THE BIZARRE SYMBOLISM AND MYTHOLOGY OF THE EARLY FILMS OF THE ACTOR FORMERLY KNOWN AS “ELLEN PAGE”
A cinematic path paved in pedophilia and Trans Ideology
Note/Disclaimer: All mention of the actress formerly known as “Ellen Page” will be referred to in quotes as “Ellen Page”. All mentions of “Ellen Page” refer to the person who made films under that name during the years they were known only as “Ellen Page”. Any reference to the person who currently goes by a more masculine name is referred to in other terms.
Part 1
The Canadian waif formerly and popularly known as “Ellen Page” is not so much a person who acts in movies, but in my opinion, is more a symbol of the ultimate New World Order pawn and possibly a victim of trauma-based programming, a speculation based only on her actions and the film evidence that reinforce these suspicions.
Within a day or two after the actor announced to the world that she was transitioning to a he, the Internet Movie Database deleted all mention of the former female known as “Ellen Page”. The name was scrubbed and replaced by the new name almost instantly. “Ellen Page” was made to no longer exist even though there were well known movies made by that person under that name. I viewed the swift trans-agenda compliance of the IMDB as an example of how we were also meant to comply. Almost worse than the removal of the actor’s original name was IMDBs commitment to pronoun hysteria:
With their breakout role in Jason Reitman's hit comedy Juno (2007), about an offbeat teenager who finds themselves unexpectedly pregnant, Page received Academy Award, BAFTA, Golden Globe and SAG Best Actress nominations, and won the Independent Spirit Award for their performance.
Has “Ellen Page” been a New World Order plant all along? Since 2005, her earliest films all present themselves as being part of a slow rollout that mirrors and supports progressive traits and ideology, promoting malignant psychopathy, teen pregnancy, child sexuality, pedophilia, and identity disorders. Were predictive programming clues and symbolism dropped along the way that hinted at her future decision or conditioning to adopt a male persona? Was her very public coming out as a ‘man’ in the winter of 2020 planned long ago? Was Juno meant to make Page the living example that men can get pregnant?
The Early Films
HARD CANDY (2005)
Hayley (“Ellen Page”) lures a man named Jeff (Patrick Wilson) to a meeting at a coffee shop called Nighthawks, named after the Edward Hopper painting and which is likely a not so subtle reference to chickenhawks aka pedophiles. From the opening text exchanges between the unseen teen and adult, we’re presented with a man who is playful yet pretty much respectful of boundaries contrasted to a girl who is much more flirtatious and who very willingly agrees to meeting in person.
When the two come together at the coffee shop, their age difference and inappropriate matching is so apparent that you feel embarrassed for the barista who has to serve them. The casting of Page is good, but weird. Physically she is all that you might expect in a ten year old prepubescent boy or girl with a pixie cut. At the same time she is unsettlingly precocious and quick-witted. She is a manipulative contradiction—physically a boy-child who then imagines herself a sophisticate and a coy seductress. You can’t help wondering about her mental stability even at this early stage in the film.
As their meeting at the coffee shop wraps up, Jeff buys her a t-shirt which she tries on; she flashes him from just inside the restroom for ‘Women’, revealing her rail thin physique and a wide gray bra that appears rather like a device for binding breasts, a practice done by genetic females wanting to appear more masculine. This is interesting in light of Page’s real world decision to identify as a transgender person who now wants to be called Elliot. Even more interesting is a business card seen on a bulletin board in the coffee shop for a place called Elliott Electronic Supply. Do coincidences exist?
Note: Another thought about the name Elliot. In Brian DePalma’s slasher classic Dressed To Kill, Michael Caine plays Dr. Elliott, a pre-op transsexual killer.
[Note added June 5, 2024.]
When the couple make their way to Jeff’s car, Hayley suggests he worship her like a pagan goddess, which he does by getting on his knees before her. This unusual act prefigures Page’s role as Juno two years later, whose name is that of a pagan goddess.
The girl is definitely strange, glib and seems to lack a filter. We get a feeling that she’s telling the truth when she admits ‘four out of five doctors agree that I’m insane’. And by contrast, we are directed to feel an affection and warmth toward the man who is much too old for this child. And this is the insidious hook of Hard Candy.
While it turns out that the man has been involved in the murder of a missing girl and might have a history of pedophilia, the audience is made to sympathize with him and the nightmarish predicament he soon finds himself in with the monstrous Hayley. The contrast between each of their psychological problems is profound. The pedophile is presented as a handsome victim whose suspected crimes might pale in comparison to having to suffer through the horror of Hayley whose running dialogue of cruelty and mental disease definitely makes her the bad guy. The honest viewer would be lying if they did not admit that we are being manipulated into rooting for a pedophile! Compounding this insult is that, as vibrational and feeling humans who are naturally inclined to distinguish right from wrong, we must force ourselves to emotionally side with someone who is over the top insane because who roots for a pedophile?? This literally defines the idea of trauma-based entertainment, in that it traumatizes the audience and seeks to undermine our natural instincts.
Page’s Hayley, in her hooded red jacket, is no heroic figure or goddess. She represents the glorification of the mentally ill as superhero or avenging angel. The Hayley character is a Hollywood tool for desensitizing and demoralizing a population while Jeff is used to manipulate us into sympathizing with and taking a casual view of pedophilia,
JUNO (2007)
Allow me to continue with the fascinating premise that it had always been the plan to have “Ellen Page” eventually come out as a transgender and that her career has been a vehicle designed for the purposes of demoralization, social engineering and compliance.
Like the ass-sucking pop-cultural pandering of Quentin Tarantino, Juno writer Diablo Cody is determined that no matter what generation you come from or what your cultural preferences are, her job is to pressure you into liking her movie or feel like an out of touch fool if you don’t. The character of Juno is written to be adored, not just because she is the same quick-witted mite as Hayley in Hard Candy, but because you, the viewer, share similar tastes in movies and music. Diablo Cody manipulates her audience into accepting whatever she writes by corralling hipsters from every conceivable angle. Horror movie buffs whether fans of crude 60s gore to stylized 70s Italian giallo are shamelessly courted, while the boot-licking continues with fans of 60s rock to punk rock to 90s alternative until every imaginable viewer sees the character Juno as a wonderfully diverse dream of a girl. Now that the audience is hooked, the social engineering can proceed.
Released on Christmas Day, two years after Hard Candy, the 14-year old Hayley of the earlier film is now 16-year old Juno. The link from one character to the next is shockingly evident when watching the films back to back. In the final scene of Hard Candy, we see this character walking away wearing a hooded red jacket and in the opening credits and first scenes of Juno, we see her wearing virtually the same hooded red jacket as if exiting one film and entering into the next creating the impression of watching movies that are part of a series. Has this same character actually gone from stalker psychopath to teen mom in those ensuing two years? It appears to be the case, especially when you consider the line casually delivered by Juno about having been on an assortment of behavioral medications in the past. An even more shocking link involves the hanging at the end of Hard Candy to a mock hanging in Juno with a noose fashioned out of a candy licorice rope.
This is the cinematic transformation of Hayley’s hard candy persona to Juno’s new behaviorally modified soft candy alter. In Juno’s yearbook, the photo directly above her is of someone named Harold Letrepain, a name that sounds suspiciously like trepan, or a tool for boring into the skull. How many ways are alter personalities made? If Haley and Juno are one and the same, what we’re seeing is a person with Dissociative Identity Disorder, a subject close to Diablo Cody’s heart and whose career is based on writing about women who suffer from identity problems. The United States of Tara is about a mom with DID, Jennifer’s Body is about a succubus possessing the body of a woman and both Ricky and the Flash and Young Adult are both about older women who act like children in embarrassingly immature fashion. This is the world of writer Diablo Cody.
Juno’s pop culturally saturated world of movies, music, rock posters, and retro t-shirts turns pregnancy into just another hip trend for weak-minded teens to jump onto. And what came next for a target audience of girls who’d barely gotten through their first box of tampons was a slew of teen mom programming that began appearing soon after the release of Juno. Teen Mom and MTVs 16 and Pregnant appeared in 2009, followed by Dr. Drew’s Teen Mom (2012), Pregnant Teen (2013) and other unwanted spin-offs and variations on the theme glutted the airwaves when they should never have left the confines of the family home to begin with. And it should be said that Jerry Springer is no less to blame for the decay of our society than anyone. He is after all, the man whose show encouraged bad behavior and created fast-burning imaginary stars out of losers who felt validated because they saw their face on shitty daytime television.
DID and The Juno Mythology
While the average viewer might walk away from Juno seeing it only as a feel good comedy where a baby was saved from abortion and lives were not ruined by bringing an unplanned infant into the world, we don’t actually get to this place before having to wade through a storyline that normalizes pedophilia, destroys the sanctity of family and has references to eating children running throughout it. In the years since its release, Cody has stated that she actually regrets writing Juno because it can be perceived as an ‘anti-choice’ film, which as I point out below, is more anti-children than anything else. [Huffington Post, May 16, 2019.]
Cody also regretfully admits that “I wasn‘t thinking as an activist; I wasn’t thinking politically at all.” [Dateline, May 18, 2019 ] Which is very likely why it was so successful with the public.
In Greek and Roman mythology, Cronus ate several of his newborn sons for fear that he would be dethroned by one of them. His wife, Rhea, tricked him into consuming a swaddled stone, thereby saving Zeus from the same fate as his siblings. Zeus grew to adulthood, married a couple of times and finally settled on his sister Juno, also a child of Cronus/Saturn. In Isis Revealed, Madame Blavatsky points to Diabolos as being a child of Zeus which interestingly pulls Diablo Cody into the mythology of Juno. This connection opens the door to the possibility that there is a biographical component to Juno devised by a woman who fashioned her new name after the Greek word for ‘backbiter’, the false accuser, the Devil, or diabolos. Questioned about her name, Cody says,
“I was listening to this song “El Diablo.” And for some reason it was late at night and I was driving really fast, and my friend told me to slow down. And I was like “No, Brooke is not driving, Diablo Cody is driving this car.” It was like another persona to drive recklessly. So Diablo Cody was going to drive, when we had to get some place in a hurry!”
It’s an odd coincidence that the person born as Brooke Busey would take on an alter personality that called herself Diablo, then write an out of character memoir called Candy Girl: The Year in the Life of an Unlikely Stripper, followed by a film about an alter named Juno who has possibly been modeled after a Satanic Ritual Abuse victim suffering from an identity disorder; then follow that up by writing a script for The United States of Tara for Steven Spielberg, about a woman with Dissociative Identity Disorder. Isn’t the first thing taught to students by every writing instructor to write what you know? In the same interview, Cody inexplicably wears a glove described by the interviewer as “a surgical glove on her right hand that she wore for no particular reason except to snap it on her wrist every now and then…” Umm, can’t that be construed as a trigger device, a means to maintain concentration or a management tool to control alter personalities? Perhaps, but Diablo Cody, the writer, denies any similarities to herself and the characters in her films. I say, why would she care to admit it?
Juno transforms/modernizes the ancient Roman and Greek pantheons of gods to a pantheon for the MTV Generation and retains both the sacrificial and incestuous natures of ancient mythology. Applying the ancient deities to the roles in the film, Juno’s father (brother) becomes Zeus who has been married multiple times and like Zeus, says he is not ready to become a ‘Pop-Pop’. He educates his daughter Juno about love and says, “Find someone who loves you for exactly what (not who) you are—good mood, bad mood, ugly, pretty, handsome…” Handsome being an odd choice of words to use when referring to a girl, unless we apply it to the transgender theory where it may always have been the intention for “Ellen Page” to transition into a male version of herself, who some might consider handsome. But after delivering this line, the father suggests himself as the love he is describing, hinting at the possibility of incest again between his Zeus and her Juno. One has to wonder why Diablo Cody would have revealed in an interview, “I was pissed at men since birth!” How does that happen? And in the most perverted update of the Zeus mythology, the child-eating activity of Zeus is symbolized in a Slurpee-type drink that Juno often consumes, but for the MTV Generation it is made to sound pornographic, with the words “Slurp and Swallow” printed on the side of the cup, conjuring up X-rated sperm-guzzling in place of Zeus’s consumption of swaddled stones.
Excuse me, but Is pedophilia supposed to be funny?
The pedophilia theme is made most obvious in an early scene where Juno smiles at her best friend who is openly flirting with a much older, bearded teacher, “I love Woody Allen, too!” she exclaims while standing in front of a poster that reads ‘Vice is Nice’. And later we see that the perfect adoptive couple is anything but, as Mark (Jason Bateman) responds to the body language and friendliness of Juno because she has reappeared as the alter personality Hayley of Hard Candy, the same glib, but “innocent” seductress who lures and sets traps for pedophiles. We know she’s not the persona of Juno because she thinks it’s ‘Sweet’ when his wife is not home and prefers to be alone with Mark.
Male characters are written to veer into inappropriate behavior with young girls which leads to the extreme leftist family deconstruction theory where they are no longer really needed which will allow the family to be defined as ‘non-traditional’. And though the birth of Juno’s child is met with happiness, the actual sacredness of children has always been a joke here to Diablo Cody whose script called for adoptive parents to place ads in the Pennysaver alongside the dogs for sale ads. It’s interesting then that both Juno and her baby’s daddy Paulie (Michael Cera) in separate scenes are both referred to as puppies by their parents. If this is all a humorous figure of speech thought clever by Diablo Cody or director Jason Reitman, I still can’t find a reason why children would be symbolized in a pile of naked baby dolls posed around a demonic display box in Juno’s room or the offensive inclusion of a scene from Herschell Gordon Lewis’ Wizard of Gore where a woman is getting murdered with a punch press going into her stomach. Could there be any doubt about how this creative team, one of whom is named after the Devil(!), actually feels about children or the moral decay they contribute?
Maybe this all makes sense in a place like the Upside Down Hollywood matrix where rumors of Moloch worship bubble forth, where mind control reigns and where DID is exploited to access the talents and other abilities of its denizens. If it is, then it makes absolute sense that the Oscar went to Diablo Cody for the wonderful script she wrote for Juno! Thus a Hollywood swamp creature was born and the table has been set for Dissociative Identity Disorder as an entry point for elevating the stature of identity disturbed superheroes.
SUPER (2010)
Oft accused pedophile James Gunn directs accused pedophile Rainn Wilson in Super, a film that, interestingly enough, tries to lecture us on not molesting children. But Super is not about protecting the children, just as the previous films mentioned are not about that either. This typical Hollywood deception is best explained in a line delivered at the end of Super, “Sometimes how it looks and how it is are two different things.” And in Hollywood tradition, audience deception and inversion is the general rule, as is the revealing of their own awful truths and agenda as satire and comedy.
In analyzing these early films of “Ellen Page”, it’s not thematic coincidences that we pick up on, but the distinct patterns that emerge when contrasting these seemingly diverse films, all of which hang on narratives having to do with identity disorder and trivializing sex with younger people.
Five years after the debut of Hayley in Hard Candy, we see that the same persona is still very much alive now in the character of 22-year old Libby, the extremely manic, fast-talking youth who still only looks barely post-pubescent, particularly when wearing a costume that reveals only the slightest hint of breasts. She’s still the child we met in earlier films and as before she exhibits horribly inappropriate sexual behavior, again acting as the awkward seductress attempting to lure men much too old for her, but this time she goes so far as to rape a grown man—a pedophile’s dream where imagining Page as a 12-year old is easier than imagining either she or Wilson as superheroes.
The disturbing childish-female-as-rapist scene is the metastasized cancer we’ve come to expect from an “Ellen Page” film. With Page now having played all roles depicting inappropriate sexual advancements, her superhero persona attempts to persuade her friend Frank (Wilson) that they are alter personalities and that he in fact is not married and is actually someone else when he puts his superhero costume on. It’s this rationale that can be used on a child who has already been exposed to Cosplay, furries, drag queens, the adoption of outrageous gender identities, and of course, the constant stream of alter ego superhero movies aimed specifically at young audiences.
In Super, Page’s lightning bolt-crotched superhero and the associated ideology proposed by director James Gunn, who symbolically portrays the Devil in the film, can only be a pedophilic ploy to be used by groomers and anyone eager to destroy boundaries meant to protect children from predators. If we are still unsure of all the symbolism, we can look to the final image of Page’s superhero character who dies with a giant hole in her face where her eye had been, in my opinion, an undeniable reference to the All-Seeing-Eye that is constantly being inserted into Hollywood cinema.
Insightful and thoughtful, you thoroughly researched and discovered so many threads that put this bizarre tapestry of Ellen’s life together. I feel sorry for Ellen/Elliott. Going to have a long road ahead.