The Prisoner
The Prisoner
Irish actor, Patrick McGoohan, after he`d become a successful action character, John Drake, in the British Independent Television (ITV) series, Danger Man (1960-68), seemingly abandoned guaranteed success to write and act in the lead role in The Prisoner (1967-68), which was described by TV critics as a puzzlingly surreal drama in 17 parts conceived by a `maverick` star. McGoohan acted the role of a secret agent and, indeed, the series was retitled Secret Agent when released in the United States. In The Prisoner an agent, acted by McGoohan, though pointedly not Drake, is subjected to knockout gas at his apartment after he attempts to resign from the organization that employed him. Kidnapped and taken to where the filming for the series occurred in the North Wales village of Porthmeirion, he has to become used to being called `Number Six`. His `catchphrase`, when he speaks against those that periodically interrogate him during his TV imprisonment, is:
`I am not a prisoner, I am a free man.`1
Described as `camp` and infuriatingly cryptic, McGoohan was asked repeatedly to explain The Prisoner, and he made some attempts. Although the prisoner is a secret agent, McGoohan denied he was John Drake of Danger Man, who was engaged in a role by a security organization to perform tasks for money. Formerly guided by what his agency had deemed necessary, the prisoner`s awakened individuality within his prison environment causes him to rebel against the establishment of the collective and examine his basic socio-economic and political assumptions. Although the conventions of British drama don`t permit of an in depth scrutiny, the term `camp` provides a clue to the meaning of The Prisoner. `Camp` is definable as a form of acting that`s exaggeratedly manly and, though remaining undetectable by the innocent, appears archly `gay` to more `knowing` adults.
`Camp` acting conventions are very close to the concept of `camp` developed by dictator Benito Mussolini`s fascist Italian government after his 1922 election. The symbol of fascism was the Roman fasces or woodcutter`s axe, while the fascist Japanese `labor camps` for enslaved populations and prisoners of war (P.O.W.`s), and German Chancellor Adolf Hitler`s National Socialist (Nazi) Party`s similarly conceived `concentration camps`, owed much to the concept of cutting down trees to build fences behind which people couldn`t see what was going on, and was what the Roman fasces, symbolizing how Rome`s military commanders drew blinds over their planning by ensconcing themselves behind makeshift screens cut from the wood of forests, were for.
The Second World War (1939-45) represented a continuation of the German Empire`s ambition to enslave the Earth, which had resulted in the First World War (1914-18). Italian, Japanese and German fascism was an exaggeratedly homosexual stance based on the `camp` understanding that militarism was `manliness`. Such propaganda `camp` was the style of `manly` actors in Hollywood, Babylon, which had become the movie capital of the world after the first feature film, Old California, was made in Los Angeles by director D. W. Griffith in 1910, while a staple output of movies camply glorifying war as manliness subsequently turned the brains and minds of generations fed a diet of such Satanism.
Hollywood Babylon`s sixth highest grossing film after 1910, for example, reflecting upon Germany`s attempt to enslave Europe and the rest of the world during the 1914-18 conflict known as the First World War, that is, The Four Horseman Of The Apocalypse (1921), was based on Jesus` disciple John`s prophetic Revelation as recorded in the New Testament of the Bible after Jesus` death, Resurrection and Ascension to heaven. The New Testament, which contains Jesus` life history, is viewed generally by Christianity as an explicatory reinforcement of the Old Testament of the Jews containing the Torah and Talmud, which is Jewish history and law. In John`s vision of the future, war, famine, plague and death are personified and unleashed upon the Earth before God`s promised punishment of eternal unendurable pain, that is, the judgment of perdition, is incurred by the evil, while the good receive a new heaven and Earth as a reward. Although John`s apocalyptic vision contains Armageddon, which is the last war of the evil against the good, the outcome is foreordained, which means that non-combatants are less `camp`, and so more likely to receive heaven from God as their ultimate reward for refusing to emulate the acting in movies like Hollywood Babylon`s The Four Horsemen Of The Apocalypse, and so reject Satanism.
In the Bible Eve and Adam are the first man and woman tempted by the angel, Satan, who has been transformed into a serpent by God for refusing to accept that the human host will be greater than the angelic. Giving Eve the `fruit of the tree of the knowledge of good and evil`, which is death, rather than that she obey God`s injunction to `eat only of the fruit of the tree of life`, that is, immortality, the serpent tells her, `You shall be as gods.` (Gen: 3. 5) Expelling Eve and Adam from the paradise of Eden, God tells Adam he must labor while Eve will experience labor pain before Redemption from what the serpent had done, `You shall crush the head of the serpent with your foot, although he shall bruise your heel.` (Gen: 3. 15) In Christian iconography Jesus` mother, the Virgin Mary, is depicted crushing the head of the serpent with her foot, because Jesus was born uncontaminated by male semen. As it is in the interests of the enslaver that humans don`t have longevity through medicine lest they become wise to their slaver, so it is in the interests of enslavement that humans be brainless so they don`t develop labor-saving technologies to escape from Satanism. Consequently, Mary`s `foot` is the human futanarian race of women with their own penis` semen for the sexual reproduction of their own brains` powers for liberation from slavery in ephemerality.
`Babylon` has become something of a pejorative to describe the Hollywood movie capital of the world in the United States of America`s West coast city of Los Angeles, California, and Iraqi dictator Saddam Hussein`s Summer palace at Hillah overlooked the ruins of the ancient Persian capital city throughout the period of the Gulf war that began after he offered bases to the Al Qaeda terrorist organization that, operating out of Afghanistan, which was governed by the misogynist Taliban regime, hijacked civil airliners on September 11, 2001, and crashed them into the Twin Towers of New York`s World Trade Centre `live on CNN` and other television networks. Because `rough trade` is a euphemism for the `brutality and violence`2 associated with homosexuality in pederasty and warfare, the WTC was chosen by Al Qaeda to spread the contagion.
Saddam Hussein`s name means `crusher`, and `small handsome man`, which is biblical and Hollywood insofar as Eve is told by God, `You shall crush the head of the serpent with your foot, although he shall bruise your heel.` (Gen: 3.15) World Trade Centre became a Hollywood `Babylon` movie in 2006, and represented the beginnings of a global awareness of the futanarian role of Moslem women in Islam hidden beneath their burkas within families affording the possibility of sexual reproduction between the human race of women. Consequently, Saddam Hussein`s role as a Hollywood Babylon actor was that of assisting the daughters of Eve to crush Satanism as the world`s awareness of its Satanical suppression of futanarian humanity grew out of the Gulf war to depose Saddam Hussein after he offered bases to Al Qaeda in Iraq.
Executed by hanging on December 30, 2006, Saddam Hussein`s role as a Hollywood Babylon figure vilified in movies such as Jarhead (2005) depicting the role of US soldiers, ended ignominiously. Judged to have used poison gas against Kurdish populations in the provinces of Iraq, Saddam Hussein was sentenced to death for `crimes against humanity`, but the `small handsome man` of the Hollywood Babylon movie industry in the Middle East, whose Summer palace at Hillah overlooked the ancient ruins of the capital city of Persia, Babylon, was the `crusher` of the head of the serpent that sought to spread false images of women to worship from the Babylon of the West where the penis` semen of futanarian women for the sexual reproduction of the brains` powers of their own race of women`s liberation from slavery in ephemerality had already been exterminated in the death camps of Europe and the Far East so that homosexuality in pederasty for warfare could prevail through the media propagandists of Satanism:
`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5)
In ancient Greece homosexuality in pederasty and war was institutionalized and women were host womb slaves, because that`s what `Babylon` means. By the early 21st century men`s mixing of blood, shit and semen in each others` anuses in rejection of `woman`s seed` had resulted in the spread of the HIV/AIDS incurable killer disease as a biological weapon designed to keep women in fearful monogamous faithfulness to the host enslaving womb parasite. When the events of 9/11 were screened it represented a failure to `screen` the HIV/AIDS virus of homosexuality in pederasty and war to prevent it from infecting the brain and killing the victim. `TV` is a term employed to describe transvestism, because male brained humanity is a transvestite creature wearing each others` clothes. Sundered from herselves in male brained transvestism, `woman`s seed` of futanarian humanity with her own penis` semen for the sexual reproduction of her own species` brainpower to liberate her isn`t `screened` for HIV/AIDS` contagion, that is, homosexuality in pederasty`s `brutality and violence` against her Earth, because `Babylon` isn`t a pejorative in Hollywood, where the absence of women`s penis from screenings of the `big picture` means that homosexuality in pederasty for war is Satan`s movie propaganda.
At the `Last Supper`, before he was taken to the hill of Calvary outside Jerusalem and nailed to a cross of wood where he died, Jesus was the human host offering `bread and wine` as symbols of his `body and blood` to his disciples, `Love your neighbor as you love yourself.` (Mk: 12. 31) Rejecting the human host Judas gave Jesus over to the Romans who crucified him, but the Christian Messiah had Resurrection and Ascension to heaven as a prefiguration of the ultimate success of `woman`s seed` in her escape from death and slavery to men of the `serpent`s seed` through the sexual reproduction of her own brains` powers to devise the technology to save her labors and the medical science to maintain her knowledge of Satan immortally to prevent her from succumbing anew:
`I will not make any deals with you. I've resigned. I will not be pushed, filed, stamped, indexed, briefed, de-briefed, or numbered! My life is my own.`
The anti-authority statement by McGoohan as the prisoner is a typical `camp` piece of melodrama, which fits the imagery of the Nazi `death camp` as well as that exaggeratedly homosexual form of acting that, remaining undetectable to the innocent, makes it irresistibly humorous to `gay` knowingness, which is the cruelty of the concentration camp guard who knows that women have penis` semen of their own and doesn`t want the Jews to escape. In Judaism it isn`t possible for a Jew to be born unless from a woman, which effectively means that women are the `chosen people` of the Bible. Because Jesus was uncontaminated by male semen after being born from his mother, the Virgin Mary, his teaching that a Holy Spirit would teach after him predicates the divinely inspired Koran (610-30 C.E.) received by the Prophet Mohamed, who was of the lineage of Ishmael and Hajer, the Egyptian maid of Abraham`s wife, Sara, who had borne Isaac from whom Israel descended, and who gave Hajer to Abraham when she discovered she was barren after the birth of Isaac. The Moslem belief in more than one wife devolves from Hajer, and the pilgrimage to the temple of Abraham, known as the Ka` Ba, is called `Haj` after her, because Ishmael and Hajer built the temple. Because the four wives of Islamic marriage accord with the evolution of biblical thinking with regard to `woman`s seed`, that is, women`s sexual reproduction between themselves within a marital arrangement, the Koran, which provides the basis for Islamic tradition, represents the continued teaching of Jesus` Holy Spirit.
During the aftermath of 9/11 Guantanamo Bay in Cuba served as an internment camp for Moslems as the United States of America began to examine its Islamic population for treachery. Patrick McGoohan`s The Prisoner adopts a `camp` style, because he was the man to indicate the danger. Men are `camp`, because they don`t want the women to know, although they want to be knowing, which is how the men of the cities of the plain were in the Bible, that is, in Sodom and Gomorrah (Gen: 19. 14), which were destroyed by God for homosexuality in pederasty:
`Where are the men who came tonight? Bring them out to us, that we may know them.` (Gen: 19. 5)
The Al Qaeda hijacked airliners were for `the cities of the planes`, because, along with the planes that crashed into New York`s WTC, another breached a wall of the United States` Defense Department, the Pentagon, at Arlington, Virginia, and a third reputedly on its way to Washington, D. C., and the official Whitehouse residence of the President, was taken down by passengers overpowering the terrorist hijackers and crashed at Shanksville, Pennsylvania. Consequently, the Al Qaeda hijackers knew their Bible and equated the USA with Sodom and Gomorrah, which they wanted to `know` in homosexuality in pederasty`s `brutality and violence` of war. Because 9/11 was effectively a `screening` for the spread of the HIV/AIDS contagion of homosexuality in pederasty`s `biological warfare` against human futanarian `woman`s seed`, that is, the biblical `blood plague` (Rev: 11. 6), the knowing were enjoying a `camp` scene.
`Babylon` isn`t a pejorative in Hollywood. One of the more successful comedies in the early 21st century was What I Like About You (2002-6) starring actress, Jenny Garth, as `mom`, Val, and actress Amanda Bynes as her daughter, Holly Tyler. Obviously there`s no actual consanguinity between Jenny and Amanda so nothing to prevent them from sexual reproducing with each other according to the mores of American society. Consequently, it`s the media convention that women don`t have penis` semen of their own for the sexual reproduction of women as the human species that causes the Moslem women of the Middle East to identify the United States as `the Great Satan`, because the mother and daughter family picture from What I Like About You is a knowing fiction devised by homosexuality in pederasty for the host womb enslaving of women as a race for their extinction in parasitism through Satanism`s war against them. Otherwise the moral convention would be for Jenny and Amanda to be flatmates engaged in a sexual relationship with each other, and the repressive homosexual viewers` `camp` knowingness could be forever removed from contaminating the screening for the humans.
1 Feeley, Terence, Patrick McGoohan, Anthony Skene, Vincent Tilsley, David Tomblin, George Markstein, The Prisoner, ITV, 29 September 1967 - 1 February 1968.
2 `Violent, often brutal sex acts, or a person, usually a male prostitute, who looks like they participate in such acts,` https://www.urbandictionary.com/define.php?term=rough%20trade .