tradition,” like the Rabbinic one he quotes.

Lest I need to remind Peter that the Christians who wrote the New Testament were in fact Jews, steeped in ancient Jewish tradition. It is a common fallacy to denigrate “Christian interpretation” as if it is something non-Jewish or “anti-Jewish” when in fact, it is the most faithful JEWISH interpretation of the Old Testament.

Bottom line: The Apostle John kicks Rabbi Eliezer’s and Pseudo-Jonathan’s butts when it comes to Old Testament hermeneutics. Canon over fodder. As I said before, Aronofsky’s Noah has surely drawn from Rabbinic and (gnostic influenced) Kabbalah sources, but my argument has been that they are antithetical to Biblical meaning.

Thus when Chattaway quotes writer Ari Handel’s statement about the shed skin of the snake being “a symbol of the Eden that we left behind. It’s a garment to clothe you spiritually,” while this certainly ties in with the sources Chattaway quoted, it doesn’t justify it as a Biblical notion but only as ancient Jewish speculation. And it doesn’t change the creepy fact that in the movie Noah, the Serpent has been transformed into a positive image through the film. Granted, it’s the skin of the Serpent. But the skin is the symbol of the Serpent. And the Serpent is the symbol of lost Eden.

Not in the Bible. The Serpent is the symbol of the enemies of God. What does God actually say of the Serpent? Not that the Serpent is a symbol of what Adam and Eve lost. But rather, “I will put enmity between you [Serpent] and the woman, and between your offspring and her offspring; he shall bruise your head, and you shall bruise his heel.” Genesis 3:15. This is a War of the Seed of the Serpent with the Seed of Eve that I am writing about in an eight volume series of novels called Chronicles of the Nephilim. (Shameless act of self-marketing. Yes, I am a capitalist. Call me Tubal-cain.)

When Chattaway defends Aronofsky’s Kabbalah and Rabbinic interpretive framework over against the Christian Jewish interpretive framework, he merely makes my argument, that the movie Noah and its God and Serpent are not Biblical.

So for a simple summary of the issues:

The Bible: Serpent bad, God good. God decides Man’s value.
Aronofsky’s Noah: Serpent good, God bad (and silent). Man decides Man’s value.

That’s subversion.

FOOTNOTES
1 James Charlesworth, The Good and Evil Serpent: How a Universal Symbol Became Christianized, New Haven: Yale University Press, p. 220.
2 Campbell, Joseph; Bill Moyers (2011-05-18). The Power of Myth (p. 54). Knopf Doubleday Publishing Group. Kindle Edition.
3 Charlesworth, The Good and Evil Serpent, p. 309.
4 Charlesworth, The Good and Evil Serpent, p. 419.

To Christian Pro-Life Moviegoers: Put Your $ Where Your Mouth Is

I hear people all the time telling me how they wish more storytellers like me would get their movies made. Well, here is an opportunity to support just that.

A movie about the biggest serial killer in American history, the abortion doctor Kermit Gosnell who murdered thousands of LIVE BORN children, not merely in utero, but actually born children. Even pro-choicers should support this story but the media has ignored it because they think that it will jeopardize abortion rights if they publicize the truth.

I know these filmmakers. They tell good stories. They’ve done fantastic documentaries, like Frack Nation. But this will be a feature film. And it will be quality because they’re professional and serious about their craft.

This will not be like Facing the Giants. These filmmakers have a more mainstream sensibility in their filmmaking, and they will work with a pool of Hollywood type professionals.

I supported this film and you should too. In fact, when you do, tell them in the comments that they should hire Brian Godawa to write the script.

CLICK ON THE WIDGET BELOW and it will take you to the website to donate money to the project.

Please do this. I did. We must support these kind of projects..