Alien: Covenant:
An Anti-Semitic Allegory

^[1]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 ^[2], the adaptation of Philip K. Dick’s Do Androids Dream of Electric Sheep? ^[3], 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.