Watching the original Robocop and the latest version in sequence is illuminating. The first highlights a revenge story of a human who loses their humanity only to rediscover it again. It tells the audience that no matter what, so long as you hold true to justice and values higher than yourself you will have a soul and find it again, even in the most unusual ways.
As for Robocop 2014, this is a 9/11 sized hamburger of things. First off, we have an odd color cast for a very well made picture. There's southern sounding characters with slurring speech. Samuel L. Jackson adds a greasy 1984 feel to the intro, along with odd babbling over the MGM lion logo. It comes off odd, it feels odd and it's chock full of agendas.
(Perhaps the correct word is, Queer -- in the way it is used by Peter Thiel himself).
- We are in a middle eastern country where house arrest is overseen by androids. The tech giant wants robots in US law enforcement but there's opposition because the android LLM's are inferior in judging critically during use of lethal force situations.
First question: Why the middle east? This is using broad strokes from the War on Terror period with George Bush and 9-11. Intentional propaganda tie-in. Why the southern sleezy sounding Protagonist who comes off as a complete and utter hick? Because the audience is meant to be a diluted, dumb mass of Americans who don't think deeply; they are meant to pass on the emotional engrams this film imprints on their minds. So, this film is not targetting thinkers, but as broad an audience as possible -- children even. The concepts are watered down to a Gatorade translucency for easier consumption.
- The law / congress putting obstacles up for robotics in cities.
Why is it important to setup the lines of conflict in future "democratic debate" pools? So that it is very easy to have people believe there is a cohesive collective agreement among populations in the US. So the line they are spinning here is "The US will face off with tech guys like Elon and on the right you'll have people who believe only humans should have the right to be officers who can take a life."
Now we see it clearer.
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The Tech Overlord played by Michael Keaton masterfully lays out the reasoning of making cyborg transhuman queers: "We need to make them feel safe by putting a HUMAN BEING INSIDE THE MACHINE". Here is the part where a meticulously placed Gary Oldman, playing some sort of quasi-doctor-transhuman implant therapist, explaining to a man who has had amputations in favor of robotic parts that he has to pretty much "pretend to be human now".
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Without watching further, I went to Credits to look for references to the companies funding this little flick. The first thing that caught my eye was a reference to an odd modern triptych. See how "odd" everything feels about this film?
Because it really is.
The triptych shows what appears to be three stages or perhaps a process. In the first image from the left we see what looks like perhaps a lung or liver with strange antennae like appendages above them, and this mass of flesh appears to be coming out of a pitch black doorway. Beneath this flesh mass we see a blood smear coming out of the darkness.
The second image I want to look at it the other human-resembling form (more so than the middle image). This one appears almost human, it has legs but they are severely effected -- oozing, morphing, changing. And again, the black doorway. Except you can see it appears to be heading INTO the doorway.
From this, I infered that the human like deformity is an human being who has undergone significant brainwashing and effects by media and by the "Hocus Pocus" (see songs included in Robocop 2014 credits, too). They are ready to commit. They will certainly wear an Apple product. They most certainly will use AR Meta glasses and if they can, they'll get embedded electronics. It's cool.
Ok. If you're following me, look at the final image in the triptych: the center mass. This one has a spine and appears more complete than the previous organs and human-trans figure on the right. It has legs. It has a head even. But its organs are in the wrong place, so much so they are facing down into the legs.
Finally, we see a blood red background, this represents BIRTH. The birth of something new has occurred, blood has come out of the female and a child is produced. It is standing on what appears to be a cube of glass, or a stand of some sort. I propose that this is to refer to the beige plate that he - the trans queer robot Roboman aboMANation is confined to.
Once the Language Model on the right is combined through surgery or some operations of "hocus pocus" (Meta, Oracle, Tesla Neuralink, Palantir), he is confined to a dimension now lower than what he observed before.
LLMs operate in bits and bytes. They operate on dead information that we have to ingest via inventions and devices. A human being who has a living body and living sense uses its own senses to get the information into their brain. But this abomination, having been fused through a Luciferian magic is now a LESSER BEING. It's spine does not help it to walk. It's head is near its stomach. It's 3D dimension locomotion bipedally is surrendered to a slab of beige: a language model of the system. The order of the World.
Side note: It is interesting that the colors used are a dark red and a beige color here. I am wondering if this is part of the sorcery and prophecies of the Luciferians. It reminds me of doctor's labs, or maybe mental health facility's interior design colors.....
Something to think about for the next 10 years as we head off to AI-reporters, AI-president speeches and AI-job placement systems... Maybe the kids will simply tire of the difficulty of being human and think the grass really is greener on the other side, where there is no more will and no more freedom forever and ever.
SOURCE: https://www.imdb.com/title/tt1234721/?ref_=nv_sr_srsg_2_tt_8_nm_0_in_0_q_roboc