Hollywood’s 2022 Batman movie that came 11 years after 9-11, presents the establishment’s and Deep State’s neuro-visual and neurolinguistic re-coding and restatement—recasting of the meaning on the 9-11 attack on New York’s Twin Towers and the Pentagon. This is made quite explicit especially toward the end of the movie where the initial massive call for “Vengeance,” the original blind and bloody massive, indiscriminate and “based-on-lies” collective vengeance that led to the deaths and mutilations of millions of people across large swaths of earth who had absolutely nothing to do with 9-11, is now through the new dark Batman with hornlike ears explicitly rephrased as being about wholesale, “enduring,” radical “transformation” of the US and humanity forever through a series of similar ritualistic acts and deliberate radical darkening of the movie and whole culture, in fact. The overarching objective of the willed and intended radical transformation is to change everyone and everything, including “the Batman”, the corporate oligarch-cum-dark-vigilante—the popular symbol of wild and private “justice” through violence outside of the law. At the same time the movie shows that the whole establishment and elite is a system where the state, business, and mafia grew into a unified whole and became a hegemonic cartel for the production, defense, and expansion of perversion and corruption, a whole man-made underworld organized like Dante’s inner circles of Hell the endgame of which is the rise of new fascist totalitarianism that requires gangs, mobs, and armies of zombies, beasts, monsters, devils, and other sociopaths and psychopaths bred, cultured, and groomed en masse. This new fascism does not blend only with the state and corporations; it mergers above all with the mafia and the underworld, both the criminal one and the occult or, to put it more bluntly, the Satanic one, creating a world populated by manufactured zombies, living corpses, and bestial maniacs where Allan Edgar Poe’s horror stories are adopted policies and culture revolving around Hell-raising fascist necromantic rituals. It is a world and a regime ruled by the fascist mafia that places itself above the law, outside of the law, while being and making “the law.” Beside its systemic crimes and their horrors, what glues and unifies this new corporate fascism is its deep-running need for maintaining its massive empires of lies—as it turns out, the linchpin of the tragedy of Gotham City and the buried key to Batman himself is the torture and the killing of an investigative journalist who tried to dig out the truth about the collusion between the politicians, the mafia, and political fascism. Instead of the truth, a Band-Aid of clichés is used and applied such as this stated in the movie itself as one of its main messages: Even while doing evil or serving evil, they insist (as if with a self-absolving devil’s smirk) that they are neither bad nor evil—just “good guys who make mistakes.”
