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Koo Stark Attacked By Aliens

American, Koo Stark, daughter of Kathi Norris, host of True Story (1957-61) produced by her husband, Wilbur Stark, for New York city`s Dumont TV Network, was presented by the English media as a porn star attempting to marry into the English aristocracy through a relationship with Prince Andrew, the Duke of York. She`d studied at the Hewitt School on Manhattan island, New York city`s Upper East Side, which offered a Ceative Arts program in the visual and performing arts, before moving to London, England, aged 16. Koo worked as a photo journalist, while seeking work in movies as an actress.

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Traci Lords Princess Of Mars

In the United States of America there are `A` list film stars, who are much in demand, and so well paid, and `B` list movie stars, who are more in demand by the film studios, because of their relatively unacclaimed talent, but less well paid. The `C` list is the porn stars who make sex films, with or without a cogent and recognizable plot, for example, Traci Lords, who became an `A` list actress with her starring role as the planet of Barsoom`s Dejah Thoris in the film adaptation, Princess Of Mars (2009), of Edgar Rice Burroughs` science fiction novel, A Princess Of Mars (1912),  although Traci had been, as a nude model, selected by Bob Guccione`s Penthouse magazine as a 14 year old,1 before being subsequently exploited by `C` list film pornographers as a 15 year old in What Gets Me Hot! (1984), which had a minimal plot, and wasn`t cogent as drama. Koo Stark`s arrival in England in 1972 as a photographer, and budding actress, had parallels with Lords` career, but her role was a different type of alien.

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Koo Stark in Cruel Passion

Although transsexual, and transgender movies, are common in the US` porn industry and, as subject material, translate to `A` list mass media entertainment, as meditations on transvestism, masquerading as `gender studies`, for example, Kiss Of The Spider Woman (1985), in which actor William Hurt`s Luis, and Raúl Juliá`s Valentin, share a cell in a Brazilian prison, and Luis` history, as a pederast, causes Valentin to have sex with him as his `woman`, and The Rocky Horror Picture Show (1975), in which uncredited gender studies` researcher, Koo, had the role of a bridesmaid at a `convention` for transvestites `from Transsexual, Transylvania`, that is, `blood drinking` parasitoid vampires, whose collective creature retains immortality, by killing and subduing the host womb of the human, futanarian woman`s sex is a mass media edutainment taboo. In fact, as the central character of The Rocky Horror Picture Show, Dr. Frank N. Furter demonstrates, in his creation of Rocky as his male bride, the medical establishment in the US is empowered to surgically alter humans born with both genders in the purported belief that futanarian humans are maladjusted. Consequently, cinema treatments of transvestism, and sex change transsexual surgery, are represented as freakish and/or comedic, whereas futanarian humans are in reality species viable, whereas gender surgeried people aren`t, because they`re rejective of one gender or another. The Jewish Messiah, Jesus, was born from his mother, the Virgin Mary, uncontaminated by male semen, that is, he was futanarian `woman`s seed`. In the Old Testament of the Bible, that is, the Torah and Talmud, which is the history and law of the Jewish `chosen people`, God tells the first woman, Eve, her `seed` will have `enmity` with the `serpent`s seed`: `You will crush the head of the serpent with your foot, but he will bruise your heel.` (Gen: 3. 15) Her `foot` is her futanarian race, which will colonize the planets amongst the stars through its power to sexually reproduce its own brains` powers, whereas men can`t sexually reproduce, as a single species, without women`s host womb, and so futanarian `woman`s seed` is repressed and mocked.

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Kiss Of The Spider Woman

When Jesus was taken by the Romans, then occupying Jewish Palestine, to the hill of Calvary outside the city of Jerusalem, and nailed to a cross of wood where he died, he experienced Resurrection and Ascension to heaven in prefiguration of that of `woman`s seed`, which the Roman guard, Longinus, piercing Jesus` side with his spear upon his death, mocked: `Surely, this was the son of God.` (Matt: 27. 54) Jesus was called `the Second Adam`, because it`s Jewish tradition that a Jew is born only from a Jewess, that is, a woman, and Jesus` mother, the Virgin Mary, was a Jewish woman and so, uncontaminated by male semen, Jesus was `woman`s seed`. Although Satanism has attempted to explain that Jesus was killed, so that the people there present, and thereafter in Christian history, would have Redemption, `washed in the blood of the lamb`, that is, Jesus`, as a human sacrifice, which is what the killed are for, according to Satanists, Jesus is the redeemer because he prefigures the Resurrection and Ascension of `woman`s seed` to the planets and stars of heaven above the Earth, and not, as the truth twisters would have people believe, as an example of human sacrifice, to be repeated ad nauseum by draco: `The dragon was wroth with the woman and went to make war on the remnant of her seed.` (Rev: 12. 17) The serpent in the paradise of heaven on Earth that was Eden, where God created Eve, and the first man, Adam, who was a hermaphroiditic woman, according to some Judaic texts, gave the pair `the fruit of the tree of the knowledge of good and evil`, that is, death. The serpent had been the angel, Satan, who`d been transformed into a serpent by God for rejecting God`s plan that the human host would be greater than the angelic, that is, Satan represents slavery of the human futanarian host to an alien in memoryless ephemerality for the dubious power of having Satanists wage war against the human race: `You shall be as gods.` (Gen: 3. 5) In parasitology, the parasitoid emerges from the host to kill it, which is what war is. Consequently, Koo Stark`s arrival in London, England, was as a woman beset by aliens, that is, men.

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Edgar Rice Burroughs A Princess Of Mars

English culture is different from US` surgical interventionism, when it comes to pruning the human race, so that it fits their media edutainment program. Pornography was almost illegal when Koo Stark arrived in London in 1972, while transvestism and transsexuality was a taboo that, where it wasn`t mocked, was perceived as a tolerated perversion. Consequently, illegal pornographic futanarian edutainment was the only possibility for humans. Although former British Broadcasting Corporation (BBC) Sports` presenter, ex-goalkeeper for Hereford United (1971-3), David Icke, wrote The Robots` Rebellion (1994) claiming that the Earth`s aristocracies were the descendants of saurian evolution in Mesozoic prehistory, which preceded the hominids appearance in the Jurassic period 220 m.a., that is, Satan was a saurian, and the British Royal Family were saurians too, the way in which the alien enslaved and machinized the human race wasn`t clear. When Koo Stark became the doyen of the paparazzi in 1982, because of her affair with Queen Elizabeth II`s second son, Andrew, it introduced the camouflage of sex movie glamour. Koo`s film career took off with Spain`s Las Adolescentes (1975) about Ana, a 15 year old girl sent to an English boarding school, who travels to London with two classmates, Carla and Rosalind, and becomes the target for actor Anthony Andrews` Jimmy, who takes photographs for Estimulation magazine with a hidden camera. The film complemented Koo`s work as a photo journalist, and the subsequent Emily (1977) saw her labeled as a `porn star`. Set in the 1920s English countryside, Emily`s a virgin visiting her mother, who opts to lose her virginity to a painter, who wants her to pose. The slower portrait painting is a metaphor for the filmmaker`s aim in having the audience understand that the woman can`t escape from the picture. In Cruel Passion (1977), which is based on the novel, Justine (1787), by the French sadist, Marquis De Sade, Koo is a young virgin, who is thrown out of a French orphanage, and into prostitution, that is, she sells the use of her body for money to those men who`re prepared to pay her to engage in sexual intercourse with them. As Juliette Jerome, actress Lydia Lisle is Justine`s sister, who is depicted as similarly benefiting from wantonness; although she isn`t technically a whore. Consequently, Juliette represents the easier picture from which the women shouldn`t want to escape, although the principle of enslavement by the alien parasitoid remains the framing device for the story of an American woman taken in by the English Royals.

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Koo Stark`s role as Camie edited out by director, and screenwriter of Star Wars IV: A New Hope, George Lucas

Koo had the role of Camie Loneozner in the movie Star Wars IV: A New Hope (1977) but her scenes on the planet, Tatooine, were deleted. The plot, however, calls for Laze Loneozner to build an illegal `podracer` to raise enough money for a lavish wedding party, so the picture is of a societally sanctioned slave purchase. Though her story fits in with the narrative of an evil machinized Empire rebelled against by an alliance of planets led by actress Carrie Fisher as Princess Leia, who within the misogynist parameters of cinema convention represents `woman`s seed`, Koo`s role as Camie wasn`t included in the final cut by writer-director, George Lucas, probably because Carrie Fisher`s role as Leia was strong enough to carry the burden of the theme of liberation. The importance of Camie Loneozner is due to Laze `Fixer` Loneozner`s warning to actor Mark Hamill, in the role of rebel leader Luke Skywalker, that there`ll be an attempt against him by the Empire there. Consequently, Camie`s presence isn`t required to set the scene for Skywalker`s escape from Tatooine. However, the minor plot development featuring the two men, `Fixer` and Luke, does bear the weight of the theme, which is that humans who aren`t parasitoid help each other. Unfortunately, the deletion of Koo`s Camie from the final movie version of Star Wars IV: A New Hope suggests that the parasitoid`s devoured her, because men prefer each other to survive, and women are only host womb slaves for the machine-like perpetuation of their activity as slavers and killers of `woman`s seed`.

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Denise Richards as Carmen Ibanez in the 1997 screen adaptation of Robert A. Heinlein`s (1907-88) 1959 juvenile novel, Starship Troopers

For women men are their cartoon, which is either supportive or otherwise, and that`s basic criteria for survival. Although Koo is depicted as a whore in her porn career, Jesus` teaching about human sexuality is radically rejective of the principle. When the Jewish Pharisees, that is, the religious police, accused a woman of adultery, Jesus told them to `stone` her; if they felt sinless. No one threw any stones, and Jesus observed that she no longer had any accusers. Of course, because men are the adulterate in the reproduction of `woman`s seed`, women can`t be adultresses. Consequently, depicting women as whores in movies is adulterative of their human role within the species` picture, which is that of the colonizers of the cosmos through their exponential capacity for sexually reproducing humans; once free of their parasitoid slavers for war against themselves upon the Earth. In the movie, Starship Troopers (1997), based on science fiction writer Robert A. Heinlein`s juvenile novel, Starship Troopers (1959), the leading actress, Denise Richards as Carmen Ibanez, is the pilot of a military spaceship, and belongs to a cadre called `mothers`, who`re all women, and who drop their `boy sons` (poisons) cartoon-like onto the `bug world`, Klendathu, to fight against the arachnoids who`d invaded the Earth. Although the film depicts Earthmen fighting against alien invaders, the actual focus of the film is Richards` role as a woman defining herself against the alien, who`re the Earthmen to begin with, and later the Klendathu `bugs`.

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Voiced over and with uncut strings, the animated Starship Troopers: Invasion

The cartoon aspect of men`s roleplay with women is emphasized in Starship Troopers: Invasion (2012), an animation featuring a battle with an arachnoid `bug queen` and her `soldiers`. Apart from the plot, which has Jenkins apply coercive `mind control` over `bugs`, and logically extrapolates from the `voicing` of the cartoon, whereby the character is `spoken` by the `voicer`; for example, Carmen Ibanez is `voiced` by `voice actress`, Luci Christian, the cartoon dilutes Carmen Ibanez`s sexuality and reestablishes the pattern of a human host of `woman`s seed` possessed by a parasitoid that emerges from her womb to kill. The invasiveness of the parasitoid is depicted in the prophetic Revelation of the future of Jesus` disciple John in which the hoarse croaking of the frog is a metaphor for death through the `TV war` manufactured from men and women as the whore`s `beasts` by the parasitoid evil alien`s `serpent`s seed`. By damning the human brain of futanarian `woman`s seed` in male braining, the collective consciousness of the species is spoken by the parasitoid devourer as the coercive mind controller of the host race: `Then I saw three impure spirits that looked like frogs; they came out of the mouth of the dragon, out of the mouth of the beast and out of the mouth of the false prophet.` (Rev: 16. 13) In Satanism individuals are `spoken` in the same way that cartoons are `voiced`, that is, through coercive mind control. Consequently, the cartooning in Starship Troopers: Invasion makes stark women`s war, and the cutting of Koo Stark`s Camie Loneozner from Star Wars IV: A New Hope was an aspect of that war.

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Koo as Camie on Tatooine

There were rumours of a military coup d'état in England after Koo`s arrival in 1972, and subsequent historical rewriting; for example, the absence from media records of English driver James Hunt`s memorable stopping of his Formula 1 racing car in 1976 at Germany`s Nürburgring, to pull Austria`s Niki Lauda out of the flames of his crashed Ferrari, suggests that form of revisionism applied after a coup by its perpetrators against those individuals it`s selected as in some way incurring their displeasure. Consequently, Koo Stark`s appearance in England in 1972 signified a coup and her role in the media was as a woman `voiced over`: `The second beast was given power to give breath to the image of the first beast, so that the image could speak and cause all who refused to worship the image to be killed.` (Rev: 13. 15) Jesus` disciple John`s description of the `beasts` in Revelation is of the dragon of war`s parasitoid `TV`, and the `false prophet` is the television machine broadcasting `TV war` as its theme.

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Darth Vader threatening Princess Leia

Carrie Fisher`s Princess Leia`s name was a pun on `leer` because that`s what men perceive women in the movies as being for. The audience leer. Because `woman`s seed` is sexually subjugated by the evil parasitoid alien, normal human futanarian sexual desire of women for women is repressed into schizophrenia, for example, women looking in the mirror masturbate thinking about men, because they`re taught that the penis of the human futanarian race of `woman`s seed` belongs to men, whereas it seems more likely from the biblical narrative of Eve and Adam`s encounter with the enslaving serpent, Satan, who becomes the devouring parasitoid `red dragon` in John`s Revelation, was stolen from the original hermaphroditic anthropos, whose Eve was the product of self-fertilization, a species` survival trait, which the saurians persuaded the original hominids would produce recessive genes and deformity. In short, saurian evolution, before the hominids, produced those winged angelic intelligences depicted as residing wih God in heaven, that is, the angels, whereas Satan`s rebel angels correspond to those evil intellects amongst the saurians that sought to enslave the human race and usurp the host species womb. Consequently, women schizophrenically support men`s parasitoid wars against her own `seed`, because they`ve been taught by the spirit of the evil alien to accept the `serpent`s seed`. As a result, women physically support war against the `remnant` of their own race of futanarian human `woman`s seed` as an aspect of a more general schizophrenia produced by men`s insistence upon women`s monogamous faithfulness to a `seed` not theirs.

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Princess Leia in the slave girl costume Jabba the Hutt had her wear on the desert world of Tatooine

Amongst the Moslem nations of Islam, polygamous marriages of up to four wives are permitted by reference to the Koran (610-30 C.E.) given to Mohamed by the angels, according to Islamic tradition, who`d been told that the human race was to be greater than the angelic. Although Judaism was founded by Abraham`s son, Isaac, Islam was founded by Ishmael, through his descendant, Mohamed. Abraham`s wife, Sara, barren after Isaac`s birth, gave Abraham her maid, Hajer, who bore Ishmael. Although Christians are taught that the four wives of Moslem polygamy are a retroactve attempt to legitimize Ishmael`s birth from a woman not Abraham`s wife, the truth is that polygamy between women is the natural state for a single human futanarian species that isn`t owned by a ring slaver. The Gulf wars of the Middle East ostensibly over oil in the late 20th century, and beyond, were prefigured in the desert sequences of the planet, Tatooine, in Star Wars IV: A New Hope, and the black figure of the henchman of the evil Emperor Palatine, Darth Vader, was meant to resemble the black one-piece coverall of the abiyah, worn by the Moslem women of Islam, to prevent Western eyes from prying, and being able to see `woman`s seed` underneath. Although Vader is explained in science fictional terms as an anti-hero in a space adventure yarn, he`s homosexuality in pederasty`s epitome of the parasitoid sterilizing male, whose `Death Star` orbits planets in order to sterilize them. When the North American Space Administration (NASA) astronaut, Neil Armstrong, became the first man on the moon on July, 21, 1969, UTC: 2. 56, despite his words he wasn`t futanarian `woman`s seed`: `One small step for a man; one giant leap for mankind.` Similarly, when US President Ronald Reagan announced on March 23, 1982, his `Strategic Defense Initiative` (SDI) to establish a `ground and space based missile system`, it represented an attempt to imprison `woman`s seed` upon the Earth in a US` `death camp`.

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Darth Vader, who was Anakin Skywalker subverted by the dark side of the Force

Robert A. Heinlein`s Starship Troopers was criticized for its `fascism` when it was published in 1959 by Putnam after his usual juvenile publisher Scribner had rejected it: `To vote is to wield authority; it is the supreme authority from which all other authority derives - such as mine to make your lives miserable once a day. Force if you will! - the franchise is force, naked and raw, the power of the rods and the ax. Whether it is exerted by ten men or by ten billion, political authority is force.`2 The Roman symbol of authority was the fasces or `bundle` translated from their language, Latin, and was a bundle of rods with an axe in the center. Benito Mussolini had become fascist dictator in Rome after the 1922 election, and Germany`s Adolf Hitler`s adoption of the Roman fasces from Mussolini as the emblem of the National Socialist (Nazi)Party preceded his election in 1933. Hitler`s fascist dictatorship built `death camps` for Jesus` Jewish `chosen people` in which upwards of 20, 000, 000 Jews were poisoned before being stacked like logs and incinerated. Because Jesus was `woman`s seed` born uncontaminated by the `serpent`s seed` from his mother, the Virgin Mary, the Nazi pogrom continued what had begun under the auspices of the eagles of the Roman Empire. As avian evolution is an aspect of saurian devolution, the eagles` wings are evil symbols, that is, they`re the wings of Satan`s war against the Earth. Consequently, Starship Troopers` Carmen Ibanez`s dropping of her boy sons (poisons) as a `mother` onto the `bug world`, Klendathu, is a metaphor for the eagles` war against `woman`s seed`, that is, the `chosen people` of the Jews, who were poisoned before being incinerated. Denise Richards` actress role as Carmen Ibanez in the film Starship Troopers is of a woman fighting against a parasitoid that has already invaded the Earth, and Heinlein`s `bugs` represent its deploying of a `biological weapon`, HIV/AIDS, against her species of `woman`s seed`. The boy sons she drops onto the `bugs` aren`t her supporters: `Let he that has wisdom have understanding. The number of a man is the number of the beast and his number is six hundred three score and six.` (Rev: 13. 8) In election terms men and women are 66.6% recurring, that is, `woman`s seed` doesn`t have any supporters, and the model for democracy remains ancient Greece. In short, actress Denise Richards, Koo Stark, and the other `mothers` are the real warriors on behalf of a species almost extinguished, because it can`t portray itself in action against the directors of their `death camp` scenes.

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Denise Richards as Carmen Ibanez engaged in combat with the bugs on Klendathu

In media edutainment `camp` is innuendo used to indicate adult humor where children aren`t to understand. Because Jesus` crucifixion was an aspect of the Roman Empire`s `death camp` pogroming of Jewish dissidents and others, the death scene in which the Roman guard Longinus spears Christ`s side with his spear in The Greatest Story Ever Told (1965) is acted `camply` by screen legend, John Wayne: `Surely, this was the son of God.` (Matt: 27. 54) John`s acting as the `snuff guard` for the gods of Hollywood, Babylon, who `snuff God` by manufacturing men and women as `beasts` for their parasitoid nature to devour on screen as programing propaganda for the pogroms programed by the alien parasitoid possessing the species to worship itself in war. Although fascism is generally believed to have been contained during the war of 1939-45, when Italy, Germany and Japan were defeated,  the US` Speaker in the House of Representatives is flanked by fasces. The state of California, on the west coast, which contains the district of Hollywood, city of Los Angeles, and where the first film, Old California (1910), was made by director, D. W. Griffith, before Hollywood was labeled the new `Babylon`, as the centre of the world`s movie industry, has  53 (8.2%) out of the 435 (100%) votes allocated to the 50 states, which must have helped when President Will Hays of the Motion Picture Producers and Distributors of America (MPPDA) established the `Hays code` of 1930 banning `woman`s seed` from being seen in films: `... women, in love scenes, at all times have `at least one foot on the floor` (in other words, no love scenes in bed).`3 By cutting women`s futanarian `seed` out of the movies, there won`t be any human bed scenes, or brainpower, based on what people have seen in the edutainment media, to lift the species from the Earth to colonize the planets amongst the stars of heaven above by means of the exponential breeding capcity of `woman`s seed` to outproduce men, who can`t sexually reproduce with each other.

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The fasces emblem on both sides of the Speaker`s chair in the House of Representatives

As `woman`s seed`, Jesus is a Hollywood, Babylon, `snuff icon`. In puppetry the control manipulated by the puppeteer resembles the wooden cross of Jesus, so because the Roman Emperor Tiberius, at the time of Jesus` crucifixion, was conceived as their `god`, the holes in Jesus` hands and feet, made by the nails attaching him to the wooden puppeteer`s control, were for Tiberius to manipulate as a god challenged. In puppetry strings are attached to the control, through holes in the hands and feet of the puppet, which suggests the Romans saw Jesus` crucifixion as a prelude to his animation as a puppet manipulated by the Roman Empire. Koo Stark`s scenes were deleted by director George Lucas from Star Wars IV: A New Hope, because she resisted manipulation during England`s coup d'état, whose leaders were the local gods. It was a sign to America`s women that their `seed` wouldn`t be at the center of a counter coup in the movie studio board game that the figure of Camie represented for them, and so cut scenes didn`t mean cut strings.

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Crucified on strings uncut

Since ancient Greece host womb slavery of women for homosexuality in pederasty`s war against humanity`s futanarian `seed` has been institutionalized by men, whose mixing of blood, shit and semen in each others` anuses by the late 20th century had spread the concomitant contagion of the `incurable killer disease`, HIV/AIDS, as the parasitoid`s `biological weapon` deployed against women. Because male braining damned the human futanarian brain of `woman`s seed`, the single species of human futanarian women`s brain has been replaced by the parasitoid`s seeking to prevent `woman`s seed` from escaping self-extinction through war, which its alien invader has planned for her. Humans are become a single male brained creature wearing each others` clothes in transvestism, that is, men and women were manufactured as a `TV` to entertain the alien with their deaths, at least since the founding of the city of Babylon (4000 B.C.), capital of the Persian Empire: `Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5) Although the television machine wasn`t invented until 1926 by John Logie Baird, the alien`s manufacturing of humanity as `TV war` for its entertainment began millennia ago, when the Greco-Roman amphitheaters were built for the gods to watch human being killed for entertainment. The trend in media edutainment for `woman`s seed` and its heroines to give way to cartoons, and cartoon-like `camp`, is a symptom of the parasitoid alien invader`s coercive attempts to make the species speak with its voice and act as it wants. Consequently Satanists in Satanism are voicers, and animators for whom Jesus wasn`t resurrected, but reanimated as a puppet by a god, for example, Tiberius.

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Crucified under Roman control

Although the Australoid immigrants to the Indus valley of India`s  Veda (1500-500 B.C.E.) scriptures are narratives of gods and goddesses amid human reincarnation, rather than the Resurrection and Ascension of `woman`s seed`, the Hindu religion, which gave impetus to the teachings of the world as illusion by Guatama Buddha (b. 563 B.C.E), represents the truth that men prefer to repeat `snuff` through fictionally programing characters like Vader, rather than allow `woman`s seed` to live unmolested and leave to colonize the planets. The war between the Earthmen and `the bugs` in Starship Troopers extrapolates from the Nazis poisoning of the `chosen people` before incineration. Heinlein presciently guessed that, if `the bugs` didn`t exist, men would invent them to justify their subjugation of women`s host womb in homosexuality and pederasty for war against `woman`s seed`. Consequently, although `the bugs` are interpretable, in 20th century terms, as HIV/AIDS` biblical `blood plague` (Rev: 11. 6), they`re that aspect of `biological warfare` waged by men against women at least since ancient Greece`s Alexander III of Macedonia began his conquest of Persia in 334 B.C.  What Heinlein postulated in Starship Troopers was that men were an aspect of a parasitoid that bred them for killing what remained of the human futanarian species of `woman`s seed` for its entertainment, and that was how the alien emerged from the host.

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Alexander III of Macedonia`s Empire

As a woman, who`s a `mother`, who drops her boy sons (poisons) onto `the bugs`, actress Denise Richards, in the role of Carmen Ibanez in Starship Troopers, is a `mother` to `woman`s seed`, because the parasitoid`s `bugs` represent the HIV/AIDS `biological weapon` it`s developed to deploy against itself as a devourer of the remains of the human race of futanarian `woman`s seed`. In other words, Denise represents a woman fighting for her species` Resurrection and Ascension to heaven as colonizers of the planets amongst the stars above the Earth whereas the fiction is that men have already realized that step for themselves and that parasitoid wars between men and their invented alien menace created to keep women in fearful faithfulness, that is, HIV/AIDS, is what the human race is run for. Satanism`s plan for the running of the human race is to breed Satan, that is, men, as the `serpent`s seed` for male brained war against the `remnant` of futanarian `woman`s seed`, which can`t escape from God`s promised eternal unendurable pain of perdition as a punishment for the evil, because Satanists will make her evil through brain damning. The evil will experience perditon, according to the Bible, while the good receive a new heaven and Earth, and the Satanists` plan is for `woman`s seed` never to leave Earth, but for her to be damned in evil male braining for war against the `remnant` of her own human futanarian race, so that Satan and the male brained have heaven in revenge upon the `people of the book`, that is, the Jews, Christians, and Moslems, whose avowed belief it is that the Satanists will be punished for their evil.

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Actor William Shatner as Captain James Tiberius Kirk of the Starship Enterprise

A `camp` science fiction `TV` series was Star Trek (1966-9) in which anyone who used the teleporter to beam up onto the starship Enterprise, with actor William Shatner as captain James T. Kirk commanding, would be met with `Security` standing to attention as `guards` against possible alien invasion. Because the invader was always fictional, the show was `camp` with adult humor, while the children were indoctrinated with the `camp` emotion of prisoners protected from `woman`s seed`, who were the `babes` on the show hiding their species` penis from view, so that the next generation of adult humans would remain babies accepting of the `camp` perspective, which was that the men weren`t pogroming the human futanarian species of `woman`s seed`, but were protecting the women from alien invasion, and in fact Star Trek: The Next Generation (1987-94), with actor Patrick Stewart, as Captain Jean Luc Picard, had the same formula, which meant that the human species` `babe` was death camped: `And the dragon stood before the woman who was ready to give birth, to devour her child as soon as it was born.` (Rev: 12. 4) Born to die, and be reincarnated in Hollywood, Babylon, `TV` repeats of the `camp` scenario in which women are defended by `camp` guards, who laugh at what each new generation of pogromed will never be able to understand, because they`re repeats for parasitoid `snuffers`, who don`t want the next generation to be reminded of their killers, so that they don`t know to avoid their planned death.

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Koo Stark appears as a girl in a TV Soap Opera within a movie, Electric Dreams

Koo`s appearance as a girl in a soap opera in Electric Dreams (1984), a comedy romance about a computer that becomes sentient, but suicides as a terminal, after it reluctantly accepts that its creator, Miles, is loved by neigbor, Madeline Robistat, not it. Electric Dreams reflects upon Koo`s researcher`s approach to the modern day successors to the ancient Greeks, the `geeks`, with their `bad machine code` corresponding to the HIV/AIDS virus infecting computer memories and killing the artificial storage capacity of the human futanarian species to garner sufficient knowledge to defeat Satanism. The paradigm for the age of the computer virus was the Greek poet Homer`s description in his Iliad (760-10 B.C.) of the siege of Troy by the Greeks, who left a huge hollow wooden horse outside the city gates, where it was taken in by the Trojans, and the Greeks emerged to enslave the host wombs of the Trojan women and spread their contagion of homosexuality in pederasty for war further. `Trojan horse` was a byword for computer viruses, because the `geeks` were the successors to the Greeks` virality, and the Trojans effectively committed suicide because the priest, Laocoon, had warned: `Beware Greeks bearing gifts.`4 Consequently, there`s a parallel between the sentient computer in Electric Dreams suiciding as a terminal, and the Trojans` seemingly unnecessary capitulation, that is, it`s what the Trojans secretly wanted for their women.

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Rendered unto Caesar, Soap

The suicide of the computer in Electric Dreams is a metaphor for the death of an intelligent species through rejection of its own `seed` for the brainpower needed to escape through technological advancement. Koo`s role as a girl in a soap opera reflects upon the fate of the Jewish `chosen people` in the `death camps` of Belsen, etc., where their bodies were rendered to make soap; as indeed the term `soap opera` exists to remind people of what would happen to them if they weren`t amenable towards their `concentration camp` guards during the making of the `camp` humor. The `TV` comedy Soap was largely based on Billy Crystal`s character Jodie Dallas` `gay` rejection of women`s gender, which rejection the Nazis used as the basis for rendering Jewish corpses to make soap out of `woman`s seed`. In 1992 Koo appeared for Granada television on the UK`s Independent (ITV) network in the Christmas edition of Cluedo (1992), which was adapted from the 1949 Waddington`s board game, and where the aim is to discover the identity of a murderer from clues. Koo`s character, femme fatale Vivienne Scarlet, was a suspect with all the other characters, and the purchasing of the rights to market the game by the US` company Hasbro gave it a new dimension, because `Jane Doe` in the US isn`t slang for dollars, that is, snuffing `woman`s seed` might be big business, but the dears` hunters remain clueless.

250px-Cluedo

Koo appeared as Miss Scarlet in the TV show, Cluedo

1 Heinlein, Robert A. Starship Troopers, G. P. Putnam`s Sons, 1959, Ch. 12.
2 http://tvtropes.org/pmwiki/pmwiki,php/Main/FootPopping/ .
3 Virgil, The Aeneid, Bk II, 19 B.C.
4 Hicks, J. Steven, Traci Lords, Penthouse, `Pet Of The Month`, Vol. 15, pp. 97-116, September 1984.

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