Rosemary’s Baby: This is Really Happening.

Some thoughts about current events through the lens of the 1968 film, Rosemary's Baby.

The 1968 film Rosemary’s Baby, closely adapted by director Roman Polanski from the book by Ira Levin, uncannily echoes my perceptions of the world’s current slide into evil. Rosemary’s Baby is about a woman who is selected by a group of Satanists to give birth to the devil’s child. The story traces Rosemary’s growing awareness of her ensnarement into a satanic cult which is set at the heart of 1960s New York.

The swinging sixties is the unlikeliest of settings for a horror story. We see Rosemary decorate her new apartment with the latest interior designs; a sunny yellow colour appears throughout, even finding an echo in actress Mia Farrow’s hair. Thus, the story brings something important into view right at the outset. That it is often when you least expect evil to strike that it does; and then when it does, it comes from the unlikeliest of places.

In overview, the film presents a world of ruthless material desire, lies, cruelty and cheating. The only sacrifices that are valued are those made by others, never oneself. Nothing is earned through hard work, discipline and patience. It is obtained through the ruthless exercise of power, illusion and the use of isolation techniques, or, to use that now ubiquitous phrase, “gaslighting.” Additionally, rape, sexual violence and child sacrifice leaven the story. There is even a throwaway line about necrophilia.

When viewing the film through the lens of recent (and on-going) events, it is apparent that Rosemary acts as a proxy for the ordinary person; and that to watch her navigate events is to see ourselves subjected to recent experiences of malevolent power, and yes, gaslighting. It is a painful experience at times. Who would want to see this correlation? It is gruesome to think that we may have been hoodwinked into a web of evil when asked to co-operate with authorities over the emergence of a virus. In what follows, I try to show how the film (and the book) portrays evil as a modern and everyday reality rather a supernatural one; to see how evil is very present to us. I will mostly refer to the film, but the reader should assume that the original book informs my thinking throughout.

The film’s horror is grounded in its use of psychological manipulation rather than any portrayals of monsters or ghouls.  This chimes with the current psychological manoeuvring of our present day elite political class which has been eloquently outlined by Laura Dodsworth. Her book A State of Fear provides a sobering account of the deliberate weaponization of fear by the UK government during the covidian saga. The public became accustomed to seeing politicians as actors wheeled on and off a metaphorical stage as they adopted their various guises. In Rosemary’s Baby, the protagonists are also in showbusiness, a world of acting, pretending and lying that peppers the story from the outset. As Rosemary’s husband, Guy watches television with intense concentration, the world is mediated as it is in our current world, with expert “talking heads” via screens, memes and the “news.”

From the point of view of the ordinary person, it is the wealthy and powerful elites, the actors of this world that seem to immerse themselves in dark practices. We have heard much recently of Ghislaine Maxwell’s trial and Jeffrey Epstein’s island, a place where children were said to have been procured by Maxwell for the rich and powerful to abuse. Amongst the famous, self-styled philanthropist Bill Gates is known to have had dealings with the Epstein set. The luxury living, the immense wealth and the easy power that flows from this can seem to us in the present day as having grown out from the embryonic attitudes prevalent in the 1960s and so clearly depicted in Rosemary’s Baby.

In the 1960s, the occult and related matters were seen as fashionable and edgy. With its satanic themes the film sits alongside such cultural contemporaries as the Rolling Stones album, Their Satanic Majesties Request, or The Beatles’ (or rather artist Peter Blake’s) inclusion of occultist Aleister Crowley on the Sgt. Pepper’s Lonely Hearts Club Band album cover. The major cultural shift away from Christianity and religion in general additionally forms part of this context. As we see in a later scene, Time magazine asks on its cover, “Is God Dead?”  which references Nietzsche’s renowned yet often misunderstood phrase about society’s increasing rejection of God. Notwithstanding arguments over the question’s origin, it is still worth asking, if there is no God, does it mean that everything is permitted?

The story’s setting is a fictional apartment block called the Bramford, shortened to “the Bram” with its playful nod to Bram Stoker, author of Dracula. In the real world however, the exterior was the Dakota building in West 72nd street, outside which John Lennon was killed in 1980. Rosemary’s Baby conforms to type when the protagonists are warned against going into the proverbial “castle.” The alarm is given by Hutch, a long-time friend of Rosemary, who tells of the Bramford’s history, regaling its stories of cannibalism, brutal murders, satanism and child sacrifice.  Once again, conforming to type, the warnings are not heeded.  The wider message seems to be that you ignore history at your peril. We too in the modern day need to be alert to the periodic attempts to sever ties with our origins, along with those romantic yearnings for a bright technocratic future.

The practice of divorcing from history in Rosemary’s Baby extends to minutiae; the Castevets, who lead the coven, separate Rosemary from her family and friends. The control required by the Bram’s coven relies on isolating its victim, a now familiar theme in the new world of the covidian cult. The decision to funnel people away from available treatments and towards the mRNA injections required the deliberate adoption of techniques of isolation, propaganda and the instilling of fear. More than one commentator saw the link between government decisions across the Anglosphere and Europe with Biderman’s chart of coercion. As a result it became essential that the ocean of abundant and authentic information that could disrupt the narrative and halt the horror, be held back. At the time of writing, it is the media, or rather the “mainstream” or legacy media – with its plethora of actors - that does just that. And we, like Rosemary, incrementally lose touch with our old lives and all our systems of support in the slide towards a totalising take-over.

Hannah Arendt said that “totalitarianism begins in contempt for what you have.” In the 1960s the trend was towards a soft revolution, a modernized urge to start again, to begin afresh and rid ourselves of all we have learned and all that has sustained us till now. We can see how that sentiment extends into our time with the frequent desire to “do something,” be it about climate, gender, race or the virus. It seems that any destabilising fad will do. Whatever sows fear and anxiety will make for a more pliable subject. In the modern day, this is us. In the film, it is Rosemary. To “start again” is to beckon the dark cloud of the impending threat of Klaus Schwab’s Great Reset. As I have already alluded, sacrifice is what the powerful get others, who are weaker, to do for them. And so it is we who are expected to sacrifice our freedoms to travel, to live freely, to own our homes and to choose the food we eat in the name of the latest confected catastrophe.

Rosemary’s Baby’s sixties context illustrates that impetus to begin again. Everything in Rosemary’s apartment becomes new and different, transformed, refreshed and brightened. Rosemary and her husband Guy are on the brink of achieving the good life. However, Guy’s world seems to require much effort as an aspiring actor, and he’s struggling to get that big break. We side with him and want him to succeed at first, if only to support the waif like Rosemary. We soon learn that he is a selfish domineering and patronising man who will always prioritise social climbing over his wife and family.

Guy frets at coming second in line for an acting part. However, as the over-familiar Castavets get closer to the couple, Guy’s luck changes rapidly for the better, and he gets the coveted part after learning that the chosen actor has gone blind and had to drop out. “It’s a hell of a way to get it,” says Guy, and one cannot help but notice that throwaway pun. Guy is possessed by the need to get ahead in show business and all is subsumed to this end. He will, in a dark reversal of the biblical Abraham story, come to sacrifice his first born as we learn at the conclusion of the film. (“And we’re getting so much in return, Ro,” he tells Rosemary).

The story’s reversals of biblical and religious motifs extend, with a further reference to Nietzsche, to Roman Castavet’s declaration towards the end of the film that God is dead. Our current situation has (for me) highlighted two parallel developments related to this. Firstly, the cynical attempt on the part of our masters to exploit the religious impulse by harnessing religious tropes. In Britain, the worship of the nation’s socialised health service is keenly encouraged and the language surrounding the virus is cultic with its exhortations to sacrifice along with performative rituals of defacement. The second trend is noticeable within those who have recognised something deeply spiritual at the heart of events. This is expressed most eloquently by Naomi Wolf in The Bodies of Others; and I have found that many, even non-religious people, struggle to describe current events as anything other than “evil.”

Continuing with biblical reversals. No sooner has Rosemary’s Baby begun when we see the motif of making and keeping covenants disrupted. We first meet the couple when they are already committed to taking an apartment when an opportunity to get a coveted place at the “Bram” is mooted. In the first hint at the eventual slide into wickedness, it is Rosemary who wonders aloud if they “can get out of [the contract]” and whether or not Guy can “pull some strings.” What appears to be an innocuous moment reveals the dangers of the smallest of sins and how they can lead to bigger ones. Rosemary does not stop to think about the agreement in her pursuit of what she desires. This is meaningful. We should not overlook the profundity of how our governments have dismantled the social contract with their peoples. As Naomi Wolf articulated, as if overnight, our representatives now see themselves as our rulers and dictators. However flawed, the democracy we thought we had up until yesterday has dissolved and did so when we were not looking.

The social covenant forms a significant part of the historical and cultural heritage we seem to have casually tossed aside as being redundant or “old fashioned.” Without a Herculean effort, how will we in the west ever be in a position to make and secure any kind of covenant with any of our institutions again? In addition to the failure of our parliamentary system to protect us and our rights, the police, the health services, medics, religious institutions, royalty, the judiciary and the media have all been captured, and are now playing along in lockstep with the theatre of fictions we are bombarded with on a daily basis. And this is not just Britain of course, it is happening across the western world. Thanks to the current power of the legacy and social media, many do not realise the extent of the catastrophe.

As if to personify the government in microcosm, Guy is the figure that shapes all of the couple’s decisions. His role has been noted by feminists who point to the domineering husband and the gaslit vulnerable wife. There is something to those critiques (and others have addressed them elsewhere) but to pursue them here is to risk missing something bigger, and more vital. Rosemary stands for all of us who have been lied to and are continually lied to on a scale we have simply not known, nor been able to imagine hitherto. In a further notable correlation, Rosemary is frequently prescribed potions, herbs and injections she does not request. She disbelieves her own senses when these substances violently offend her taste or smell. She convinces herself that the physical pain they cause is incidental or “just a coincidence.” Rosemary therefore stands for the many who are now being hoodwinked or poisoned, whether by a manufactured bioweapon named “covid” or its chimeric “cure” in the form of an mRNA injection.

The concept of individual self-determination and bodily autonomy are major themes in Rosemary’s Baby. We moderns have long taken these ideas for granted. The extent of the assaults upon bodily autonomy that have recently been in evidence in western countries needs restating. Given the increasing evidence in the public domain that the virus was created through gain of function research, its release by whatever means meant that people became ill (and died) when they need not have. Additionally, the 2019 Event 201 exercise at the Johns Hopkins Center, rehearsed the procedures that were eventually implemented around the world, resulting in a number of truly drastic outcomes for ordinary people.

These included but were not limited to: enforced isolation of house arrests with the perverse adoption of the prison term “lockdown,” the prevention of human touch, the closing of religious institutions, the separation of families, the lonely deaths of many elderly, the deprivation of children and young people, the devastation of organisations and small businesses, the wilful destruction of civil society and the intense coercion to become injected with untried (dangerous) technology. All of which converged to form a constellation of conditions that served to dismantle our hitherto agreed democratic notions of bodily autonomy and individual freedom. The analogy with what happens to Rosemary is clear as she increasingly loses her sense of self, with the Castevets having planned and carried out their deliberate and menacing deception with the precise intention of entrapping her.

However, in the real world, privileged, wealthy and powerful people (as with the Castevets in Rosemary’s Baby) continued their lives very comfortably. They only performed their adherence to petty covid rules (or social niceties) in public scenarios where they might be “seen.” Moreover, we witnessed the biggest shift ever of wealth upwards to the already rich from the poor, and incredulously, all of this was supported by the political left throughout the western world. The era of scientific rationalism as it used to be understood – with debate, argument, refutation and rational justified solutions was well and truly dismantled. With unbelievable chutzpah, truth is now what Anthony Fauci or Bill Gates say it is. It is they who fund their preferred versions of truth as Robert Kennedy Jr. has outlined so thoroughly in his book The Real Anthony Fauci.

Nobody is allowed to question Big Pharma publicly, and so it remains unaccountable. The proponents of focused protection known as the Great Barrington Declaration were systematically publicly attacked at Fauci and Gates’s command. They have since been proven correct, given what transpired with a lamentable trail of death and destruction which cannot now be undone. And yet, there can still be no questioning of procedures, no discussion. Like a film script, the narrative was pre-determined, supposedly “following the science” when in reality our own political Castevets were constructing a theatrical performance of “science” whilst dismantling everything that “science” had hitherto purported to be since the Enlightenment. That is to say, contingent and evidence based. As a result, it became abundantly clear very quickly that none of the official manoeuvrings was about human health.

If you have doubts, ask yourself, why, if it was all about “health,” were medicines that could have cured covid forbidden? Why were doctors threatened with the loss of their licences if they spoke out? Why was there even a need to “speak out?” Why were we not trying everything at our disposal to alleviate the suffering caused by this nasty virus? Why were governments fiercely manipulating statistics? (For more vital questions along these lines, I recommend reading A Mostly Peaceful Depopulation by Margaret Anna Alice Through the Looking Glass on Substack)

In terms of health, in Rosemary’s Baby, it becomes clear that Rosemary, far from blooming in pregnancy, is becoming ill. Dr Sapirstein tells her (in a curious foreshadowing of New Zealand’s prime minister Jacinda Ardern’s words) not to “read books” and not to listen to others. Rosemary should only listen to and take nourishment from “trusted sources,” such as Roman and Minnie Castevet, who presumably had (in current parlance) been “fact-checked” by Sapirstein. Rosemary is pressed to disbelieve the evidence of her own eyes and to deny her own common senses. What then transpires is the inability to make her own choices.

In this new covidian cult era, the legacy and social media companies have enabled the approved narrative to progress. It is they who have facilitated the prevention of open information and discussion. As the fourth estate they have failed in their duty to hold the powerful to account. This contributed to the narrowing of each ordinary person’s world as normal life  and knowledge became increasingly restricted. Just as Rosemary’s familiar connections are severed and her ties to others curtailed or stopped, so were many people’s under the new covidian regime. Rosemary’s past is kept at a distance and as time goes on, the same is so for us. As Naomi Wolf explains, the intention is for us to lose touch with and forget how we used to live pre 2020 forever. To get used to a “new normal” as designed for us by the unelected narcissists of the World Economic Forum.

The measures demanded by our masters have led to many unwarranted deaths. None of it made sense, yet many people made it so by force of will, for to believe the full extent of what is actually happening really is too terrible for words. The implications of this are obvious if unthinkable, as Dr Mike Yeadon, Dr Robert Malone and others have warned us. How many of us have stood at ceremonies over the years proclaiming, “never again,” and now, here we are, once again. For everything makes perfect, terrible sense if death and depopulation is the goal, however outlandish that seems. And nothing makes sense at all if it is really about “our health.”

Even when all seems lost, Rosemary is gently coaxed towards a realisation of the truth by important little interruptions to the narrative. Her friend Hutch points out the incongruity of her losing weight when she ought to be gaining it as a pregnant woman. During a tumultuous pregnancy, where she is in constant pain, it is her friends who try to bring her to her senses. She is reminded that pain is a sign that something is wrong. In another disruption, Hutch sends her a book entitled “All of Them Witches” about the Bram’s satanic coven. Rosemary, when presented with this jolt towards reality, reproaches herself, “Oh…there are no witches…” And here, we see how evil delights in our fear of seeming foolish. In our case, the fear of being like one of those “conspiracy theorists.” The government would not wish me harm, would it? Don’t be silly, we tell ourselves, it’s just a conspiracy theory. Well, it is certainly not a theory, but it could well be a conspiracy.

Many have tried to produce vital interruptions, pointing covidian conformists gently away from the dangers of blind obedience. In return they have received angry, tearful responses or silence. It is the silent treatment that suggests that those who refuse to speak sense at a deep level that something is very badly wrong, and simply do not want to face it. Yet as Jordan Peterson has explained, the monster under the bed only gets bigger the longer you ignore it. In Rosemary’s Baby, the monster grows bigger inside her which is a fitting metaphor, because that monster is the very devil himself.

It is as if the devil has his proxies in the form of Fauci, Schwab, Soros and, of course Gates, who literally wishes to penetrate every human being on the planet and by force if necessary. It is a form of rape, and in an insatiable Epstein-esque style, it is the attempted rape of humanity. Gates’s forced penetrations promise a neo-transubstantiation with the “essence” of the covidian deity taken unto oneself. Guy’s mealy-mouthed statement in the last scene finds its echo here where he says, “and we’re getting so much in return, Ro,” and so we must ask, who is getting what in return for this?

The scene of Rosemary’s impregnation includes a phrase that has haunted me throughout recent events.  During the sexual assault she cries out: “This is no dream, this is really happening!” and the current situation really is happening as much as I wish it were not so.  When Rosemary first feels the baby kick inside, she proclaims “it lives!” in a further horror reference, this time, Frankenstein. The allusion to Frankenstein’s monster is apt for our purposes. The horror is not the monster. Rather, it is the arrogance of a scientist who believes he can create life (sans human female) but who can have no peace nor equilibrium whilst his creation lives. It is the Frankenstein-esque nature of the mRNA injections that comes to mind. As the eminently qualified Dr Jessica Rose has made clear in conversation with Dr Tess Lawrie, the mRNA injections “are not vaccines in my world.” There can be no peace while this destruction continues.

We connect the dots along with Rosemary realising that the girl wearing the charm was probably killed, that Hutch was killed, and that the actor went blind so Guy could get the part. With increasing clarity it is revealed that the characters are all in on the charade. The horror is watching how nobody believes her, and worse, that she appears to be paranoid. The spiralling into a kind of madness becomes terrifying because as we sense the closing in of Rosemary’s world we understand it as a correlation to our own.

Come on Rosemary, pain is a sign that something is wrong.

Those “awake” to what is happening now know that when they try to explain what is “really” going on, they sound as if they are “mad” or paranoid.  “You seem to have imagined some sort of conspiracy against you,” says Dr Sapirstein to Rosemary in a later scene. And he really could be saying that to me. However, I am not imagining anything. And neither was Rosemary.

Author Ira Levin has said that the premise of Rosemary’s Baby was about inverting the Christian story. There is even a small nativity scene portrayed in the film when Rosemary goes to meet Hutch. As she peers at it through a window, it seems so far away. There is also a dreadful parody of the nativity which is performed at the conclusion of the film. This is where Rosemary discovers that she plays the starring role as the inversion of the Madonna, the “child’s” mother. Furthermore, in the ultimate inversion of the western tradition, it is clear that the Castevet coven inaugurates their version of a Great Reset. This is shown when Roman Castevet dramatically announces, that “Satan lives!” And the year is “One.” Always, evil wants to jettison history, the “olds” in the Maoist sense, it wants to sever family ties, and to “start again.”

At last, there comes a point when Rosemary no longer believes anything she’s told, and it is at that moment that she is in the greatest danger. As Hannah Arendt has pointed out, as the dividing line between truth and falsehood becomes so blurred it is not that people believe lies, it is that they can no longer believe anything any longer. In the present, we no longer have a truly free press, and what little we have is in danger of being dismantled, “for our safety” with some version of an “online harms bill” waiting in the British wings. There are surely other such measures lined up elsewhere.

Arendt warns that the moment we no longer have a free press, anything can happen. Many no longer believe with any certainty about the “war,” the weather, “climate” stories, children having strokes, heart attacks, virus variants, or that the injections are “safe and effective.” The meaning of this is serious according to Arendt. We lose our capacity to think and to judge because our lack of real knowledge renders us unable to make up our minds. It is then that we become vulnerable to totalitarian malevolence.

Towards the climactic final scene, Rosemary reviews all that has gone on, confusedly piecing together the inconsistencies and the events that simply do not add up. As she realises the full horror of the situation, she is determined not to cooperate with the coven. Nevertheless, she soon finds herself rocking the baby and appearing to accept his strangeness.  Some commentators have accounted for this as sign of her “motherly” instinct overriding her senses. I disagree. The book makes the chain of events clearer. Minnie Castevet gives Rosemary some tea as if to soothe Rosemary’s shock. Minnie passes it off as “plain ordinary Lipton tea.” With each additional sip Rosemary becomes warmer to the idea of the devil child to the point where she justifies each of its animalistic features as some kind of new normal for a baby. Even as Rosemary realises the situation, she is inclined to give the coven the benefit of the doubt, and she drinks the tea, only to then rationalise and internalise the evil. There is a message there. Do not participate. Do not give in. Do not cooperate with evil.

We learn what evil does by seeing it enacted, even in fictional works. In a sense, this is what stories are for. Rosemary’s Baby shows us: evil isolates, it lies. It uses illusions. It corrupts and thrives on corruption. It entraps and enslaves. It uses fear. It terrorises. It encourages chaos. It makes use of fantasy and desire; it co-opts glamour and promises you riches on the backs of others. Sacrifice is something others do for you. Above all, it hides behind good works, or philanthropy. And the heavy price to pay, is that before long, you will own nothing, not even your own body.

Whether covidian cultist or not, we can no longer believe anything our masters say. And as Rosemary learns towards the end of the film, just as we must finally comprehend, they really are all in it together, and conclude that they are, “all of them witches.”

Postscript.

Be a friend to your inner Rosemary, and all the Rosemaries… so that she no longer desires to nurture the monster. Stress to her that the pain she experiences is a sign that something is wrong. Trust your instincts and get her to trust hers. Ignore the silence you get in return and do what you can to bring her over to the light. Do it now.

Pictures by The Sideways Thinker.

As I wrote this piece, it became apparent that it is a work in progress. There is so much potential here. I hope I have made the key points. I can say at this stage though, this is one to be continued…Thanks for reading. Please share this piece and feel free to leave a comment below.