Trapezoidal Thoughts on Fascist Fuckery

Reclaiming Set’s good name from “secret societies” that like to play “Raiders of the Ark” (but as Nazi characters!), and which have contributed to the normalization of fascism today.


Anton LaVey once codified a concept called “the Law of the Trapezoid.” This refers to the magical power of shapes and spaces that trigger strong reactions of primordial fear, from phobias and apotropaic religious images to German expressionist paintings and gothic horror movie sets. Whatever it is, something is “wrong” about it—it has too many (or not enough) legs or eyes; it reminds us uncomfortably of sex, death, and/or spiritual evil; or something is just “off” about that crooked, pointy hallway in the scary movie you’re watching. Such images provoke fear in most people, but fear is not always a bad thing; it can be a great motivator for self-preservation and change. And some people are even energized by such imagery, finding it beautiful in its own eldritch way. LaVey named this principle after the trapezoid because it is the simplest of all “disturbing” geometric shapes (it does look rather odd, like a decapitated triangle), and he applied it to many of his ceremonies in the Church of Satan. Imagine a religious service where you are scared or shocked right into “enlightenment” in a Halloween spookhouse, and you’ll have a ballpark idea of how this theory was supposed to work in practice.

LaVey was so driven by these observations that he even named the inner circle of his church “the Order of the Trapezoid,” a title Michael Aquino later gave to a particular school within the Temple of Set. The Setian Order of the Trapezoid developed LaVey’s theories on weird geometrical spaces even further, conceptualizing themselves as “knights” on an esoteric “Grail Quest” (where the Grail is equated with a postmortem state of existence comparable to that of the Akhu). The literature that’s been made available to the public touches on everything from H.P. Lovecraft to left-hand path interpretations of Scandinavian mythology, and it’s all tied together with kind of an Indiana Jones vibe. The Order’s take on the Aesir and the Vanir is probably not agreeable to most devotional polytheists who are drawn to said divinities; but that has never been the point for these particular Setians. Their point is to kheper by applying the Law of the Trapezoid to a wide mishmash of things that engage them, but which are mostly related to Germanic and/or Lovecraftian influences.

I will say that the Order of the Trapezoid’s obsession with Nazi occultism is alarming, though perhaps in a more complex way than might be expected. I do not believe Order of the Trapezoid members are actually totalitarian white supremacists; but they have deliberately modeled themselves after Heinrich Himmler’s Ahnenerbe (the Nazi occult think tank that inspired movies like 1981’s Raiders of the Lost Ark), claiming to extrapolate the “positive” aspects of that secret society while discarding its “negative” aspects. This has understandably led outsiders to assume that Order of the Trapezoid members are Nazis, despite their claims of including both Jewish and black people among their membership. But whether members of the Order actually agree with National Socialism or not is almost immaterial; they promote its ethos simply by spotlighting their highly questionable sources so much.

Any Heathen can point you to a wealth of resources on Scandinavian polytheism that are far more advanced and reputable than anything Heinrich Himmler might have been reading back in the 1930s or 1940s. So why bend over backwards so much to “find positive things” about the Ahnenerbe when there are much more excellent resources available? The answer, of course, is that this isn’t really about reclaiming Scandinavian lore from the Nazis at all. It is really just about having an excuse to enjoy Nazi symbolism and memorabilia without considering how such imagery can still harm other people, even when it is completely devoid of any real political content. Even if Order of the Trapezoid members are not Nazis themselves, their activities and publications have certainly encouraged OTHER left-hand path occultists who ARE Nazis to come out of the woodwork. For it wasn’t until the Order of the Trapezoid started scaring people like Isaac Bonewits during the 1980s that other, more extremist cults like the Joy of Satan and the Order of the Nine Angles came into play.

Setians are free to explore whatever spiritualities they like; but I must admit, it gets my back hairs up to think there’s a group of people out there who have taken Set’s name as a part of themselves, yet who also idolize the Ahnenerbe so much. I can definitely agree with the idea that Set and Odin might be “drinking buddies,” so to speak; there are many people who are drawn to Egyptian and Norse gods at the same time, so the idea of combining Kemeticism with Heathenry is nothing new. But I don’t see Set’s mighty red fingerprints on ANYTHING Heinrich Himmler was ever involved in (and frankly, I see nothing of the real Odin in any of that bullshit either). There is simply no good reason to incorporate such drivel into either Setianism or Heathenry. If you really want to walk with Set or Odin, ditch all that volkisch right-wing propaganda and read you some proper university-published archaeology textbooks instead.

Again, just to be clear, I am not accusing Order of the Trapezoid members of actually being Nazis themselves. I have read more than enough of Michael Aquino’s work to know that he never actually praised Hitler, denied the Holocaust, and or called for the extermination of Israel or anything like that. But I AM saying there is most definitely an antisemitic undercurrent to all of this stuff. This is captured in almost every critique Aquino ever wrote about Judaism, which he frequently conflates with Christianity and Islam. Whenever you see someone refer to Judaism as a “Judeo-Christian” religion; or if you see them confuse Judaism with the ancient Hebrew religion; or if they seem to hold Jews responsible for every horrible thing Christians ever did to polytheists throughout history; well then you can reasonably guess that person has probably never tried to understand Judaism on its own terms before. (The baseless claim that “Satan” is a “Hebrew corruption” of “Set-Hen,” a name for Set that Aquino appears to have invented, is also indicative of this bias.) You don’t have to buy into National Socialism to promote antisemitic views like these, and thanks to Aquino, many LHP occultists continue to promote such fallacies at every turn.

Of course, it will be argued by LHP readers that my visceral reaction to their use of National Socialist imagery is proof itself of LaVey’s Law of the Trapezoid at work. Theoretically, they take this disturbing imagery that scares other people away and find ways to benefit from it magically without directly harming anyone. (The argument would likely be that since I find their activities distasteful, I am somehow “lacking” as a Setian.) The trouble is that even without directly harming anyone, such imagery can still harm people indirectly—and for generations to come! By flirting with fascist symbolism so much in the 1980s and 1990s, people like Anton LaVey, Michael Aquino, and Zeena Schreck effectively normalized this ethos among their respective LHP communities. And whenever such hateful imagery is normalized, it becomes much easier for others to take it too seriously and actually become real life monsters. (It doesn’t help that leaders like LaVey, Aquino, and Schreck were all white, with no people of color [publically] joining in on their fascist aesthetic.)

The Order of the Trapezoid prides itself on supposedly presenting its information in such a way as to “protect” the outside world from any negative consequences their controversial magical projects might have. My argument is that if they really cared about keeping anyone “safe” from such fallout, they would never have published any material about this shit in the first place. They would have kept their esoteric tradition completely oral and never allowed any information about their practices to reach the public. If you feel like you gain some kind of spiritual benefit from dressing up like Colonel Klink in your private rituals (even though you really find Nazism deplorable), that is no skin off anyone else’s back. But if you FLAUNT that you are doing this, you really can’t bitch about it when people give you grief, or when OTHER people become RADICALIZED by the signals you are sending them. If my reactions to Nazi imagery exemplify the Law of the Trapezoid, it is only because the misapplication of this “Law” (by those who claim to understand it, no less) has been incredibly destructive to society. We probably wouldn’t have quite so many Proud Boys crawling out of the gutters today if people like LaVey, Aquino, and Schreck hadn’t helped to normalize some of this shit in the first place.

I have already discussed my views on Lovecraftian occultism at greater length in Episode #13 of this series, but here is a brief review. First, Anton LaVey and Michael Aquino both owe a debt to Kenneth Grant, who was really the first occultist to adapt H.P. Lovecraft’s lurid science fiction tales for ritual work. Second, I can see why Lovecraftian figures (Cthulhu, Yog-Sothoth, etc.) would prove useful to occultists who are interested in applying the Law of the Trapezoid to their work. And third, I think such figures are prime “real estate” for qliphothic entities that want to skull-fuck people six ways from Sunday. I think it is best not to play with that sort of thing unless you do it in a controlled environment, with proper banishings and protective circles and stuff.

Matter of fact, the only way I’d allow any Cthulhu caca at one of MY rituals is if we were invoking Apep into something Lovecraftian so we can smash it to bits and pieces, as an execration spell. Such would demonstrate Set’s power to stomp the shit out of ANYTHING, including motherfuckin’ Cthulhu. But I just can’t get behind the idea of actually venerating any Lovecraftian space monsters. Besides, the association of Set with such lore is really a byproduct of the same white Orientalism that has bred things like Robert E. Howard’s “evil snake god Set and evil Snake People tropes. If a time traveling Setian from ancient Egypt were to witness all these white people in Nazi regalia, invoking Set as “Nyarlathotep” so they can somehow “escape” the natural universe, I am pretty sure they would NOT approve.

Furthermore, Setians don’t need to bastardize Heathenry to practice our faith. Everything we need to theoretically become powerful multidimensional beings after death is already included in Kemetic lore. We should not be equating Set with any Norse deities, for there is just never going to be a perfect match in that respect. (I personally link Him more closely to Thor and Loki than to Odin; but again, Set is identical to none.) We do not need to make up things about Valhalla to describe the afterlife scenarios we hope to enjoy, as these are more than adequately captured in Egyptian references to the Imperishable Ones. And we certainly have no good reason to promote any “legitimized” versions of early 20th century white supremacist propaganda, given that everything about our religion comes down to us from a highly advanced North African people of color.

We also don’t really need the Lovecraft stuff either (except as entertainment, of course). Kemetic lore is already full of alternate universes, qliphothic monsters, and sacred geometry. In fact, Khepesh (the Big Dipper, sacred to Set) might even be called “trapezoidal” insofar as it is a strange angular shape that represents something scary (Set’s raging deicidal power) being put to a positive use (warding off Apep, which tries to sneak into the material world through the northern sky). Then there’s the fact that the chisels for Opening the Mouths of the dead were modeled after this same “trapezoidal” symbol, which brings us back to the idea of becoming Imperishable Ones and gettin’ rowdy with Sutekh up there in His Desert. See how I just did all that without including any Norse gods, Nazis, or Cthulhian beasties? I rest my fuckin’ case.

I am sure some readers will no doubt find my stance on these topics to be incredibly close-minded. After all, Set loves autonomy and diversity right? So I should even accept things I personally find unacceptable, or so the logic seems to go. The answer to that is a hard NO. I know good and well I won’t change any minds that don’t want to be changed; but I can’t claim to respect Ma’at if I don’t denounce isfet whenever I see it. And there is an AWFUL lot of isfet to be seen in LHP romanticizations of Nazism (political, magical, and artistic). This sort of thing should NEVER be romanticized, for it has NOTHING to do with Set, and it has EVERYTHING to do with His eternal enemy, that rancid fucker Apep.


Halloween: The Curse of Michael Myers (1995)

How one of the goofier Halloween movies taught me to think beyond Hollywood depictions of Paganism, with a brief tribute to Donald Pleasence.


While Halloween 4 succeeded in breathing fresh life into the Halloween franchise, the series was almost killed off again with Halloween 5 (1989), which was rushed into production as soon as Halloween 4 proved successful. The production didn’t even have a completed script when filming began, and boy does it show. Halloween 5 is a sordid mess, with characters behaving in contemptible ways that make absolutely no sense, and with several aimless plot threads that were clearly only included to build up hype for the next movie. The most obvious of these missteps is the Man in Black, a mysterious asshole who wears cowboy boots and who keeps walking in and out of the movie, showing up at the very end to bust the Shape out of jail and kidnap his niece, Jamie Lloyd. And though Halloween 5 implied that the next installment would be released ASAP, we were not given Halloween: The Curse of Michael Myers (otherwise known affectionately as Halloween 6) until about half a decade later. 

When Halloween 6 opens, we learn the Man in Black leads a cult that appears to worship Michael Myers, and which has forced Jamie to bear a child (more on this in just a moment). One of the cultists seems to have a change of heart and helps Jamie escape with her newborn baby; but the Shape pursues them back to the town of Haddonfield, and yet another holiday murder spree begins.

There are actually two versions of Halloween 6—the 1995 Theatrical Cut, and the original Producer’s Cut (which wouldn’t see an official release until the 2010s). Both cuts are radically different from each other. The Producer’s Cut is what was originally put together before Donald Pleasence passed away shortly after filming wrapped in 1995. The director, Joe Chappelle, then re-filmed the entire ending and re-edited the rest of the movie for no apparent reason. We are thus left with two very unique films that tell completely asynchronous stories. Both versions are about Michael Myers stalking his niece, her baby, and a family that has moved into the Myers House (relatives of Laurie Strode, in fact). But the Producer’s Cut explains that Myers is merely a puppet for the Man in Black, who appears to be driven by (fanatical) Pagan beliefs. In the Theatrical Cut, the Man in Black’s motives are revealed to be more pseudoscientific than occult, and it turns out he does not actually have the Shape under his control at all.

Both versions of Halloween 6 feature a cult of so-called “druids” who worship a theoretical demon called “Thorn.” Both versions also posit that Michael Myers is possessed by this demon, thereby explaining his immortality and his drive to kill. The symbol for Thorn is actually the Norse rune Thurisaz (the third letter of the Elder Futhark), and it has nothing to do with the druids or with Celtic polytheism. It represents Mjollnir, the hammer of the thunder god Thor, and it is used to magically harness destructive and chaotic energies for protective ends. It is similar in principle to Khepesh, the starry Iron of Set, and and to the use of gargoyles in Christian church decor; it’s not about glorifying evil, but repelling it. So when certain characters claim that “Thorn” demands one family in Haddonfield be ritually murdered every now and again—and that Michael is simply the current bearer of this curse—I can confirm this is complete bullshit. This stuff is not based on any authentic Paganism; the writer, Daniel Farrands, simply pulled it out of his butt to fill all the gaping plot holes left over from Halloween 5.

While the Producer’s Cut still follows the tried and true slasher formula (“spooky killer stalks protagonists one-by-one”), it also follows the Satanic Panic formula (“community is besieged by murderous, rapey witches”). Here is where we return to the subject of Jamie Lloyd’s baby, who is eventually named Stephen. The parentage of this child is extremely controversial. In the original script, Stephen is the result of Jamie’s rape by the Man in Black, who impregnates her so that yet another member of the Myers family can be offered to Thorn. While the film was being shot, the script was rewritten on an almost daily basis, and for some unholy reason, someone thought it was a good idea to have Stephen be Michael’s kid instead. There is actually a flashback which implies the Thorn Cult tied Jamie to an altar and forced the Shape to rape her. There are so many things wrong with this idea, I’m not even sure where to begin. First of all, the Halloween movies generally aren’t known for using rape as a convenient plot device. The Shape is a brutal killing machine, and murder has always been its sole biological imperative; it’s never shown any kind of sexual interest in its victims whatsoever. And the idea that anyone could “force” the Shape to rape someone—given that this motherfucker can rip people’s skulls apart with its bare hands—is just ridiculous.

Those of us who grew up watching her in Halloween 4 and 5 really look up to Jamie Lloyd’s character; so when Halloween 6 was still in the works, we were all anxious to see how this mighty young warrior would outwit the Shape once again. And we were all promptly heartbroken. It’s bad enough that they didn’t want to pay Danielle Harris the salary she deserved and cast an older woman (J.C. Brandy) in the role instead. (Jamie should have been about 15 or so in 1995; but J.C. Brandy was clearly in her late twenties or early thirties when Halloween 6 was made.) It’s even worse, however, that they decided to write Jamie out of any future sequels by having her be raped and killed. Yes, these are horror movies, it’s understood that upsetting things are going to happen. But this was an awful, thoughtless, and totally mean-spirited thing to do to a beloved, cherished character. The truth is, I’m glad Danielle Harris wasn’t in this one, because I wouldn’t be able to sit through it at all if I had to watch the real Jamie Lloyd suffer such a cruel fate.

In the Theatrical Cut, baby Stephen is strongly hinted to be a product of artificial insemination. Both versions end at Smith’s Grove Sanitarium, which is the Thorn Cult’s base of operations; and both versions reveal the Man in Black to be Dr. Terence Wynn (played by Mitch Ryan, otherwise known as Will Riker’s dad), who is the head of the hospital. But here is where the similarities end. The Producer’s Cut concludes with Dr. Loomis and company disrupting a sacrificial ceremony and binding the Shape with “the power of the runes.” The Theatrical Cut climaxes with our heroes learning that the Thorn Cult is not really a cult at all, but a bunch of mad scientists conducting some ghoulish lab experiment. The sanitarium is filled with human fetuses in test tubes, and Dr. Wynn mentions something about Stephen being “a very special baby” who represents “the dawn of a new age.” We also learn the Shape has been murdering pregnant women in the hospital who seem to be related to the test tube babies somehow. The Thorn scientists don’t seem to be aware of Michael’s activities at present, perhaps thinking they have safely locked him away. That’s when the Shape busts in on their operation and butchers every scientist in sight. It then comes down to Paul Rudd bludgeoning Myers with a big lead pipe in a room full of fetuses (and trust me, it’s every bit as spectacular as it sounds!).

None of these events are ever explained in any coherent way, and one fan’s interpretation of events is as good as another’s. But for what it’s worth, here’s what I think the Halloween 6 Theatrical Cut is trying to say with all this craziness. Dr. Wynn and his cronies never believed in Thorn at all; they simply pretended to worship the force possessing Michael so he would allow them to get close to him. They don’t really believe in the Boogeyman, but they do acknowledge Michael’s superhuman strength. Their true goal is to clone the Shape’s DNA; perhaps they work for the military, or maybe they just want an army of Shapes they can control. They artificially inseminated all of their female “patients,” including Jamie, with little Myers clones, and Stephen has proven to be some kind of breakthrough. More than anything, they want Stephen back so they can continue their experiments on him; so they release Michael to track him down, with plans to recapture the Shape before it can actually murder its prey. After succeeding at this, Dr. Wynn dispenses with all pretense at being a “druid,” thinking he has fooled the Shape. But Michael Myers has actually been in control of the entire situation all along, keeping the “Thorn Cult” close to himself for his own purposes. And that’s when these other villains who think they’re oh so bad find out the Boogeyman is VERY fucking real, indeed!

Given this interpretation of events, I much prefer the Halloween 6 Theatrical Cut to the Producer’s Cut. The former is essentially an X-Files episode that just happens to feature Michael Myers, with tons of bizarre shit happening and none of it being explained (saving material for future installments). While it is still a ridiculous film with many flaws, this leaves a much better taste in my mouth than the alternative. The Producer’s Cut is more like a gothic Hammer film, which I would normally find appealing, save for this: it reduces the Shape to being little more than Kharis the Mummy, with Dr. Wynn as his Mehemet Bey. I also really resent the addition of all that Satanic Panic baloney, which is just unnecessary. The idea of people being raped for witchcraft might be essential to a story like Rosemary’s Baby, but it has never been a part of John Carpenter’s Halloween. With all due respect to Ira Levin, I just do not want to see any of that shit when I put on a Halloween movie. The idea of genetically engineering a race of Michael Myers clones is equally crazy when you compare it to the original 1978 film; but at least it’s my kind of crazy, dammit!

There are certain things about the Producer’s Cut that I happen to prefer, however. For one thing, there’s a whole lot more Donald Pleasence in that version, which is always a good thing (especially since this was his final appearance before he died). For whatever blasphemous reason, most of his scenes are either heavily trimmed or completely removed from the Theatrical Cut, and that’s just insulting. My number one reason for seeing Halloween 6 in the first place was to see how Dr. Loomis is doing, and to see what he does to stop the Shape this time. Removing most of his presence from the film leaves it feeling very hollow, like part of the movie’s soul has been lost. It helps that Dr. Loomis passes the torch to Tommy Doyle (played by Paul Rudd), who witnessed Michael’s first killing spree as one of the child characters in 1978. But the very last scene with Donald Pleasence in the Theatrical Cut (“I have a little business to attend to here…”) never fails to make me tear up a little.

Halloween 6 might be goofier than shit (no matter which of the two versions you prefer to watch), but seeing it was a major step in my coming to Paganism as a teenager. Donald Pleasence is also my all-time favorite actor, and it was very sad for me when his passing was first announced back in February 1995. I have always thought the Thurisaz rune would be much better suited to representing Dr. Loomis as a protector against the Shape, rather than the Shape itself; so I decided to include a song on my new 2020 album, Summer’s End, that honors the concept of Thurisaz, and which is also dedicated to the memory of Donald Pleasence. I pray you will enjoy this offering, good sir!