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*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema

Ch 10, p. 80

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Womb (dome) has become more like birth canal or cesarean opening. And from that opening above him, rappelling on ropes, descend the cavalry. On a related note, the rescuers descending on ropes ... relief via ropes or cords ... is symbolic of the neonate’s wishes for life-saving oxygen to be coming more abundantly through the umbilical cord. As we will see, being trapped and feeling tortured and suffocated because of a reduced flow of oxygen-carrying blood through the umbilical cord is a near universal human experience and is a major aspect of human’s uniquely-configured prenatal and birth experiences, out of which the singular human personality and human worldview emanate.3 At any rate, being in the dome is symbolic of the stage in the birth process before birth when one is in the womb; it is termed by Grof, Basic Perinatal Matrix I or BPM I. Whereas this time in one’s life can be blissful and contented and was more likely to be that way for people, historically, it can also contain elements of torture and poisoning.4 Sadly, it is more likely to have those negative elements — FUNNY GOD Page 80
September 29, 2026 at 6:53 AM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema.

Ch 10, p. 81

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COMMON MADNESS AND THE DIVINE FEMININE Page 81 …poisoning and torture — in modern times, since this womb experience of the fetus is affected by the food and drugs the mother takes in and the emotions she experiences while carrying the child. With our times seeing manyfold increases of toxic chemicals from both our environment (287 industrial pollutants were found in the umbilical cords of newborn babies, in a recent study, of which two- thirds of them are known to be carcinogenic and toxic to the brain5) and from our current rampant pharmaceutical usage, this movie reflects the more likely womb of modern prenates. So, again, Terry Gilliam, creator of Brazil, known for his work in Monty Python, depicts a more recent biological experience for humans — a toxic womb here, which is in addition to the unnatural cesarean-type birth mentioned. It fits that this dystopic nightmare of a world as seen in Brazil, reflecting as it does the worst of our modern reality, would be revealing some of its roots as being in the most horrifying and most unnatural of our experiences in the womb and at birth, which are particularly significant in modern times.
September 30, 2026 at 10:39 AM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema

Ch 10, p 80

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FUNNY GOD Page 80 …out his perinatal rebirth and the release from his stifling outer existence. While Sam is actually being tortured to the edge of death, which happens while he is strapped into a chair much like one from a dentist’s office, in which he squirms and struggles to move, which is set in the center of a huge, dome-like, womb-like enclosure; in his imagination only (we find out later) his allies burst in to free him. The dome, we only then discover (or is it wishful thinking? Some kind of deus ... or obstetrician ... ex machina?), is open at the top and the supposed “terrorist” team, who he is wrongly accused of working with, descends on ropes in order to free him. I will forgo, for now, the issue of the acceleration of cesarean birthing procedures in modern times and its contribution to a degrading societal consciousness and global mood, as I have touched on that elsewhere in a more suitable context.2 However I need at least to point out the unmistakable cesarean element in this “birth” (this rescue) through an opening magically appearing in the dome (womb). Where the dome was dimly lit and seemed completely enclosed, suddenly there are lights shining from above onto the face of a startled and squinting Sam. Looking up, he sees a huge hole at the top of the dome, the building now appearing to have more of a shape of the inside of a nuclear cooling tower. Womb (dome) has become more like birth canal or cesarean opening. And from that opening above him, rappelling on ropes, descend the cavalry.
September 28, 2026 at 7:16 AM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema

Ch 10, p 81

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BPM II, Basic Perinatal Matrix II, is the stage of no-exit prior to birth when the birth contractions have started and there is a need to escape and be born, or die. That is the situation of the hero, Sam, directly before the rescue attempt, while he is immobilized in the chair, feeling hopeless and facing death, in fact, actually pleading ... begging! ... for his life. This expresses the no-exit despair we experience as prenates, where we are trapped, cannot move, are not getting enough oxygen, feel helpless, and feel certain we are going to die. What we wish for, but seems impossible here, is to breathe freer (get more oxygen through the umbilical cord), to be “free” (able to move around and be comfortable), to have power and be able to fight back (might manifest in society as fetish about owning guns), and to live. Following BPM II is BPM III, and this is the actual struggle to be born. There is hope. While still feeling that death is imminent, we make the effort to be born and feel we have a chance to succeed and thus live. In the movie this is the part where Sam is freed, cesarean or not, and takes up the fight himself, fending off and, with his allies, shooting numerous attackers in trying to escape. After a scene in which he finds himself in a funeral service for his mother — who is also depicted as alive and as being alternately his girlfriend (anima… COMMON MADNESS AND THE DIVINE FEMININE Page 81
October 1, 2026 at 7:29 AM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema

Ch 10, p. 79

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suffering masses and their incessant labors feed the displays, vanities, and artifices of the wealthy of any society — those who are not engaged in the actual struggle of humanity, but who, from their Olympian peaks, seek to manipulate and manage it at a distance and without “getting their hands dirty.” The Perinatal Matrix of Civilization Floundering in futility himself, indeed, the main character in Brazil, Sam Lowry, who is played by actor, Jonathan Pryce, cannot face the horror of it all, ultimately. He flips out at the end into a reassuring dream sequence bubbling with perinatal imagery. All aspects of the templates on our life experience that are imprinted into our fresh and receptive psyches in the course of our earliest experiences in the womb and at birth itself — as laid out by Stanislav Grof in his Basic Perinatal Matrices — are there.1 By “flipping out” I mean that the “hero” — shackled himself by his perinatal within and his societal oppression without — cannot be effective in his life; he is stymied at every turn. So in fantasy, Sam acts… COMMON MADNESS AND THE DIVINE FEMININE Page 79
September 25, 2026 at 4:10 PM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema.

Ch 10, pp. 73, 75

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*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema. Ch 10, pp. 73, 75 🧵Click this panel for Thread, complete book or, for free pdf copy: https://drive.google.com/file/d/1yOP6WuHBSY3VX9UgoKZKHXoOTzjQtosp/view?usp=sharing 1/ 🧵👇💡📚💙 #FnG 🐸☯️ #FnGCH10📖 #TruthWarriors ❕ #psychology ☮️ #mythology ☮️ #patriarchy 🧟‍♂️ #RitesOfPassage 🐉 #transpersonal🪽 #consciousness 💡 #metaphysics 🌈 #RainbowWarriors 🦋 COMMON MADNESS AND THE DIVINE FEMININE Pages 73, 75 Section Three COMMON MADNESS AND THE DIVINE FEMININE CHAPTER 10 Darkening Down: Matriarchy in a Cage and the Perinatal Matrix of Civilization as Seen in Brazil ... Perpetual Ritual Act- Outs Are Only Mollification for Our Unhappy Life Decisions
August 10, 2026 at 8:22 PM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema.

Ch 10, p. 79

🧵Click this panel for Thread, complete book

or, for kindle copy: www.amazon.com/Funny-God-Re...

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COMMON MADNESS AND THE DIVINE FEMININE Page 79 …which one rationalizes the results as being worthwhile. One’s life is a ritual; it is unlived and unfelt, and one weighs the resulting despair against an imagined life, where all dreams come true ... much like fairy tales console children and religion tranquilizes adults. Finally, the fact that this is all a consequence of the fear of perinatal elements is reflected in the infant/baby faces pulling the caged matriarchal symbol. Another provocative aspect of this image, in the film, has to do with the fact of these hordes of infant-like city dwellers, who are depicted as impoverished and oppressed, and so enslaved. This indicates how these are suffering masses ... and that these bent- backed and huddled, laboring people are really just needy babies inside, driven by leftovers from their perinatal pasts. And again, the hero, in keeping with the Perseus way, is not on the ground with them (as in experiential therapy, the individual would actually be allowing the pains of birth to arise); he is not participating in their struggle (as the Tao of Funny God would have its hero doing); indeed, their suffering feeds his fake and artificial flight, just as the suffering masses and their incessant labors feed the displays, vanities, and artifices of the wealthy of any society — those who are not engaged in the actual struggle of humanity, but who, from their Olympian peaks, seek to manipulate and manage it at a distance and without “getting their hands dirty.”
September 24, 2026 at 6:46 AM
sillymickel.bsky.social
*FUNNY GOD* Ch 10, p. 76

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FUNNY GOD Page 76 …different way of dealing with the evil and the perinatal than most other movies that deal with this kind of material. The movie, Brazil, exemplifies this difference by providing a clear contrast to the way (of Funny God) embodied in Nothing But Trouble. Not only is Brazil cast in an eerie, somber, and tragically hopeless and futile air — indicating that one’s response here is to “believe in” the reality of such material — but the only escape in this movie is in a purely mental, fantasy way. Reflecting a Perseus way, not a funny-god way, it is no coincidence that the hero finds himself dreaming for much of the movie — especially he finds himself in dreams where he is flying and has wings. We are reminded that after Perseus sliced off the head of the Gorgon (Medusa), a winged horse, Pegasus, was born from the stump. This indicates that when one does not really deal with evil or unconscious materials and merely whacks away at its most visible (and indirect and symbolic) elements, if it, like the Hydra, does not sprout another head, then it is substituted for with an illusory and fantasy creation. This is a lot like the “positive” thinking one hears so many people espousing. They do not seem to know…
August 29, 2026 at 2:05 AM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema

Ch 10, p. 78

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The anima “damsel” here in the film, tellingly, is trapped in a barred cage which floats in the air, much like women in a patriarchy are put on a pedestal while at the same time being held in bondage. And this prison cell has strings or ropes dangling from it by which the creatures on the ground pull it through the streets of the metropolis. Pulling artificial dreams and distorted images of the feminine and of spirituality, the peons of modern civilization — enslaved by their brutal birth traumas within and crushing economic oppression without — move their bedraggled forms forward through the anonymous and unwelcoming maze of the polluted urban landscape. Thus, with matriarchy in a cage, with the anima and the feeling self enslaved in the patriarchy, the only response for the hero, like the Pegasus erupting out of the stump of the Medusa, is to engage in an imagined life. In this substitute patriarchal fantasy, the hero does, actually, at a point later on in the movie, have a confrontation and fight to the death with a “dragon” — in this case, a giant, metallic, heavily armored Asian warrior figure. Sure enough the result is futile, showing an actual inability to do anything about the enslaved self and its feelings. So, the hero is not free, cannot free anyone else, is not able to do anything but engage in pyrrhic victories and struggles in… FUNNY GOD Page 78
September 23, 2026 at 6:57 AM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema.

Ch 10, p. 78

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FUNNY GOD Page 78 …pattern of a man’s life, men seek to unite with their feminine sides, their animas, externally and unsuccessfully, through marriage. This caged angelic figure in the film, Brazil, is a perfect representation of the imprisoned feelings, pleasures, joie de vivre, emotions, spirituality, compassion, sexuality, nurturing qualities, relationship yearnings, and more, which is the anima for a man. It is significant that this anima in Brazil, caged as it is, contrasts with the anima in Joe Versus the Volcano, who is not only free, but in her final “incarnation” as Patricia is quite outspoken as well, indicating her wholeness of personality, more specifically, the fact that she has integrated her animus, that is to say, her masculine side. These differences in the anima characters of the two films say a lot in revealing their contrasting messages. The anima is related to a man’s mother, in that its characteristics are fashioned through a boy’s relationship to his mother in early life. As I will explain in a little bit, the anima is also related to and expressive of the Divine Feminine — the Goddess or the matriarchy. The anima “damsel” here in the film, tellingly, is trapped in a barred cage which floats in the air, much like women in a patriarchy are put on a pedestal while at the same time being held in bondage.
September 22, 2026 at 3:03 AM
sillymickel.bsky.social
*FUNNY GOD* Ch 10, p. 75

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“Pulling artificial dreams and distorted images of the feminine and of spirituality, the peons of modern civilization — enslaved by their brutal birth traumas within and crushing economic oppression without — move their bedraggled forms forward through the anonymous and unwelcoming maze of the polluted urban landscape.” “...with matriarchy in a cage, with the anima and the feeling self enslaved in the patriarchy, the only response for the hero, like the Pegasus erupting out of the stump of the Medusa, is to engage in an imagined life.” Darkening Down Incidentally, this element of humor — as displayed in the movies Joe Versus the Volcano and Nothing But Trouble — shows an entirely… COMMON MADNESS AND THE DIVINE FEMININE Page 75
August 27, 2026 at 11:59 PM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema

Ch 10, p 75

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2/ 🧵👇💡📚💙 #FnG 🐸☯️ #FnGCH10📖 #TruthWarriors ❕ #psychology ☮️ #mythology ☮️ #patriarchy 🧟‍♂️ #RitesOfPassage 🐉
“Pulling artificial dreams and distorted images of the feminine and of spirituality, the peons of modern civilization — enslaved by their brutal birth traumas within and crushing economic oppression without — move their bedraggled forms forward through the anonymous and unwelcoming maze of the polluted urban landscape.” “...with matriarchy in a cage, with the anima and the feeling self enslaved in the patriarchy, the only response for the hero, like the Pegasus erupting out of the stump of the Medusa, is to engage in an imagined life.” Darkening Down Incidentally, this element of humor — as displayed in the movies Joe Versus the Volcano and Nothing But Trouble — shows an entirely… COMMON MADNESS AND THE DIVINE FEMININE Page 75
August 25, 2026 at 10:51 PM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema.

Ch 10, p. 77

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Matriarchy in a Cage What is even more provocative and telling is that these perinatal hordes are pulling along behind themselves, using ropes, an enslaved damsel. Specifically, it is an angelic version of a female figure who will later show up again in real life and become the hero’s girlfriend, Jill Layton (played by Kim Greist). You cannot have a clearer depiction of an anima figure as this damsel in a cage. The anima, according to Jungian psychology, is a male’s repressed feminine side, who “haunts” him throughout life, unless those feminine qualities are embraced within him and integrated into the personality. We saw an excellent depiction of it in the Patricia character in Joe Versus the Volcano; most revealing was the way Patricia, played by Meg Ryan, showed up earlier in the movie as two other women, with whom Joe was romantically involved. The three characters had distinctively different personalities but were all played by Meg Ryan, such that we understand why Joe, in the scene at the volcano, would tell Patricia, “The first time I saw you. I felt like I'd seen you before.” Thus, a man’s anima, repressed as it is, is projected onto the world, and men see its elements in other women. In the typical… COMMON MADNESS AND THE DIVINE FEMININE Page 77
September 21, 2026 at 2:03 AM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema

Ch 10, p. 77

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COMMON MADNESS AND THE DIVINE FEMININE Page 77 …outs are only mollification for the unhappy decisions one has made in one’s life. Indeed, the hero’s dream depictions of the winged warrior hint at that in being reminiscent of the myth of Icarus, who had artificial wings pasted upon him, which caused him to travel too close to the sun and away from Earth (too far away from reality?) and therefore, the wax adhesive on his wings melting from the sun (the natural consequence of a solar theology), they fall off, resulting in an ignoble plunging to Earth and to death. Furthermore, the hero’s dreams point to their roots and solution in that in the streets of the city, through whose canyon walls between skyscrapers the hero flies, are seen shackled and regimented hordes of figures with the faces of babies and infants. This is provocative in that it shows the perinatal origins of it all ... that is, its genesis in birth and infancy traumas. Matriarchy in a Cage
September 19, 2026 at 9:09 AM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema

Ch 10, p. 76

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or, for kindle copy: www.amazon.com/Funny-God-Re...

3/ 🧵👇💡📚💙 #FnG 🐸☯️ #FnGCH10📖 #TruthWarriors ❕ #psychology ☮️ #myth ☮️ #patriarchy 🧟‍♂️ #RitesOfPassage 🐉
FUNNY GOD Page 76 …different way of dealing with the evil and the perinatal than most other movies that deal with this kind of material. The movie, Brazil, exemplifies this difference by providing a clear contrast to the way (of Funny God) embodied in Nothing But Trouble. Not only is Brazil cast in an eerie, somber, and tragically hopeless and futile air — indicating that one’s response here is to “believe in” the reality of such material — but the only escape in this movie is in a purely mental, fantasy way. Reflecting a Perseus way, not a funny-god way, it is no coincidence that the hero finds himself dreaming for much of the movie — especially he finds himself in dreams where he is flying and has wings. We are reminded that after Perseus sliced off the head of the Gorgon (Medusa), a winged horse, Pegasus, was born from the stump. This indicates that when one does not really deal with evil or unconscious materials and merely whacks away at its most visible (and indirect and symbolic) elements, if it, like the Hydra, does not sprout another head, then it is substituted for with an illusory and fantasy creation. This is a lot like the “positive” thinking one hears so many people espousing. They do not seem to know…
August 26, 2026 at 9:32 PM
sillymickel.bsky.social
*FUNNY GOD* Ch 10, pp. 73, 75

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COMMON MADNESS AND THE DIVINE FEMININE Pages 73, 75 Section Three COMMON MADNESS AND THE DIVINE FEMININE CHAPTER 10 Darkening Down: Matriarchy in a Cage and the Perinatal Matrix of Civilization as Seen in Brazil ... Perpetual Ritual Act- Outs Are Only Mollification for Our Unhappy Life Decisions
August 19, 2026 at 5:35 PM
sillymickel.bsky.social
*FUNNY GOD: The Tao of Funny God & The Mind's True Liberation* (2015) by Michael Adzema.

Ch 10, p. 76

🧵Click this panel for Thread, complete book

or, for audio, www.amazon.com/Audible-Funn...

4/ 🧵👇💡📚💙 #FnG 🐸☯️ #FnGCH10📖 #TruthWarriors ❕ #psychology ☮️ #mythology ☮️ #patriarchy 🧟‍♂️ #RitesOfPassage 🐉
This indicates that when one does not really deal with evil or unconscious materials and merely whacks away at its most visible (and indirect and symbolic) elements, if it, like the Hydra, does not sprout another head, then it is substituted for with an illusory and fantasy creation. This is a lot like the “positive” thinking one hears so many people espousing. They do not seem to know that in going to war with all their “negative” thoughts they are creating a fantasy world to live in, one that is built up of all the Pegasuses of thought that are born from going after only the most obvious aspects of darkness and evil as represented by thoughts (not feelings). The movie, Brazil, shows us other intriguing elements. The “hero” in these dreams is shown with wings of metal. Tellingly, while he flies like a bird, his garb is also metallic; he is protected completely by armor. Armor expresses the defensive quality of this “hero’s” quest. It is a substitute quest, divorced from reality, and keeping him from dealing with the real evils in his life and society and with the real shortcomings of his life and in his character and spiritual development. It is a rather good depiction of the Jungian approach I detailed above, where one, as if in some kind of Plato’s cave of reflected realities, struggles and contends with the reflected images of reality. And in doing so, one is doomed to failure. There is, in actuality, no carrying over of hocus pocus into any real world. Perpetual ritual act… FUNNY GOD Page 76
September 18, 2026 at 7:53 AM