Do you have an image of God that you can bring to mind?
If not an image, can you instead think of a quality, or abstract idea of God that you can make some sort of bridge to the divine, at least intellectually to begin with?
Can you invoke a sense of divinity within?
What might that feel like?
These are the questions asked by seekers and mystics.
If you’re not seeking then you may just accept the image of God handed down to you by your parents, your school, your community, your culture and your civilisation.
And like so many of us living under patriarchal western interpretations of canonical biblical texts of the abrahamic religions, you will probably see a white bearded man sitting on a cloud (throwing lightening bolts if you studied ancient history)
But if you are seeking, then perhaps you’ve already experimented with consciousness expanding practices and had an experience of divine union and realisation of personal gnosis as to the reality of God and have received your own vision.
Or perhaps you’ve never thought about what God looks like. Maybe you’ve written God off as a superstitious idea that has no empirical basis that can be subjected to the scientific method in order to prove the existence, beyond all reasonable doubt of God.
If that is the case, then please for a moment suspend your disbelief so that you may consider new research by Scholar James Wenn from Byrga Geniht.
James’s research into the visions of God as received by the Prophet Ezekiel in 592bc and documented in the Old Testament has enabled him to create a new vision of God using advanced 3D modelling techniques.
What is unique about the model that James has created is that it overlaps sacred geometry, the arrangement of particles on the atomic and sub-atomic plane forming shapes into chemicals and the descriptions of God as given by Ezekiel 2500 years ago.
When I see James’ image of God, and hear the words of Ezekiel, to me its like Ezekiel was describing some sort a fundamental building block of reality, maybe a divine spark that holds the moment so that existence can unfold across space and time in some sort of kaleidoscopic everything, everywhere all at once manner.
Please watch Byrga Geniht‘s presentation below to view James’ image of the Divine and let me know what you think about it in the comments.
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The wicked witch disguised herself as a beautiful siren maiden.
She plotted to steal a prince from the Kingdom.
And when the time was right, and the moment set, she appeared to the prince in stunning radiance.
And the prince was dazzled.
In his stunned befuddlement his agreed to marry and have children, locking him in blood with the witch forever.
And the witch took the prince from the Kingdom.
The king became sad.
A great sickness fell upon the royal family.
And the kingdom lost its sparkle.
Prince Harry (Henry) Astrology Chart
A Myth for Our Times: The Kidnapping of the Angel of Love
The Wisdom and Depth Psychology Behind Police Scotland’s Hate Monster Campaign
The trailer for “Joker 2: Folie à Deux” promises a film that dives deep into our minds, exploring who we are, our different sides, and complicated ideas about our personalities. It explores how different parts of ourselves want different things, and they will play out against one another as they vie for control over our willpower.
This inner exploration is best done using the maps of the psyche detailed by the pioneer of modern psychology and psychotherapy, Carl Jung.
The trailer to Joker 2: Folie à Deux, not only captivates with its vivid portrayal of shared madness but also weaves Jungian concepts directly into its narrative, as seen from the outset of its trailer. (And this may not have been intentional)
The narrator’s opening lines, “We use music to make us whole, to balance fractures within ourselves,” speaks of the psychotherapeutic process of finding and integrating all complexes, aspects and archetypes of your being so you can live an authentic and true life aligned with what your ‘self’ craves and desires to express.
Unveiling the Shadows: The Psychological Depths of Joker 2’s Trailer
This idea sets up a main theme which most likely runs through the whole movie. It looks at how visible and hidden forces inside us come together, get triggered, and then show up in our actions as we try to express every part of ourselves. (Even the parts we deny, repress, and try to hide out of shame and fear of rejection)
Shadow work, is an integral Jungian concept that delves into our psyche’s darker aspects. Carl Jung introduced the notion of the Shadow Self, defining it as the part of our personality that we often deny or suppress because it contains traits and impulses we deem socially unacceptable.
This concept is repeatedly portrayed in films, where characters confront and often grapple with these hidden parts of themselves, revealing the powerful influence of the Shadow Self in shaping human behaviour. rough their cinematic journey, these individuals vividly illustrate the transformative potential of recognizing and integrating the shadow into one’s conscious life. (However, they may express their shadow traits in a destructive and dangerous way)
In “Joker 2: Folie à Deux,” these concepts are not just background philosophy but are woven into the interactions between the characters. Harley Quinn’s confession in the trailer, “I’m nobody. I haven’t done anything with my life,” lays bare her struggle with her shadow aspects, which she feels have hindered her potential achievements. Her admission reveals a self-awareness of her unactualized potential, hinting at her shadow harbouring the opposite—a potential for fame and recognition. What does she want to be famous for?
The dialogue in the trailer where Harley tells the Joker, “I haven’t done anything with my life like you have,” is a profound example of shadow projection. She sees in the Joker the fame— infamous as it may be—that she desires, projecting her shadow aspects of recognition and notoriety onto him. Perhaps she sees crime as a way of achieving the fame she craves.
The Joker and Harley Quinn’s relationship is a volatile dance between madness and obsession, where each finds in the other a mirror reflecting their darkest desires. eir chemistry is electric, igniting with every shared moment, each encouraging the other to delve deeper into their shadow selves. e Joker’s chaotic unpredictability resonates with Harley’s longing for recognition, pushing her to explore her own capacity for mayhem and mischief. Together, they form a dangerous symbiosis, amplifying their shared delusions and blurring the lines between love and lunacy.
The film’s title “Folie à Deux” (which translates as madness for two), suggests their connection is rooted in a shared delusional disorder, where their reality is constructed from the fragments of their twisted fantasies. As they pull each other into a spiralling descent, their relationship becomes a stark exploration of what happens when the shadow is allowed to roam free, unchecked by the boundaries of conventional morality.
The Art of Concealing the Inner Chaos across Cinema
This interplay of shadow and light can also be seen in other iconic films.
Patrick Bateman in “American Psycho” meticulously crafts an immaculate public persona, presenting himself as a polished and successful individual.
This carefully constructed facade serves to conceal the shadow of his turbulent and chaotic inner world, filled with violent impulses and deep insecurities. His outward appearance acts as a shield, preventing others from seeing his true dark nature.
Bruce Wayne in “Batman Begins” offers another profound exploration of the interplay between shadow and light.
As a tormented heir to a vast fortune, Wayne constructs a dual identity helping him to navigate his inner turmoil and societal expectations.
By day, he is the epitome of a billionaire philanthropist, the polished and controlled face of the Wayne legacy.
By night, he becomes Batman, a figure that channels his deep-seated anger and desires for justice (or revenge) into a crusade against Gotham’s criminal underworld.
is complex duality serves not only to protect his true identity but also to wrestle with the darker aspects of his psyche.
His transformation into Batman is a direct manifestation of his shadow self, where he confronts the city’s—and his own—darkest elements, embodying the idea that the brightest light indeed casts the darkest shadow.
The Stage as a Mirror: Reflecting Our Shadows via Drama and Disguise
“Joker 2: Folie à Deux” skillfully mirrors its core themes using music and stage performances as symbolic tools.
The trailer’s soundtrack not only expresses the fragmented parts of their psyches but also disguises them under the guise of performance and showmanship.
As they step onto the stage, characters adopt elaborate personas. ese personas often starkly contrast with or subtly reveal their private struggles, illustrating the complex interplay between their public façades and inner turmoil. is deliberate contrast highlights their ongoing effort to reconcile and integrate the various facets of their identity, emphasizing the struggle between appearance and reality.
The narrative illustrates how outward appearances—whether maintained through your persona or channelled through the arts—are employed to navigate and mask complex internal struggles and fractured identities.
These examples offer a poignant exploration of how individuals present themselves to the world while grappling with their inner shadows, highlighting a universal theme across various narratives in cinema.
What a Tangled Web we Weave, When we First Learn to Deceive
Unveiling the Shadows: The Psychological Depths of Joker 2’s Trailer
The new trailer “Joker 2: Folie à Deux” not only gives us a glimpse of a gripping narrative but also hints at a profound psychological study into the dynamics of the Shadow Self, deeply rooted in Jungian concepts.
This exploration underscores the peril of leaving the shadow unchecked, which can manifest chaos similar to that wrought by the Joker & Harley.
The film invites viewers to reflect on their own inner shadows and underscores the importance of acknowledging and integrating these hidden parts of our psyche. Without such recognition and healing, the shadow may grow in its power, potentially unleashing destructive behaviours akin to those of the Joker. It could happen when you least expect it, resulting in catastrophic consequences for you and your loved ones.
Cinema continues to serve as a powerful medium for delving into and understanding the complexities of our inner lives, offering not just entertainment, but also vital insights into human behaviour and psychological health.
Will you watch Joker 2? Will you be able to find your own inner Joker? Or will you identify with neither of them? And perhaps you’ll identify with the role of the police or that of the systems and establishment. Whatever role you decide on, enjoy the film!
Unveiling the Shadows: The Psychological Depths of Joker 2’s Trailer
Cinema continues to serve as a powerful medium for delving into and understanding the complexities of our inner lives, offering not just entertainment, but also vital insights into human behaviour and psychological health.
Will you watch Joker 2? Will you be able to find your own inner Joker? Or will you identify with neither of them? And perhaps you’ll identify with the role of the police or that of the systems and establishment. Whatever role you decide on, enjoy the film!
Unveiling the Shadows: The Psychological Depths of Joker 2’s Trailer
Cinema continues to serve as a powerful medium for delving into and understanding the complexities of our inner lives, offering not just entertainment, but also vital insights into human behaviour and psychological health.
Will you watch Joker 2? Will you be able to find your own inner Joker? Or will you identify with neither of them? And perhaps you’ll identify with the role of the police or that of the systems and establishment. Whatever role you decide on, enjoy the film!
FAQs
What is shadow work and why is it important?
Unveiling the Shadows: The Psychological Depths of Joker 2’s Trailer
Shadow work involves exploring the darker, unconscious parts of your personality, such as hidden fears and repressed desires. Engaging in shadow work promotes a more authentic life, improves relationships, and fosters personal growth.
How is the Jungian concept of shadow specifically applied in “Joker 2: Folie à Deux”?
In “Joker 2,” Jungian psychology is intricately woven into the narrative through the characters’ interactions and conflicts. is exploration deepens their psychological profiles, inviting viewers to reflect on their own inner darkness.
What role do stage performances play in the characters’ exploration of their identities?
Stage performances in “Joker 2” allow characters to either reveal or mask aspects of themselves. is serves as a crucial tool for managing their internal conflicts and personas, highlighting the complex nature of self-awareness and identity.
What are the potential consequences of not integrating the shadow self, as suggested by the film?
Unveiling the Shadows: The Psychological Depths of Joker 2’s Trailer
Failing to integrate the shadow can lead to significant psychological and social repercussions, including an escalation in destructive behaviour and potential loss of control over one’s actions, as depicted through the chaotic lives of the Joker and Harley Quinn.
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When Could You Do Shadow Work? A Guide for Periods of Transition & Personal Growth
On the 14th of March Police Scotland launched an awareness campaign to let the public know that a hate monster was operating in everyone’s psyche. They drew it as a cartoon.
When the public saw this they erupted with fury and anger. There was a feeling of being insulted and treated like children because the Police were using cartoons to communicate with adults. Some even suggested there was something sinister about the campaign.
The police also told us where the hate monster is most active:
“We know that young men aged 18-30 are most likely to commit hate crime, particularly those from socially excluded communities who are heavily influenced by their peers.”
Why Did People Get Angry About the Hate Monster Campaign?
Before we get into the concepts behind the campaign let’s first try and understand why the public and press reacted with fury and anger.
Evil does not want to be known. If you shine a light in the face of evil it will act to protect itself.
Further, evil cannot ever be truly comprehended by us mere mortals in an absolute sense.
So we will only ever have a relative concept of evil, limited by our perceptions and understandings.
If at any point your perception and conception of evil crystallises into one definitive form, evil will outwit you.
Because it will take shape and work through everything you think it isn’t and it will operate in your blind spots.
Stay loose with definitions of that which is undefinable. It’s fine to have working definitions in order to orientate but treat definitions of evil more as coordinates, less as absolutes.
If you are successful in tracking evil. And you lock onto it. And you directly call it out as being operative in you: e.g. give it the name of “Hate Monster” as Police Scotland did; then you will trigger what is known as ego defence.
Ego defence will activate when your concept of self is questioned. It can feel very threatening and it will activate fight or flight. By telling people they have a hate monster inside of them they are essentially telling people that there is an aspect of them that is bad. People don’t want to conceptualise themselves as bad so their ego will kick in to defend itself and reject this idea.
Further, we have to add into the mix that because we are dealing with evil; there are two further defences that need to overcome:
1. Intellectual laziness
2. Narcissistic defences
Intellectual laziness stops people from exploring new knowledge and considering new perspectives. Evil keeps people thinking they know it all. So that it can operate in the areas they know nothing about.
Narcissistic defences ensure the preservation of the self concept so that you don’t question yourself as harbouring potential evil. You think of yourself as good.
With the above in mind you can why evil constellated and activated a furious and angry reaction to the hate monster in order to try and destroy the awareness campaign.
Now let’s get into the wisdom and psychology behind the campaign.
Ancient Wisdom for Modern Times
Firstly, The idea that you have monsters inside of you that want to act is not a new idea dreamed up by Police Scotland.
It has its roots in many wisdom traditions around the world.
One of the most practical books I’ve read about working with inner demons comes from the Buddhist leader Tsultrim Allione. In her book Feeding Your Demons: Ancient Wisdom for Resolving Inner Conflict she draws on the Tibetan Buddhist practice of Chöd and uses the same technique Police Scotland used in their campaign. That of naming a demon and imagining it into form so it can be worked with.
I doubt however, Police Scotland consciously used Chöd as inspirational source material for their campaign. Rather it was probably dreamt up by someone connected to the same wisdom streams.
Further, Police Scotland’s advice opposes Buddhist teaching. Police Scotland’s advice is “Don’t feed the hate monster” whereas Tsultrim Allione writes in her book:
“When you feed rather than fight your demons, you create a space for transformation. Instead of using your energy in battle, you learn to nurture, understand, and transform that energy into wisdom and compassion”.
This doesn’t mean you go around in real life unleashing the hate monster. What Tsultrim Allione teaches is a safe process for bringing your hate monster into conscious awareness by imagining it, then working with it to restore calm, harmony and peace within.
Making the unconscious conscious through Shadow Work
In modern times, in the West, the idea that there is a hate monster in every one of us was explored by Carl Jung the Swiss psychiatrist and psychoanalyst who founded analytical psychology in 1912.
Jung taught that within the human psyche exist personal complexes and collective archetypes. Some of these are conscious. Some operate in what he called “the shadow” The shadow contains all the complexes (hate is a complex) that we would rather not be.
Jung taught that in order to work with complexes you need to bring them to conscious awareness, either through active imagination or dream work (or during psychoanalysis) and then dialogue with them. The process of analysing and integrating unconscious complexes is called shadow work.
Jung taught:
“One does not become enlightened by imagining figures of light, but by making the darkness conscious”
In order to do this you have to shine a light within and bring it to life by imagining what you find. Personifying it as a hate monster. This is a well known principle in psychology and is put to use in art therapy where you draw your emotions and struggles.
Police Scotland’s campaign is based on sound theological and psychological methods and ideas. The public’s reaction is a typical response when you shine a spotlight directly on evil.
The Path to Self Awareness
In light of the uproar and misunderstanding surrounding Police Scotland’s hate monster campaign, it becomes clear that the path to self-awareness and transformation is both complex and fraught with resistance.
The public’s reaction, steeped in defensive mechanisms and a reluctance to confront inner darkness, underscores a universal struggle against acknowledging the less savoury aspects of our nature.
However, this campaign, despite its controversial reception, opens up a crucial dialogue about the importance of recognizing and engaging with our inner demons, not as enemies, but as opportunities for profound personal growth and healing.
The wisdom of ancient traditions and the insights of depth psychology suggest that the journey towards enlightenment and self-realisation is not about denying or defeating our shadows, but rather about integrating them into our consciousness with compassion and understanding.
By personifying these aspects as the hate monster, Police Scotland inadvertently tapped into a deep psychological truth: that we all harbour darkness within us, and it is only by acknowledging and working with this darkness that we can truly achieve inner peace and societal harmony.
This campaign, though met with initial backlash, serves as a potent reminder of the transformative power of facing our shadows.
It challenges us to reflect on our own inner monsters, not with fear or disdain but with the intention of fostering a deeper understanding of ourselves and, by extension, each other.
In doing so, we embark on a path not just towards individual healing, but towards creating a more compassionate and empathetic society.
Through the wisdom of our ancestors and the insights of modern psychology we can navigate the complexities of the human psyche, turning our inner turmoil into a wellspring of strength, wisdom, and compassion.
A Myth for Our Times: The Kidnapping of the Angel of Love
How do you do Shadow Work? The Path from Darkness to Authenticity
What is Shadow Work? Illuminate Your Hidden Depths
The Mystic’s Menagerie Newsletter
During my travels, I met a Countess. With a sparkle in her eye, and a sly wink, she gave me a handful of magic beans. I wasn’t sure whether to eat them or plant them? Anyhow, the beans took me to the realm of Gods, Goddesses and Myths. This is what I received.
For the most fun party to end all parties, the Gods & Goddesses dress up and wear two-faced masks.
But after the party ends, they forget to take the two-faced masks off.
Unknowingly, the masks begin to take on a life of their own.
The two faced masks led the Gods & Goddesses astray, preventing them from seeing truth from false, right from wrong.
And the Gods & Goddesses begin to deceive themselves about themselves and one another about each other.
Greed, pride, delusion and ill will dominated the imagination of the Gods & Goddesses.
Power games are now being played and an unimaginably devastating war has erupted between the Gods & Goddesses.
The rupture in harmony created an entry point for unimaginable evil to enter the Kingdom, evading every defence.
In the shadows of the Kingdom, evil has secretly crafted the most diabolical demon. Evil has placed the demon directly into the loving heart of the Kingdom so it can hide in the darkest shadows, waiting for the moment when it can unleash terror.
When the moment arrived, the demon erupted into being to the sound of a trumpet and violently ripped the Kingdom’s Angel of Love’s wings from her back. the demon held her limp, wingless body up for everyone to see and a sense of deep shame reverberated across the Kingdom.
Then the demon forcefully dragged her into the Abyss. Into Hell, so he could subsume her being into his perverse everlasting, cosmic spiral of evil.
The Angel of Love is missing from the Kingdom.
And the Kingdom is now sick and a pandemic of unimaginable devastation has been unleashed. The Kingdom is dying a slow terrible death.
Only by rescuing the Angel of Love can the life of the Kingdom be saved.
Only an act of ultimate forgiveness will repair the defences against evil keeping the Kingdom safe.
The Queen has ordered her most noble Knight to leap into the Abyss and rescue the Kingdom’s Angel of Love. To arm her Knight, the Queen unlocks her armoury and draws Excalibur. She gives it to the Blacksmith for preparation. The Blacksmith uses the strongest stone in the land, a Firestone to hone the edge of Excalibur’s blade making it sharper than it’s ever been before.
On the day of the leap, the Kingdom gathers to watch. The Knight stands at the edge of the Abyss, raises Excalibur to the sky and bellows into the depths “Demon, return the Angel of Love or I will end you”
Not a word from the Abyss.
The Knight waited longer for a response.
And then he heard it, a quiet whisper, a faint sound, a cold demonic cackling laugh.
And the Knight quivers in fear, losing his faith, his strength and his courage.
He backs away from the edge of the Abyss.
He returns to the Queen and tells her that he had failed.
He hands back Excalibur, removes his coat of arms from the Chapel, and gives up his Knighthood.
He returns to the village to live as a villager.
A state of dark despair falls across the Kingdom and the sun does not rise for three days.
And then, a wizard appears out of nowhere. He walks with a most marvellous wooden staff.
At the tip of the staff a sapphire stone gleams, glistens and sparkles, igniting a flicker of hope across the Kingdom.
The wizard walked to the edge of the Abyss.
The Kingdom gathered to watch.
Will the wizard take the leap? Will he find her? Will he defeat evil and rescue the Angel of Love?
But the wizard does not leap. Instead, The wizard pointed his staff into the Abyss and calmly said “Lumos”.
And a blinding flash of light illuminates the darkness making the Abyss vanish. And the sound of a trumpet rang out.
The Angel of Love reappears, soaring high above the Kingdom. Shining with splendour and radiance, emanating ineffable love on the Kingdom once again. And the sickness left the Kingdom and life returned. The Fields of the Kingdom bloomed with Sunflowers.
Everyone in the Kingdom turns to face one another. The words “I am sorry” ring out from the crowds. And as if by Magic, a Water Wheel House appears on the banks of the river and water lilies appear at the water’s edge.
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Why can’t you have both knowledge of good and evil, AND live forever?
Some people believe an interpretation of Genesis where Adam and Eve are banished from Eden as a punishment for disobeying G-d’s command by eating from the Tree of Knowledge of Good and Evil.
However, the evidence to support the idea that G-d was punishing Adam & Eve is weak. No clear translations can be found between the words in the first Hebrew scriptures, when Genesis was first written down, and today’s words that unquestionably conclude that it was a punishment.
Especially not in the way we would understand and experience punishment today.
The word “punishment” doesn’t appear in Genesis Chapter 3 – The Fall (NIV)
Instead, punishment is implied through the word “banish”.
But, The Oxford Dictionary’s literal definition of the word ” banish” doesn’t 100% match either the definition of the Hebrew words or the meaning of the symbolism of its letters.
The Hebrew scriptures used a different word which had a different symbolic meaning.
When translating, there were no words close enough to capture the Hebrew word’s whole essence.
If we follow the etymology of the word “banish”, and how its meaning evolved so that we can pinpoint when it first became associated with punishment, we get a sense that this association gradually evolved and became stronger alongside the maturity of legal systems, the crystallization of cultural norms, and changing views on crime and justice.
But when Genesis was first written, the association between banishment and punishment was not as fixed as it is today.
They commonly used Hebrew verbs like these where we use “banished” today:
גֵּרַשׁ (Gerash): “driving out” or “expelling.” Emphasizing the action of being pushed out, suggesting a forceful separation. A divorce.
עָבַד (Avad): “working” or “cultivating.” However, in the context of Genesis, it carries the connotation of “toil” or “labour,” implying hardship and difficulty associated with their new life outside Eden.
Despite this, even if you still feel Adam & Eve were banished as punishment;
And even if, through scholarly research, we discover an earlier, closer to source, version of Genesis where words were used that had a stronger association with punishment as we know it today or we find scripture that transmits a clearer knowing of the symbology of the Hebrew letters and they do in fact, point to punishment;
It’s still not the primary reason for Adam & Eve’s ejection from Eden.
In Genesis Chapter 3 (NIV); After G-d discovers Adam & Eve ate from the Tree of Knowledge of good and Evil, it states,
22 And the Lord God said, “The man has now become like one of us, knowing good and evil. He must not be allowed to reach out his hand and take also from the tree of life and eat, and live forever.” 23 So the Lord God banished him from the Garden of Eden to work the ground from which he had been taken.
The reason for Adam & Eve leaving Eden is contained between the phrases:
“The man has now become like one of us, knowing good and evil. He must not be allowed to…”
AND
“So the Lord God banished him“
The reason they had to leave is:
“He must not be allowed to reach out his hand and take also from the tree of life and eat, and live forever.”
Why not?
Why are Adam & Eve not allowed to live forever?
They were allowed to live forever before they ate from the Tree of Knowledge of Good and Evil.
Why does living forever become forbidden once you eat from the Tree of Knowledge of Good and Evil?
Genesis Chapter 2 (NIV):
8 Now the Lord God had planted a garden in the east, in Eden; and there he put the man he had formed. 9 The Lord God made all kinds of trees grow out of the ground—trees that were pleasing to the eye and good for food. In the middle of the garden were the tree of life and the tree of the knowledge of good and evil.
16 And the Lord God commanded the man, “You are free to eat from any tree in the garden; 17 but you must not eat from the tree of the knowledge of good and evil, for when you eat from it you will certainly die.”
This is what happened:
G-d plants the Tree of Life with the Tree of Knowledge of Good and Evil in the middle of Eden.
G-d tells Adam the only tree he can’t eat from is the Tree of Knowledge of Good and Evil. So he is allowed to eat from the Tree of Life.
But after they gain the knowledge of good and evil, They have to leave so they can’t eat from the Tree of Life and live forever.
Why can’t you have both knowledge of good and evil, AND live forever?
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