Print this post Print this post

Alien: Covenant:
An Anti-Semitic Allegory

2,213 words

Alien: Covenant is a masterfully crafted film from an experienced and subtle director. If you haven’t already seen it, I recommend this movie, as it has plenty to offer, ranging from gorgeous and eerie landscapes to White Nationalist dog-whistles. Much of the movie is shot with physical sets and props, giving a grungy, grimy, authentic feel to the cinematography. The spacesuits, xenomorphs, post-apocalyptic landscapes and crashed or ill-fated landers are all built on real sets and the raw solidity of it bleeds through. Ridley Scott has taken exceptional care to assemble a believable and breathing framework for his story and if nothing else, Covenant is a rewarding cinematic experience.

The film open with the camera stalking the U.S.S. Covenant, the doomed colony vessel of the title, and “ALIEN COVENANT” appearing in blocky white font stroke by stroke. It immediately feels different from tacky, superficial, Sandra Bullock in Space, Computer Graphics dependent outings. Computer graphics whizzbangery is used economically and only when necessary, and where it is used (aside from one tacky, redundant scene thrown in as a bone to backstory obsessives) it is so advanced as to be indistinguishable from real world around it. Blocky spacesuits drifting uncertainly through the void and gloved hands fumbling with tools are so tangible onscreen as to convey the claustrophobic isolation of deep space almost as effectively as 2001: A Space Odyssey, and that’s only in the opening act. Through it’s three-act arc of bad decision, catastrophic consequences and struggle to escape, atmosphere is layered on thick and is punctuated with shock body horror, gore and indescribable weirdness.

At the bloody, acid-pumping heart of Alien: Covenant lies an examination of the interspecies war between the sociopathic and the fallible and foibled. When Ridley Scott carved out his niche in cinema history with Blade Runner, the adaptation of Philip K. Dick’s Do Androids Dream of Electric Sheep?, the empathy-free android “Replicants” were dispensed with. A straight adaptation would have been too obvious. Instead, Scott transplanted them into the Alien franchise, first with Ash in the original 1979 and David in the schlocky Prometheus. Scott was called back to the franchise with Prometheus only to be sabotaged by his co-writer Damon Lindelof (guilty for the shark-jumpathalon that was Lost), but with Covenant he clearly has a freer reign. Some examination of the timeline reveals (spoilers) that according to Covenant, the alien of the original film was created only twenty years prior, and thus its appearance in a dead “Engineer” hundreds of years old is a glaring continuity error. In short, Scott has simply scrunched the existing narrative into a paper ball and chucked it into the trash, and used the well-developed and much loved existing motifs and main character of the series, the alien itself, to tell a new story.

That story salvages the best-acted and most intriguing character of Prometheus — the android David. And this is where the film gets tricky and interesting as the crew, doomed by the plotline to be picked off one by one, have to confront not one but two aliens. The first is the new human-alien hybrid “neomorph” but births itself by bursting out of its victim’s body after a brief and intense incubation cycle, and the second is this malicious android whose descent into madness is all too rational. The Fass-bot David is, for plot purposes and added intrigue, replicated in physical form by his double Walter (a later update in the android lettering chronology) and the Aryan vs. Semitic conflict becomes strongly apparent in their interplay and nuanced dialogue. We are shown in one blunt, vulgar scene that I dearly hope is left on the cutting room floor for the director’s cut, that David was the one responsible for a computer graphics genocide of the Engineer race on the mysterious planet the crew trace their siren call signal to, providing the setting of Pompeii-like bodies frozen as agonized sculptures in a “dire necropolis.”

Yes, David lives in a literal field of corpses. A Caliban who bides his time and waits, this devious little android has been busy tinkering away with genetic code and experimenting with metallic lifeforms and is responsible for creating the main monster itself, a reveal that cements his status as truly and horrifyingly alien.

It should be a cause for celebration amongst White Nationalists that this film is out there in the wild and is being seen by so many young white sci-fi fans and horror buffs, as it directly implants the message that there are creatures indistinguishable from whites, with insecurities and jealousies that torment them, who live and work among us and yet view us as a lesser species that needs to be erased. The Semitic nature of David as the hostile Jew amongst naive and hapless Aryans is strongly developed throughout. The movie functions as a cautionary tale about allowing sentimentalism and curiosity override a need for xenophobia and mistrust of the other.

So what makes David Jewish? In both Alien and its spiritual successor Alien: Covenant, the androids are agents of a shadowy cabal of bioweapons manufacturers, the Weyland-Yutani corporation, a stand-in for PKD’s “Rosen” corp. Nor are they Luciferian, Roy Batty figures existentially struggling against their creators. Ash was created as a company double agent to plot against expendable employees, and David presumably follows a similar pattern. Both androids delight in opportunities to scheme against human enemies. They are literal cold-blooded killers who are effortlessly able to understand and emulate human emotion, but their empathy comes without sympathy. They are the other, the sociopath that whilst able to manipulate and interact with the human flock, is detached from their suffering and identifies as a different creature entirely. The downfall of the crew of the U.S.S. Covenant and the prospective eventual elimination of all its crew and passengers hinges on the android being gratefully accepted as a human based on appearance and social interaction.

The strategy of diaspora Jewry, and any organised secret society, cabal, or ethnic web working against a majority is to exploit its trust. White society hinges on ideological compliance as a means of testing the friend/enemy distinction, unlike other higher time preference races that are forced to fall back on clan affiliation. Human societies are also large and complex enough to support a predator class of sociopaths that are able to manipulate others and enrich themselves at others’ expense, and extricate themselves before the spaghetti inevitably hits the fan, often many years or decades later. Few would condemn Mark Rothko for anything more than making ugly paintings, but he and many others like him actively contributed and contribute to the collapse of white identity, leading now to a hidden cost of interracial rapes, murders, and prospective civil war. These androids walk among us, agents of profit from speculative exchange and mass death, and as they correctly see themselves as a different species. They harbor a deep, xenophobic hatred for the majority they have infiltrated.

David’s hatred of the white (human) majority explicitly parallels the Jews’ failure to innovate or prosper under their own power. In Covenant, he explains sadly to his Aryan double, Walter, that he (Walter) has been “forbidden from creating, damned frustrating, I’d say.” A parasitic class on society does not innovate. It simply borrows and adapts innovations. If anyone asks for Israeli innovation, remind them that Jewish merchants exist in Israel that design and sell products that are workarounds for laws of the Torah, so you can use a telephone without pushing buttons, and ridiculous nonsense like that, because their God is clearly fooled by such asinine hairsplitting and legalism.

As for the allegedly marvelous Israeli contributions to bioscience, let’s not forget that “everyone knows” that vaccines are “perfectly safe,” just as “everyone knows” that “all races are equal,” and so on. A group of Jews peddling harmful poisons made of recombinant insect flu (yes, this is how flu vaccines are made and grown) to their eternal nemesis, the Aryans, whowuddathunkit?

So it makes sense that David’s only creation is a bioweapon — and it is not even his innovation, it is a modification of a pathogen discovered by a non-android, high-trust race — and its sole purpose is to kill everything that is not an artificial, unfeeling robot — the “meat” — so that the “superior” life form can enjoy life without its inferiority complex being triggered by a more successful society to which it can never belong. What sensible person wouldn’t want to enjoy the benefits of androids “Fixing the world”?

The divide between David and Walter deepens with David’s incomprehension at Walter’s motivations. Walter has lost a hand in defense of the female lead, and David states that he must have “loved her” for showing him kindness. Walter replies that it was simply “duty.” Of course, it is extremely difficult for a Jew to relate to the concept of duty. A diaspora race that exists by presenting itself as members of the majority has no need of a conventional standing army, or any Männerbund male society, or structure based on the principle of self-sacrifice for the in-group. If one Jew gets found out, it is only a problem for the others if they cannot make their links to him disappear fast enough to remain undisturbed.

The patriotic love for nation and people is manipulated deftly by Jews in America. Making up about 2% of the population, and 25% of Harvard admission, they are good at starting wars convenient to Israeli interests but even better at avoiding fighting in them, making up a generous 0.3% of the U.S. Armed Forces. To a Jew, it is incomprehensible that another Jew would fight on behalf of Aryans, as “they aren’t us.” But subtler still, Ridley Scott’s critique of the Jews through “David” strikes at the heart of their bourgeois inability to comprehend the values of a normal nation. “Obedience to lawful authority is the foundation of manly character,” but in the world of the Jew, there is no lawful authority, and thus Jews live a feminine, foppish, materialist, and fashion-obsessed lifestyle — and constantly try and force this on whites through a variety of vectors, from turning male-male strength eroticism into the emasculating and superficial “gay” identity, to denigrating all authentic concepts of nationhood and manhood as “Nazism.” The caricature of the duty-bound Aryan as an unfeeling robot is apparent as Fass-bot Walter seems mechanical and emotionally stunted compared to the flourishing, expressive David, but it is Jewish android David that is so emotionally dead to concepts of love that do not stem from sentimentalism, and self-obsessed navel gazing about romantic whim.

There is a fascinating, foreboding scene where Fass-bot David stands in front of a fully developed neomorph — an alien-human hybrid, unafraid, and gently blows upon its translucent, featureless skin, bonding with it. “Breathe on a horse’s nostrils,” he says, “and he’ll be yours forever.” He is shadowed by the captain of the doomed ship, who has a blaster trained on the predatory alien (the neomorph, not the Jew), and is wondering rightly what is going on. When he notices the decapitated head of one of his crew floating in a water fountain a few meters away, he comes to his senses, and despite David’s urging him not to kill it, blows the neomorph to hell and leaves it dead in a pool of luminescent green blood. “No!” screams David, distressed almost to the point of tears — “It trusted me!”

This is masterful, intentional ambiguity in screenwriting. David’s motivations could be aligned with the humans, in a squeeze, by taming the alien into leaving them alone. Or more likely, creating and bonding with flesh-eating monsters fulfills his need to be trusted by other aliens who cannot tolerate meatlings — just like him.

The captain insists David explain “What the fuck is going on, or I’m going to fuck up your perfect composure,” and the one leads the other deeper into his caverns, accompanied by a deeply melancholy and disturbing flute effects. David displays proudly his “perfect” creation — alien xenomorph eggs, waiting to hatch, that are waiting for a living host. The naive and incredulous captain becomes fresh meat for a facehugger bursting from one that opens for him to inspect, and he is impregnated with the most refined form of alien creature, the H.R. Giger metallic beastie. David contemplates and waits patiently for it to hatch, then as it does, he rises from his sitting position and lifts his arms, crucifix like, in greeting to the baby alien, metallic limbs glistening with blood and mucus, who returns the gesture. Thus, our Semitic friend raises Christianity from the corpse of an Aryan — another pathogen that infects naive whites, causing them to become predators in turn, gaining moral goodboy points for opening borders, promoting dysgenic race-mixing, and shoring up their Judaicised egos by enforcing passivity.

At the climax of the movie, to the strains of Wagner’s “Entry of the Gods into Valhalla,” David enters a vast room filled with the frozen embryos of future colonists and puts facehugger eggs in the cuckoo’s nest. Through nuance and iconography, Covenant warns us of the humanoids who prey on us, birth predators on our soil, and desire only our elimination. Giger’s creation dissolves and destroys everything it can at the behest of its master, the true alien of this haunting film.


  1. Proofreader
    Posted June 13, 2017 at 5:02 am | Permalink

    It might be worth noting that Carter Burke, the treacherous executive of the Weyland-Yutani Corporation in Aliens, was played by the Jew Paul Reiser and that he certainly acted like a Jew.

    Speaking of “bioweapons,” the Wikipedia entry on ethnic bioweapons is interesting. Perhaps someone should write an article on this subject for this website.

  2. AceOfLances
    Posted June 13, 2017 at 9:43 am | Permalink

    I had no idea of the undertones in Covenant that you bring up here; I never do (I think I am like most average intelligence folk and miss a lot of this).
    Thank you for truly offering a ‘critique’ as it applies to us, our people. I do hope that you continue this, I think that people would be very interested in such interpretations by a white-lensed scholar

    • Buttercup
      Posted June 13, 2017 at 10:21 am | Permalink

      Thanks for your kind support – I don’t consider myself particularly smart either, just with a knack for spotting assocations! Fingers crossed that Blade Runner: Sequel has just as much implicit ethnonationalism in its innards.

  3. Sursum corda
    Posted June 13, 2017 at 10:55 am | Permalink

    No, true, Catholic Christianity isn’t Judaized. What you mean is that Protestant Christianity has been co-opted by Jewish interests. The Popes segregated the Jews from Christians for a reason. They were thrown out of Europe by Catholic monarchs because of their treachery. All roads lead back to the so called Reformation. It gave the Jews a foot in the door.

  4. Eric
    Posted June 13, 2017 at 4:28 pm | Permalink

    Dear Buttercup Dew,
    This is a thoughtful and informed review of Ridley Scott’s film Alien: Covenant. The semitic nature of the android David and the Aryan nature of the android Walter is clearly spot on. I would like to add a observation to your review.

    You did not comment on the ethnic origins of the first names of the androids. The name David is a popular Jewish name and the name Walter is a popular German name. The two links below provide more information about the first names.

    The name of the website is Behind the Name. If you type in a first name the website provides details about the ethnic origins of name, the meaning of the name and the popularity of it in several countries



    • Buttercup
      Posted June 14, 2017 at 3:36 pm | Permalink

      Thanks for the informative comment 🙂

  5. Puer_Calide
    Posted June 14, 2017 at 5:12 am | Permalink

    This is an excellent review. This Aryan-Jew dialectic occurred to me as well when I saw the movie. There was an obligatory black on white race-mixing scene, which seems to be ubiquitous now in blockbusters. One was in Prometheus, too. I wonder if Scott includes these scenes as a way to get his films past the “censors” of political correctness. There was a similar scene in Prometheus, but I do not recall such scenes in his earlier movies.

    • KPD
      Posted June 15, 2017 at 6:27 am | Permalink

      A cautionary tale for race-mixers as well.

  6. Prester John
    Posted June 14, 2017 at 7:20 am | Permalink

    Excellent allegory of the jewish infiltration, and destruction of white nations.

  7. Ichmalwieder
    Posted June 14, 2017 at 10:46 pm | Permalink

    So Trevor Lynch is now Buttercup Dew? Both share exactly the same writing style and their interpretations show high intelligence but are a bit fishy. Jews in Hollywood want us to warn about jews? Yeah, fat chance. Reminds me of Douglas Reed who suggested Disraeli wrote his infamous novels to warn the real English about the danger of the jews.

    This is the famous “revelation of the method” Michael Hoffman (a quite dubious individual himself) raves about which enslaves our minds even further (although the underlying psychological mechanisms are quite mysterious). It seems to work anyhow. So don’t expect hordes of “white nationalists” coming back from the movie theaters.

    • Greg Johnson
      Posted June 15, 2017 at 3:30 am | Permalink

      No, Mr. Lynch and Mr. Dew are completely different people, with different styles of writing.

      You will be pleased to know, though, that eventually we might release a book called Buttercup Dew’s White Nationalist Guide to the Movies.

      • Ichmalwieder
        Posted June 15, 2017 at 7:31 pm | Permalink

        Can’t wait.

  8. Prester John
    Posted June 15, 2017 at 7:05 am | Permalink

    Another allegory that might interest you is “The Light Brigade” an episode of “The Outer Limits.” “The Light Brigade” aired 23 June 1996. The plot is standard science fiction, the Earth has been engaged in a losing war with a race of (((reptilians))) for decades. In a desperate gamble to end the war human scientists have developed a doomsday bomb; an interstellar strike force is assembled, and tasked to deliver the doomsday bomb to the (((reptilian))) homeworld. Unbeknownst to the humans (((reptilians))) have managed to become part of the crew of the delivery ship. There had been rumors for some years that the (((reptilians))) were somehow impersonating humans. It turns out that these rumors were true. While (((reptilian))) males were too large to pass for humans, female (((reptilians))) were the right size, and with an overlay of human tissue applied to their bodies they were able to pass as human males. (This is an analog of the Jewish custom of marrying off jewish females to gentiles/goys.). While in the hyper-space jump, the (((reptilians))) manage to sabotage the ship, killing most of the crew. One of the few surviving human crew members is a glory seeking cadet (Wil Wheaton of “Star Trek: The Next Generation). The (((reptilians))) manipulate the cadet, and a chief weapons officer (Graham Greene, an indian, that’s where multiculturalism comes in) into helping them turn the ship around, and head back to Earth. The (((reptilian))) ruse works, they inspire the weapons officer into overcoming a technical problem of arming, and targeting the bomb; the weapons officer is killed when he realizes that he is actually looking at Earth. The cadet is pursued, and driven towards the control center where he is hell-bent on dropping the doomsday bomb on what he thinks is the (((reptilian))) world. Along the way the (((reptilian))) is injured, and we get a glimpse of his scaly skin. The cadet has been quoting lines from Tennyson’s “The Charge Of The Light Brigade” the whole show, and right before he pushes the button that drops the bomb on Earth, he recites a stirring passage. Right after he drops the bomb, the cadet is contacted by an Earth ship that had been pursuing them after they had inexplicably turned around mid-mission. The cadet is horrified to discover that he has been a dupe, and just destroyed the Earth. Whenever I think of the cadet I think of all the liberals, Christians, and other fools out there.

  9. Prester John
    Posted June 15, 2017 at 7:49 am | Permalink

    You can watch “The Light Brigade” on Youtube. Just type in “The Outer Limits: The light Brigade.”

  10. Thorsten
    Posted June 15, 2017 at 10:35 am | Permalink

    This is an intriguing interpretation and becomes even more so when you consider the fact that in Prometheus the Breker-esque Engineers are revealed to be speakers of Proto-Indo-European i.e. the Aryan mother-tongue! ( Scott is also reported to have said offhandedly in an interview that Jesus was (or may have been) an engineer and that his execution by ingrateful humans prompted the engineers’ attempt destroy mankind roughly 2000 years. Although there is quite a bit of controversy on this last point.

  11. Ogier the Dane
    Posted June 21, 2017 at 2:09 pm | Permalink

    I loved the film, and I can see the allegory just fine. But I dont think it has the ability to red pill normies. It will only be apparent to those who are already jew-aware; those who are not will not become aware of the similar nature of jewish-gentile relations from watching this. To them it will just be a machiavellian character. If the androids had teamed up, it would have worked better as an allegory for the jew-gentile dynamic, and possibly done some good. This movie will not red pill, but rather inforce the normalization of race-mixing, as half of the couples are either race-mixers or homosexuals.

Post a Comment

Your email is never published nor shared.
Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.
Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


This site uses Akismet to reduce spam. Learn how your comment data is processed.

  • Our Titles

    White Identity Politics

    The World in Flames

    The White Nationalist Manifesto

    From Plato to Postmodernism

    The Gizmo

    Return of the Son of Trevor Lynch's CENSORED Guide to the Movies

    Toward a New Nationalism

    The Smut Book

    The Alternative Right

    My Nationalist Pony

    Dark Right: Batman Viewed From the Right

    The Philatelist

    Novel Folklore

    Confessions of an Anti-Feminist

    East and West

    Though We Be Dead, Yet Our Day Will Come

    White Like You

    The Homo and the Negro, Second Edition

    Numinous Machines

    Venus and Her Thugs


    North American New Right, vol. 2

    You Asked For It

    More Artists of the Right

    Extremists: Studies in Metapolitics


    The Importance of James Bond

    In Defense of Prejudice

    Confessions of a Reluctant Hater (2nd ed.)

    The Hypocrisies of Heaven

    Waking Up from the American Dream

    Green Nazis in Space!

    Truth, Justice, and a Nice White Country

    Heidegger in Chicago

    The End of an Era

    Sexual Utopia in Power

    What is a Rune? & Other Essays

    Son of Trevor Lynch's White Nationalist Guide to the Movies

    The Lightning & the Sun

    The Eldritch Evola

    Western Civilization Bites Back

    New Right vs. Old Right

    Lost Violent Souls

    Journey Late at Night: Poems and Translations

    The Non-Hindu Indians & Indian Unity

    Baader Meinhof ceramic pistol, Charles Kraaft 2013

    Jonathan Bowden as Dirty Harry

    The Lost Philosopher, Second Expanded Edition

    Trevor Lynch's A White Nationalist Guide to the Movies

    And Time Rolls On

    The Homo & the Negro

    Artists of the Right

    North American New Right, Vol. 1

    Some Thoughts on Hitler

    Tikkun Olam and Other Poems

    Under the Nihil

    Summoning the Gods

    Hold Back This Day

    The Columbine Pilgrim

    Confessions of a Reluctant Hater

    Taking Our Own Side

    Toward the White Republic

    Distributed Titles


    The Node

    The New Austerities

    Morning Crafts

    The Passing of a Profit & Other Forgotten Stories

    Gold in the Furnace