Injustice, The Gods among us [De iniustitia Deorum in nobis:] – ep. 16

Gated Subdivision

Gated Subdivisio

Jesus (c. 4 BC – c. AD 30 / 33), also referred to as Jesus of Nazareth or Jesus Christ, was a first-century Jewish preacher and religious leader. He is the central figure of Christianity. Most Christians believe he is the incarnation of God the Son and the awaited Messiah (the Christ) prophesied in the Old Testament.

What is Jesus’s real name in Hebrew? The name יֵשׁוּעַ “Yeshua” (transliterated in the English Old Testament as Jeshua) is a late form of the Biblical Hebrew name יְהוֹשֻׁעַ Yehoshua (Joshua), and spelled with a waw in the second syllable. The Late Biblical Hebrew spellings for earlier names often contracted the theophoric element Yeho- to Yo-.

Why do we call Jesus Jesus? The name Jesus is derived from the Hebrew name Yeshua, which is based on the Semitic root y-š-ʕ (Hebrew: ישע‎), meaning “to deliver; to rescue.” Yeshua, and its longer form, Yehoshua, were both in common use by Jews during the Second Temple period and many Jewish religious figures bear the name, notably Jesus in the New Testament, and Joshua in the Hebrew Bible.

When Jesus Christ made his appearance, that changed everything. Those who wished to still believe in the Old Gods left this world to continue their preferred worship in the worlds beyond The Event Horizon. Such was the basis of the segregation into their Ancient World and our so-called Modern World.

Civilizations in the Ancient World are just as technologically advanced as those in the Modern World, and, with the notable exceptions of the Asgard Confederacy and the Replicator Empire, their tech is entirely Goa’uld based. The Goa’uld, thought to be long-ago extinct by the Modern World, are alive and well in the Ancient World, and they have their own empire. The rank-and-file of the Ancient World’s human militaries are supplemented with mercenaries that are those human-appearing robots, the Replicators. Again, it’s the Asgard who are a notable exception to this practice of using of Replicators as military supplements.

On Library business. Upon crossing the Event horizon. Her mopp gives way to a crane, that outdated 1960’s hairdo worn by Marion Crane the lead character in Alfred Hitchcock’s Psycho (1960) as played by actress Janet Leigh. Her Lindsey Vonn has given way to that imploded Zfd, namely a Marion Crane, another expression of a Noom gone SLOOTH—i.e., another expression of this girl with the LGBTQ look and the centrist role of a Kyrsten Sinema. Eyeglasses [either thicks or thins], Parts, and barbwire garters are optional for a Marion Crane. For this outing, Kirstjen exercises all three options, and choosing the wearing of thick-readers, resulting in her transformation into a drab, creepy, unattractive, frumpy cunt. Her accent is unchanged, and thus it is not the cultured Manhattan dialect used by Janet Leigh for Leigh’s movie portrayal of Marion Crane. With this template, it’s that discerning lesbian etiquette, when Parts are worn, by a doll.

Hollywood Hair 1960. Janet Leigh (born Jeanette Helen Morrison) has one of the most casual, attractive hairdos in Hollywood today—i.e., a hairdo known colloquially as the crane, since her movie role as Marion Crane in Psycho. Her hair is cut short in shaggy petals which she sets quickly and easily in rows of pin curls. To add height to her hair, she rolls the top and sides on small rollers (under, as for a pageboy, and tight to her head). When she takes out the pins and curlers she brushes like mad, then she finger-combs her hair into its soft looking, tousled pattern. So, chic.

The skinny, ugly, buxom, eighty-something Sumerian nun, dressed in a religious habit, walks over to the girl. Envious and petty, Number Nine is the one who branded Kirstjen at the behest of the two Goddesses. But she has her own ulterior motives for seeing to it that she was the one who greeted the girl.

“Long time no see, Number Nine.”

“Yes, it has been a long time, Seven-of-Nine.”

On this side of The Event, Kirstjen is Seven-of-Nine, a novice [nun] of the Sumerian Religious Order. It is an honorary title. She’s not a member of the Religious Caste.

It was Number Nine who requested that Kirstjen change into a Marion Crane, with all the fixings, upon making the crossing. Kirstjen complied, of course. The girl is well aware that the nun has an unhealthy fixation on her, a fixation aptly expressed in the nun name chosen for her by Number Nine.

“I like you best doing a Mildred Huff.”

“My husband doesn’t. She gave me strict instructions that a fully-optioned Marion Crane is as far as I can go for you.”

“Too bad.”

“She’s watching.”

“Remotely?”

“Of course.”

“Remember: on this side of the Event, she sees what we want her to see. Which means that the two of us could cheat, just like you did with me before.”

“Nope, not this time. Not ever again.”

“Never say never.”

Kirstjen’s fuze feverishly burns and itches. The girl becomes stiff and silent, and removes her glasses, they now hang around her neck via their eyeglass chain. Number Nine heavily applies plaintive makeup to Kirstjen’s face and neck. Kirstjen slips her glasses back on. Marion Crane gives way to a Mildred Huff. Wearing this disfiguring makeup is always paired with her suffering from a particularly-nasty, convoluted flavor of BDD, and, as such, during this triggered full-blown psychotic episode, Kirstjen’s memories get extensively rewritten so that she now believes that she’s not just fronting a Coyote ugly template and that she really looks this way all of the time.

Bottomline. A Kirstjen who, as long as she’s doing Mildred Huff, is sexually insatiable and clinically insane.

“That’s better.” Number Nine covetously strokes the girl’s coopted, inflamed fuze. “From now on, you will carry on your business on this side as my Seven-of-Nine doing a Mildred Huff.”

Unspoken, of course, is the command that Kirstjen will do a Mildred Huff when she crosses over, and she will know herself only as Number Seven belonging to Number Nine. Her transformation will have no effect on the carrying out of her business-related tasks. Just before she returns to the Modern World, she’ll revert back to Kirstjen and front a Lindsey Vonn.

As Number Seven, she will be Number Nine’s drone, the nun’s submissive. She will speak only when spoken to, and she will keep her verbal communications to the bare minimum. Number Seven will speak in a robotic monotone, and refer to herself in the third-person plural, and referring to Number Nine as her Queen. Of course, Number Nine is only a local Borg Queen and thus is not the Borg Queen. In a past life, the nun was Nancy Pelosi, Speaker of the United States House of Representatives.

Number Nine’s party turns out to be short-lived. Kirstjen breaks the nun’s enchantment by sheer force of will and reverts to type, spoiling everything. Seven-of-Nine is no longer Number Seven belonging to Number Nine. Much to the consternation of the powerful magician and sorceress, Number Nine.

“A hidden agenda is one thing, but to blatantly disregard my husband’s mandate and turn me into your sex slave so that you can rape me at will, is another matter, entirely.”

The nun steps back. Kirstjen is more than a little annoyed, an expression worn menacingly by her hard, makeup-ravaged face.

In a last-ditch effort to salvage her thwarted attempt at enslavement of the girl, Number Nine tries autosuggestion via a postinduction spell.

“I’m metal, and you’re meat, know your place, whore.”

Kirstjen “hears” a faint buzzing in her ears, which she summarily dismisses.

“A whore who swings at his/her own bidding, is just that, a swinger not a whore-for-hire.”

Number Seven’s response shows that Number Nine’s subliminal attempt has fallen flat on its face.

“So be it.”

Number Nine gestures, arcanely. Kirstjen’s plaintive makeup is removed and replaced with Bolshoi-bare. Furthermore, the girl’s Mildred Huff gives way to a Lindsey Vonn and not a Marion Crane with all the fixings, which is the girl’s doing.

“Don’t try that again.”

“Or what?”

“I’ll spare you finding out, this time.”

“You still haven’t answered my question.”

“You noticed, that’s an improvement, already.”

The tense moment passes, as Number Nine decides that discretion is the better part of valor and that she shouldn’t push the point. But she won’t give up trying to find that chink in her Number Seven’s armor, and exploiting it.

“Looks like I’ll be beating off at someone else’s expense.”

“Looks like.”

But, while she was rattling around in Kirstjen’s head, during the submission attempt, Number Nine gleaned a heretofore unused subversion. Her Number Seven as a Kellyanne Elizabeth Conway doing a Bizarrro on social media. The girl flaunting a fit frame in a barely-there gray two-piece, strapping Parts which bulged in the crotch of tiny bikini bottoms, prudz, wurms. Yanking down string bikini bottoms to reveal lower waist tattoos—the tattoos were temporary and arcane, and akin to the Meth tattoos used by tweakers. Krazed. Bizarre makeup heavily applied to the girl’s face and neck giving the girl a feral addiction-ravaged appearance. Wild-eyed, possessed. Wearing a giant diamond choker and displaying Bizarrro’s trademark black eyeliner all over the girl’s face—i.e., that’s a yes to long, tousled, and somewhat messy hair, resulting in a sexy and a somewhat intensely-maniacal appearance as if she were a crazed dominatrix akin to Kellyanne Conway’s alter ego, in a word, fiendish.

Mildred Huff … out. Involuntary … out. Maybe, the girl voluntarily doing Bizarrro Kellyanne Conway, Ms. Conway’s alter ego, a Dox, is Number Nine’s backdoor into the girl becoming her mindless wanton Borg drone sex toy.

There’s something else. In spite of Kirstjen’s jailbreak. Number Nine can sense the girl’s underlining need. Kirstjen’s underlining craving to be that fusion of Mildred Huff and Bizarrro Kellyanne Conway—exemplified by bizarre makeup overlaying plaintive makeup, both makeups heavily-applied to face and neck, and krazed yellow-blonde hair liberally-streaked with grey and white—i.e., Bizarro Seven-of-Nine, a Number Seven belonging to Number Nine, who is a sexually insatiable and clinically insane Borg drone. But, in order for that transformation to be successful, Kirstjen must voluntarily submit to this complete and utter subjugation of her psyche. This is the very same possessed gender-bending characterization, thwarted by the studio bosses, which Kirstjen wanted to portray with her Angela Holmes character in that two-movie series.