Part 13 - "The Iron Giant" signaling the Beast agenda

In this post I'm expanding on how the antichrist vehicle The Iron Giant reveals the working of pharmakeia. In the previous post I presented the lie introduced while Hogarth was in a drug induced state, one of several in the great city Babylon's arsenal of demonic weaponry as the races of men continue to fall under her spell in this season leading up to the revealing of the man of sin. There are other elements related to this scene that provide further insight into Satan's devices.

Found alongside the chemical component of pharmakeia there is often another, an audio component. Music frequently complements the drug component in the enchantments of the great city Babylon because together there is synergy. One powerfully enhances the effects of the other. (See Pharmaceuticals - The Sorceries of Babylon, Musical Enchantment section) I suspect the two scenes I've identified as exhibiting the use of pharmakeia are the only scenes with native music content. I can't say for sure without watching the whole movie again to verify it, but, regardless, both drug scenes definitely have this musical content.

There are basically two kinds of audio content in movies. One kind is native to a scene, internal, what the characters might hear. The other, characters wouldn't hear, but is added to enhance the experience for those watching the movie. When the native kind is music, one of the ways you can tell it apart from external soundtrack music is by considering the camera and microphone together as an observer's eyes and ears. If the audio and video are related as appropriate to the movement and placement of an observer, the music is native to the scene. This is how you can identify the coco-lax and espresso scenes as having music playing for the characters while the drugs are working to facilitate and cloak the gambit.

When we first see Hogarth and Kent at the Rexall Pharmacy they are inside, seated at the counter, being viewed from outside through the window. We hear some softly muted jazz. When the "observer" moves (@ 44 minutes 14 seconds into the movie, if you're searching) inside the pharmacy we hear the volume of the music jump accordingly, revealing that the music is being played inside. A similar shift takes place in the espresso scene (@ 39 minutes 0 seconds into the movie). During the set-up for the scene we're shown Dean's Hi-Fi and his extensive jazz record collection, which helps call it out to our attention.

The synergy as the drugs and music work together is really no small matter. The Iron Giant has been shown in this blog to be very finely crafted with occult symbolism. The pairing of the drugs and music accompanying the evil deed and the evil lie is consistent with the high level of craft I've pointed out in the movie's promotional poster, the naming of Hogarth, the design motifs, plot elements, etc. Satan has been working the art of deception for a very long time, and he's got it down.

You may consider that we've got the "wine" and song, but where's the women? We've got the drugs and "rock 'n roll" but where's the sex? These three are the big three in the devil's combo pack, after all. Well, the "daughters of men" are right in view! The coco-lax/jazz ploy was working Kent Mansley as the target of control. The espresso/jazz ploy was working Hogarth as the target of control.


Early in this series I showed how the name "Hogarth" had to have been carefully chosen to add layers of appropriate meaning to the character. I perceive meaning in the names of the supporting characters in the pharmakeia scenes too.

Kent Mansley signifies "Man." *Man*sley. He's the target in the coco-lax ploy as man is the target of Satan's devices. He is the movie's antagonist and the government agent, representing "The Man." Anti-establishment types beginning in the early 50s were all about "sticking it to The Man." Mansley is the unreasonable, irrational and actually deranged (insane) authority figure, a bully against whom rebellion is easily justified and encouraged. Hogarth always gets the upper hand in confrontations with Mansley.

In contrast, there's Dean McCoppen. Mc*Cop*pen. While Hogarth gives Mansley no respect, Hogarth gives Dean some respect as might be due an older brother. McCoppen as "the Cop" is accorded more authority than Mansley.

Consider some dialogue that prefaced the espresso scene.

Hogarth: "Look, you're not going to call my Mom, are you? She doesn't know I'm out."
Dean: "Don't worry, kid. Look, it's not my style to report a guy to the authorities."

McCoppen has this power over Hogarth and exercises this authority as it pleases him. He's obviously anti-establishment, against "The Man."

His first name, "Dean," alludes to the iconic actor James Dean. One of his signature movies (1955) is titled, "Rebel without a Cause." Dean Mc"Cop"pen is really all about rebellion and lawlessness. His living quarters feature a poster of Jack Kerouac, "beat poet" and immoral iconoclast.

The incongruity in naming the anti-authority figure McCoppen is consistent with how the James Dean imagery (angry and violent) clashes with the yin yang (symbol on his bathrobe) hippy artist imagery. This establishes cognitive dissonance, effectively subverting rational filters so the lies are more likely to pass with acceptance.


There's one more element to address before I conclude this post. When lies are introduced, especially with pharmakeia involved, they don't have to be rational. In fact, I believe the lie is better received if it is irrational. If you analyze the dialogue in the espresso scene, Dean dropped the big lie as an irrational response to what Hogarth had been saying. If "You are who you choose to be" was actually legitimate advice offered to Hogarth to help him solve a problem, it completely missed the mark!

Hogarth had explained his situation in detail. The problem was that his Mom moved him up a grade in school to give him a challenge, so his classmates are generally a year older and more physically mature, bigger. All the "big mooses" want to pound him and steal his lunch money. That's the problem. Hogarth reveals their perception of him when he refers to himself as, "a shrimpy dork who thinks he's smarter than them." He makes it very clear that it's not his perception of himself.

So how does it help Hogarth deal with this situation by telling him this? "Look, its really none of my business kid, but, uh, who cares what these creeps think, you know? They don't decide who you are, you do. You are who you choose to be!" Hogarth didn't care what they thought of him. He cared that they stole his lunch money. Hogarth didn't think of himself as a shrimpy dork. Deans response was a lie, delivered with the aid of pharmakeia, and, given the context, quite irrational.

Pharmakeia. This is how it works.