The SyFy Channel’s miniseries diverges from the intelligent style and ambiguously positive theme of the book, but ultimately delivers the same occult message.
In Part One, I examined elements of New World Order propaganda embedded in Arthur C. Clarke’s 1953 science fiction novel, Childhood’s End, and revealed the Luciferian aspect of the story.
In Part Two, I explore the second part of the book (the second night of the miniseries) which dives into the occult or more esoteric aspects of the story, and I will explore how the miniseries differed in presenting this material.
Infantilizing the Book and Humanity
Watching the SyFy channel miniseries, I was first struck by how much unnecessary melodrama was added to the story that wasn’t part of the book. Nearly every character in the book was turned into an emotionally damaged stereotype for television, the same sort of characterizations we’ve seen on television and in films for several decades now – the wounded hero who lost his wife, the wounded parents who lost a child, and the wildly irrational supporting characters. In the book, Rikki Stormgren was the UN Secretary-General – he wasn’t mourning over a dead wife, nor does he contract a rare alien disease.
The contrast is so stark from the intelligent, stoic, and grownup characters in the novel, what was standard of the era roughly between 1940 to 1970, that I began to wonder if Hollywood now has a deliberate agenda to portray ordinary people as damaged goods. Or is this just lazy dramatic writing? After all, this is a book about ideas. There is none of this soap opera that unfolds in 5-10 minute intervals to fit between commercial breaks. Have television audiences become conditioned to the notion that realistic characters must be emotionally damaged in some way?
“The world’s now placid, featureless, and culturally dead … There’s nothing left to struggle for, and there are too many distractions and entertainments. Do you realize that every day something like five hundred hours of radio and TV pour out over the various channels? … No wonder that people are becoming passive sponges – absorbing but never creating.”
In some respects, the miniseries turns the landscape of the book upside down. It turns the adults into overly emotional children and the children into robotic and emotionless adults. And while the story is about an alien invasion at the beginning, it’s more about this mutation and evolution of human children towards the middle and end. Ultimately, the Overlords treat human adults as children who need to be protected from themselves and the larger truth. How does this reflect in our society today?
…yet sometimes it seemed to him that men were like children amusing themselves in some secluded playground, protected from the fierce realities of the outer world … [George] had no wish to face whatever lurked in the unknown darkness, just beyond the little circle of light cast by the lamp of Science. (page 150-151)
In a news conference, Karellen and the Overlords finally admit to humanity that:
“the stars are not for Man.”
“Your race, in its present stage of evolution, cannot face that stupendous challenge. One of my duties has been to protect you from the powers and forces that lie among the stars – forces beyond anything that you can ever imagine.” (page 137)
The Overlords and the Occult
When the Overlords refer to protecting mankind from “the powers and forces that lie among the stars,” they are perhaps referring to occulted powers. The middle of the book reveals the Overlords’ interest in paranormal phenomenon. One of the Overlords decides to study Rupert Boyce’s rare book collection on the subject at his home in South Africa.
“Er – well, when you consider what the Overlords know about science, I should hardly think they’d be interested in psychic phenomenon and all that sort of nonsense.” (page 86)
“I mean, it seems so hard to reconcile the Overlord’s science with an interest in the occult.” (page 114)
The cocktail party and Ouija board scene is presented very differently in the book and the miniseries. The book presents the scene as a casual gathering of jet-set friends who decide to dabble in their host’s preoccupation with the paranormal. The miniseries paints the scene as a more deliberate and diabolical experiment. Either way, this Ouija board incident clues the Overlords to the fact that an unborn child, and a new generation of children, will develop profound psychic abilities.
The whole experience gave George an uncanny impression of being in contact with some purposeful, independent mind. (page 100)
Of the various methods one might use to communicate with spirits or entities beyond the veil, I have often heard and read the same warning – using a Ouija board is very dangerous. I’m not sure why this is the case, I’ve never used one myself, but from countless stories the consensus seems to be almost universal. I recall in the book from which the film “The Exorcist” was adapted, it was the use of a Ouija board by the young girl that opened the doorway for demonic possession. Is this the case in Childhood’s End?
Ouija: Not a Game
From: ghost research.com
By: Dale Kaczmarek, President, Ghost Research Society
The board itself is not dangerous but the form of communication that you are attempting often is.
Most often the spirits whom are contacted through the Ouija are those whom reside on “the lower astral plane”. These spirits are often very confused and may have died a violent or sudden death; murder, suicide, etc. Therefore, many violent, negative and potentially dangerous conditions are present to those using the board. Often times several spirits will attempt to come through at the same time but the real danger lies when you ask for physical proof of their existence! You might say, “Well, if you’re really a spirit, then put out this light or move that object!” What you have just done is simple, you have “opened a doorway” and allowed them to enter into the physical world and future problems can and often do arise. … I am not an expert in Ouija but do warn people against using this or any means of spirit communication including, séances, automatic writing, etc. This is not a parlor game nor is it something for anyone to experiment with as there are many dangers involved. I constantly get calls and emails from people who are absolutely terrified after using the Ouija and ask for my help. Often this comes in the middle of the night, from out-of-state and by way of adolescents.
The fact that the Overlords are clued in to the spiritual connection between the unborn baby and the use of the Ouija board might suggest that this Overmind, to which the Overlords later refer, is some demonic power or demiurge and not an aspect of God as a casual reader might justifiably conclude. As Karellen informs us:
“As we are above you, so there is something above us, using us for its own purposes. We have never discovered what it is, thought we have been its tool for ages and dare not disobey it. … Let us say that above us is the Overmind, using us as the potter uses his wheel.” (page 183)
“We believe – it is only a theory – that the Overmind is trying to grow, to extend its powers and its awareness of the universe. By now it must be the sum of many races, and long ago it left the tyranny of matter behind. It is conscious of intelligence, everywhere.” (page 183)
The true God or Source of all creation would not seek to use its creation as tools. Instead, God would see us as loving companions and co-creators. It would have no need to break free from the prison of matter. It would have no reason to grow or extend its power or its awareness, for it would already be infinite in both, encompassing everything. It would not seek to ‘Do’ anything. God would simply ‘Be.’
Related Post: Understanding Our Divine Relationship
This raw intelligence that seeks to escape the prison of matter and extend its power is our ego, and by its definition it is a form of ‘artificial’ intelligence. Thus the Overmind might represent a vast interstellar artificial intelligence. Much like the Borg from Star Trek: The Next Generation, it strives to assimilate entire civilizations in its conquest of the universe.
The question remains – which cosmic intelligence was Clarke attempting to describe with his concept of the Overmind?
Curiously, there is a description of a giant squid in the book, coincidently named Lucifer, or Lucey for short (page 119). The giant squid and a whale become gifts for the Overlord’s homeworld, and the mechanism by which Jan Rodericks (Milo in the miniseries) becomes a stowaway to their planet.
Related Article: “Lucy” : A Movie About Luciferian Philosophy
Clarke, Kubrick, and the Overmind
According to Wikipedia:
[Clarke] had written two different endings for the novel and was unsure of which to use. According to biographer Neil McAleer, Clarke’s uncertainty may have been because of its thematic focus on the paranormal and transcendence with the alien Overmind. While the theme was used effectively by Clarke in the novel, McAleer wrote that “it was not science fiction based on science, which he came to advocate and represent”. When he wrote Childhood’s End, Clarke was interested in the paranormal, and did not become a sceptic until much later in his life. (wikipedia)
“I’ve always been interested in ESP and the paranormal. In addition to the scientific experiments which have been conducted suggesting that we are just short of conclusive proof of its existence, I’m sure we’ve all had the experience of opening a book at the exact page we’re looking for, or thinking of a friend a moment before they ring on the telephone.” – Stanley Kubrick (source)
A similar concept of advanced alien consciousness or Overmind is presented in the film 2001: A Space Odyssey, a film Clarke cowrote with Stanley Kubrick, which has since been interpreted as highly esoteric in meaning. Filmmaker and researcher, Jay Weidner, does a fantastic job of revealing the esoteric themes in Stanley Kubrick’s masterpiece 2001: A Space Odyssey, in his own film “Beyond the Infinite: Kubrick’s Odyssey II.”
Weidner unveils new insights into this most mysterious of films and shows us that Kubrick was telling us another story underneath the story we are watching on the screen. In this secret story we can see that 2001: A Space Odyssey is a actually a work of alchemy; a film that initiates the viewer into a higher consciousness and opens the mind and heart to new vistas for the entire human race. Kubrick uses powerful symbols in 2001 that were designed on purpose to reveal the secret of transformation and the path to our spiritual evolution. (source)
The virtual hotel room scenes where Stormgren meets with Karellen in the Childhood’s End miniseries (which is not part of the book) feel remarkably similar to the final sequence of 2001, where astronaught David Bowman meets the monolith.
Several attempts to adapt the novel [Childhood’s End] into a film or miniseries have been made with varying levels of success. Director Stanley Kubrick expressed interest in the 1960s, but collaborated with Clarke on 2001: A Space Odyssey (1968) instead. The novel’s theme of transcendent evolution also appears in Clarke’s Space Odyssey series, and is attributed to the influence of British author Olaf Stapledon. (wikipedia)
It has been suggested that Stanley Kubrick used 2001 to develop the technology to fake or duplicate the Apollo moon landings for NASA. Kubrick’s last film, Eyes Wide Shut, suggests an intimate knowledge of secret elite occult rituals. Kubrick died immediately after completing this film, and before the film was re-edited by the studio for a public release.
The Overlords: STS or STO?
One of the problems I see with trying to pigeon-hole the Overlords as evil is that they do not neatly fit into a negative, Service-to-Self, or demonic extraterrestrial category. In some respects the Overlords are negative – they directly interfere in mankind’s evolution, concealing their motives, imposing their own agenda. In other respects the Overlords are quite positive – they demonstrate compassion for the general welfare of mankind, and their supervision is largely “hands off.” The Overlords are also fairly neutral – they really just want to leave Earth and go home.
I find that the Overlords represent a spectrum of the traits of all the extraterrestrials that have allegedly been and are interacting with mankind – both the intervening Service-to-Self negative groups and the well-meaning Service-to-Others positive groups. These diverse groups all seem to share at least some of the Overlords negative traits: a compulsion for secrecy, the mere illusion of non-interference, and the ingrained arrogance of older, advanced beings which tend to foster spiritual blindspots, or put another way: “We know what’s best for you.”
When it comes to extraterrestrials interfering with mankind, there is probably no “right way,” yet there does seem to be an abundance of “wrong ways” which have caused more problems than they have solved, like providing assistance – both esoteric knowledge and advanced technology to humanity – which has allowed the free reign of an out-of-control, self-destructive, occult elite. The Overlords, at least, seem reasonably aware of the dangers of sharing too much knowledge, too quickly.
“All these potentialities, all these latent powers – we do not possess them, nor do we understand them. Our intellects are far more powerful than yours, but there is something in your minds that has always eluded us.” (page 182)
“… you can make the jump to the next stage, and therein lies the difference between us. Our potentialities are exhausted, but yours are still untapped.” (page 183)
Despite all of their powers and their brilliance, the Overlords were trapped in some evolutionary cul-de-sac. Here was a great and noble race, in almost every way superior to mankind; yet it had no future, and it was aware of it. (page 177)
One of the common threads of religion, mythology, channeled information, and ET contact lore is that humanity is quite special and unique. Even the angels envy us. We have a soul spark that other races simply do not possess. We embody a complex mix of emotion, intellect, spirit, and free will. We are a new experiment in creation. We have the potential to evolve and transcend beyond our past, our pain, our limitations, and our perceptions. We can become either demonic or divine. We can transform ourselves. We have the potential to make a quantum leap, and that seems to be our ultimate destiny – which this novel proceeds to address.
In Part Three, I will explore that last part of the book (the third night of the miniseries) which deals with the harvest of the children, whether it represents a spiritual ascension or something more sinister.
About the Author
David Nova is the author of the metaphysical fiction series “Season of the Serpent.” He is a truth-seeker, a Wanderer, a blogger, and the moderator of Deus Nexus: Messages For An Entangled Universe. For additional information about the author or his novels, visit his website, or his Facebook page.
This article is offered under Creative Commons license. It’s okay to republish it anywhere as long as attribution bio is included and all links remain intact.
*NOTE: Page numbers referenced correspond to my paperback version of Childhood’s End.
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