Pinky & The Brain
Pinky & The Brain

Disclaimer: the media from Pinky & The Brain are used in compliance with Fair Use.

Attribution: Warner Bros. / Steven Spielberg

From, chutzpah is defined as “nearly arrogant courage; utter audacity, effrontery or impudence; supreme self-confidence; exaggerated self-opinion”. Think you know what chutzpah is? Think you’ve seen it before?

If so, just wait ’till you see what Spielberg did. In itself, chutzpah has a jaw-dropping effect. But if chutzpah was a person, he would react to Spielberg with the same disbelief of a person who has encountered chutzpah for the first time. “Did he just do that?!”

Read on and I promise that you’ll know it when you see it. And you won’t forget it. Truly jaw-dropping. This is an analysis of Pinky & The Brain‘s introductory theme and, specifically, episode 6 from season 1 – “TV or not TV”. Each episode is less than 20m long; there is a lot of symbolism compressed into that small time frame.

Intro & Theme Song

Before we analyze the meaning behind the lyrics, a brief commentary on the instrumental background is due. The musical arrangement is reminiscent of Soviet proletarian music in the following elements:

  • melancholy
  • deep voice male choir
  • minor key
  • bass ostinato

For reference, you will find the exact same elements mentioned above in the Soviet March, below. Notice the bouncy up-down bass ostinato; the pattern is most noticeable once the soldiers start the march at about 19 seconds and persists with the cello. While the harmonic difference is that the intro’s chord progression descends the scale (1st – 7th – 6th – 5th), just like in “Hit the Road, Jack”, the melodic pattern is typical of melancholic Russian folk music.

On the face of it, it might seem odd that such a politically, religio-cuturally loaded style would be chosen for a children’s cartoon show. When taken into context, however, it makes perfect sense. Melancholy connotes a state of discontent and serves as an identifier of a type of person; as to which type of person is implied is a question begging to be asked and the details that follow add clarity. Not only is the choir comprised of males, but specifically, baritones – the average vocal range where the majority of male voices resonate in; this is a commoner identifier with bass and tenor voices being male outliers. In a Soviet context, these stylistic elements are combined to convey the will to power of a gloomy underclass – the proletariat. For Spielberg, the styles serve the exact same purpose but for a different underclass, namely laboratory mice.

Unlike Soviet propagandists, however, Spielberg is privy to the culture creation techniques of REM – the use of the symbolic language rediscovered by Mark Brahmin. As such, the choice of lyrics are far more sophisticated, symbolically coherent, and intelligent than that of the Soviets, as we shall see.

The intro begins with a depiction of a building called “ACME Labs” which houses the mice. Exoterically, ACME is a reference to the ACME Corporation in the The Road Runner Show, also produced (originally) by Warner Bros. It means “peak”, “zenith”, or “prime” from the Greek ακμή. The term was used ironically because ACME Corp’s products often failed, resulting in comical outcomes for Wile E. Coyote’s plans to catch the Road Runner. A similar dynamic exists with the Brain whose plans often end up in failure, due to some malfunction (often caused by Pinky who is an experimental failure of ACME Labs).

As for “lab”, its exoteric meaning is obviously “laboratory”. Esoterically, however, there is a very different meaning. The word “lab” also means “talebearer”. Etymologically, a talebearer is that which bears tales. Technically, this could be a person or a book. That a person or book would find themselves at the zenith of “tale bearing” implies an exceptional status; within a myth body, a prime source of tales can only be the equivalent of a holy book. For example, there can be no other peak talebearer within judaism but the Tanakh – the prime source of jewish tales. Here, Pinky & The Brain is to be understood as a myth body and ACME Labs is its peak talebearer – its equivalent of the Tanakh.

Of particular interest is the fact that every story begins with a depiction of ACME Labs and the scene zooms into the building until the mice are eventually visible in their cage. Esoterically, this is the equivalent of flipping the pages of the Tanakh until finally we arrive at the desired tale. In esoteric terms, Spielberg breaks the 4th wall; it is as if a jewish tale were to begin with a prophet reciting a story from within the Tanakh (thereby violating the barrier which separates the story from the reader).

Evidently, ACME Labs is a metaphor for the Tanakh itself.

This detail will be of particular relevance later on, as we examine episode 6.

Gee Brain, what do you wanna do today?


The same thing we do every night, Pinky: try to take over the world.

Translation: The brain longs for a new era where the last shall finish first and the first shall finish last.

They’re Pinky and The Brain. Yes, Pinky and the Brain.

The scene skips to Brain, who frees Pinky from his cage:

Translation: The Brain is a liberator and savior figure – a messiah.

As such, the Pinky is the Brain’s loyal religious disciple:

Translation: Pinky is the sheep, Brain is the shepherd.

One is a genius, the other’s insane.

Though they are both caged, the Brain has a disdain for the plebeian Pinky. This establishes that the Brain, despite being among this underclass, does not identify as being of the underclass. The brain remains apart or distinct. The following image offers an interesting clue as to the Brain’s identity:

Translation: the graduation hat is a reference to a yarmulke.

Notice how small the hat is and how it is placed at the very back of the head. A real graduation hat, by comparison, is large and covers everything within the circumference of the cranium, starting with the forehead and all the way back to the border of the occipital bone. The aesthetic design of Brain’s hat is very deliberate.

Spielberg, notably, has a history of using non-religious hats placed at the back of the head, just like a yarmulke. For example, see Spielberg’s Jaws (1975); there, Matt Hooper (Matthew => Mattityahu => מתתיהו => gift of yahweh) wears a toque… in hot summer days where families seek relief from the heat at the beach.

Jaws (1975), Fair Use Notice.
Attribution: Universal Pictures / Steven Spielberg

Consistent with the placing of a yarmulke (and the Brain’s graduation hat), the center of Matt’s toque aligns with the hair whorl at the back and top of the head.

When [Matt] faces off against Jaws, it is the diaspora Jew [i.e. yahweh / tribe of judah] vs the tough shark [i.e. israel / “princess of el” / the emasculated sucker] and the former wins. Hooper is thus the brave Jewish outsider coming to the rescue of the gentiles.

The REAL Meaning of Jaws, Unnamed Professor of Film Studies at Bangor University for The Jewish Chronicle

Let’s continue with the lyrics:

They’re laboratory mice.

Human experimentation is a common theme and nazi reference in Spielberg’s movies, e.g. Jurassic Park. Both Pinky and the Brain are victims. This is a necessary element to jewish mythology because, without it, yahweh’s vindictiveness, vengeance, and retribution cannot be justified. Revenge is an evolutionary adaptation to being victimized; it serves to raise the evolutionary cost of killing the victim’s genes. Plants, fungi, hedgehogs, etc. evolve non-behavioral forms of vengeance in response to being eaten (victimized), such as with thorns, spikes, toxins, etc. These are the non-human equivalent of “an eye for an eye”.

Their genes have been spliced.

To splice means to join. Translation: they are admixed.

They’re dinky. They’re Pinky & The Brain, Brain, Brain…

Dinky means small, insignificant, or of little consequence. In other words, they are not taken seriously. From the context, this again alludes to the underclass’ discontent with their pathetic state and, thus, their will to power – the desire for an underclass revolt.

Before each night is done, their plan will be unfurled by the dawning of the Sun.

Translation: At the start of the new era, the Word of yahweh shall be revealed. The scene shows the mice literally unfurling a scroll with written instructions for taking over the world – a metaphor for yahweh’s commandments. Here, the Brain is a prophet who relays the Word to the people – a reference to the Nation of Israel’s inclusive nature, e.g. prophets relay the Word to the gentiles who eventually join the Nation of Israel as in the case of Jesus and Mohammed.

So is my Word that goes out from my mouth: It will not return to me empty, but will accomplish what I desire and achieve the purpose for which I sent it.

Isaiah 55:11

Translation: “The Word of the LORD came to me…”

What is the desire which yahweh’s Word is intended to fulfill? What is the Word’s purpose?

They’ll take over the world.

And who will they take power from? Humans => Adam => Edom => Red / Roman / Indo-European / Gentile. Here, the scene skips to the Brain who turns on a magnet. Notice Pinky’s hands.

Translation: Pinky prays and the Brain has a connection to yahweh.

Translation: Saturn / Yahweh answers the prayer.

Yahweh is a terminus for the original Saturn (known as Kronos in Greece).

Kronos is a messianic figure, a savior who ushers in a new era where the last (his undesirable brothers) finish first and the first (the Indo-European Uranus) finish last. Moreover, Kronos’ use of the scythe symbolizes the consumption of an Indo-European era.

The Dialectic of Greek Myths

Again, this scene can only be deliberate, as the cartoon has very little to do with celestial bodies. Spielberg’s intent is purely mythic and symbolic.

In Histories 5.2, Tacitus writes “The Jews are said to have been refugees from the island of Crete who settled in the remotest corner of Libya in the days when, according to the story, Saturn was driven from his throne by the aggression of Jupiter.”

Here, it should be clear to the modern reader, Saturn is being suggested as a personification of the Jewish people in much the way Judah or Yahweh may be understood as a personification of the Jewish people.

Saturn, A form of The Jewish God. Seven, a reference to Saturn. – Mark Brahmin

[The Sabbath] is a mark of respect to Saturn, either because they owe the basic principles of their religion to the Idaei, who, we are told, were expelled in the company of Saturn and became the founders of the Jewish race, or because, among the seven stars that rule mankind, the one that describes the highest orbit and exerts the greatest influence is Saturn.

Tacitus, Histories 5.4

Indeed, the scene that immediately precedes this corroborates Tacitus. Notice how the solar system is depicted in the ancient tradition with the “7 stars”, as opposed to the standard scientific model. The highest orbiting “star” is indeed Saturn.

Sabea, שָׂבֵעַ => Sated => Saturn.
Sheba, שֶׁבַע (root of Shabbat) => Sāturni diēs => Saturday => Day of Saturn

They’re Pinky & The Brain. Yes, Pinky & The Brain.

Their twilight campaign is easy to explain.

Translation: Their plan precedes a new era.

To prove their mousy worth, they’ll overthrow the Earth.

Translation: They must overcome their unattractiveness (mousiness) by proving their worth, i.e. by convincing the gentiles that they are their “greatest ally”. To overthrow the Earth means to usher in the new era where the last shall finish first and the first shall finish last. Here, the scene proceeds to Pinky and Brain lifting a gold bar above their heads.

Translation: Without jewish support, you gentiles will fall. We are your greatest ally.

Gold is a solar (Indo-European / Apollonian) symbol. Immediately after this scene, they can be seen letting go of the bar and the scene shows the bar dropping in violent fashion. This scene relates to the lyrics “to prove their mousy worth” in that it might be conveying that the gentile is in need of the jew and that the gentile ought to be grateful for the support, i.e. this is a “greatest ally” motif.

This same motif is found in Jaws, where Matt Hooper establishes himself as a savior of the gentiles. What would they do without him? Well, they would be consumed by yahweh as with the shark’s first meal Christine (i.e. the gentile flesh of Christ is scapegoated). Matthew and the Shark form a Caduceus – a false opposition. One snake of the Caduceus serves to create a dependence (by exploiting a social vulnerability) in the gentile and the other offers to fulfill that dependence thus “saving” the gentile.

Similarly, all of the Brain’s plots revolve around secretly exploiting a social vulnerability while presenting himself to humans as the one with a much-needed solution. On the topic of exploiting social vulnerabilities, I would highly encourage giving Human Social Parasitism a read.

Finally, the scene might also be a reference to the proto-jewish Titan Atlas who bears the weight of the world.

Atlas and the Hesperides, John Singer Sargent (American, 1856–1925)
Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 and Picture Fund

They’re dinky. They’re Pinky and the Brain, Brain Brain…

TV or Not TV

The Brain begins by describing celebrity as an enchanting spell and those who wield it yield tremendous influence (which is quite literally the case with Spielberg). Here, Spielberg uses celebrity as a vehicle for the Word.

In an effort to acquire this power, the Brain uses the “winning smile” to charm the gentiles. He thus molds a denture modeled after the smile of a blonde female, taking it “to a a level of world domination”.

This is an example of pseudo-dominance:

1. Pseudo-Dominance. A form of social mimicry where undesirable males camouflage themselves with signals, behaviors, or appearances of the Master Class so as to fool females in their evaluation of a male’s rank within the social dominance hierarchy.

The Master Class

Here is the Brain engaging in social mimicry by camouflaging himself with an elite sexual signal:

The Brain explains that his dentures are designed to stimulate the Medulla Oblongata, a part of the brain responsible for autonomic functions like respiration, heart rate, etc. It supports the body’s physiological response during sexual arousal. There may be an esoteric sexual connotation intended. The dentures cause “the viewer to adore [the Brain] for no good reason”.

Once the world views my happy grin, they will be our willing followers. […] But first, we need mass exposure. […] We shall use a weapon of great stealth, power, and corruption: our own sitcom!


Let’s be clear about what’s happening here. The Brain and, by extension, Spielberg are making a stunning revelation: they correctly understand art as weaponry. In genopolemology terms, that is referred to as the social antler.

the memetic footprint primarily functions as a weapon of male-male competition, just like the antlers of a deer. Hence, the term “social antler” is used to qualify the memetic footprint.


the essence of male-male competition is conflicting memetic footprints. The more socially formidable the footprint, the greater the allocation of status, the greater the female preference. It should be noted that this is absolutely no different than sexual selection among deer. Female deer, like female humans, cannot respond to the formidability of male antlers unless it is signaled; even among deer, physical formidability is thus a component of social formidability. Therefore, it is not only the case that memetic footprints are social antlers: real antlers are social antlers too, along with any other phenotype which functions as genetic weaponry.


religion / culture / worldview is the combined social antlers of an elite, and regime change (inter-elite competition) is memetic warfare. Again, victory is mediated by social formidability. He who has the more formidable social antlers wins the meme war. This is equally true in individual competition as in group competition.

Social Antler Theory

In a cartoon where Spielberg has esoterically broken the 4th wall, he is effectively telling us in plain terms that ACME Labs (the Tanakh) is a source of weaponry. To continue the analogy with judaism, it would be as if the Tanakh would flip the page over to a hypothetical tale where the protaganist intends to use the Tanakh (or the Word) as a weapon.

Here, Spielberg is literally telling us what the cartoon is about – himself. Spielberg is using this myth body as a memetic weapon against the Indo-European Earth and his intended audience is children (i.e. potential converts / disciples). In no uncertain terms, the Brain is basically Spielberg (and, of coure, yahweh). And he plans to take over the world via the “willing followers” who adore him / his mythology for “no good reason”.

And you think you’ve seen chutzpah before? LOL.

Did he just do that?!

Yeah. Let that sink in.

What’s comical is how far plebeian anti-semites will reach to undermine jews with ridiculous conspiracy theories when, in reality, all they had to do was to take Spielberg at His Word. Of course, they’re too stupid to understand art (or much of anything for that matter). And Spielberg knows this which is why his admission is really a flex on anti-semitic commoners. He is hiding in plain sight, daring the dumb goyim to catch him if they can. (They can’t.)

This particular episode is a human instance of stotting. The gazelle will repeatedly jump at the sight of a predator and this acts as a signal to the predator that the prey is very fit and would be difficult to catch. What Spielberg is telling the would-be predators (anti-semitic plebs) is: “you got nothing on me”.

Oh, but wait. Spielberg’s flex continues with yet another breaking of the 4th wall:

Warner Bros. studio

Like Spielberg, the Brain seeks to propagate his weapon through Warner Bros. (You can’t make this up.)

Note to commoners: the truth is often stranger than fiction. Alas, Spielberg isn’t done flexing on the goyim. Watch this.

In his pursuit of acquiring the enchanting spell of celebrity, the Brain adopts the monicker “Jamal Spelling”; Jamal means “beauty”. It is this persona through which he shall use the “winning smile” (dentures) to charm humans into “willing followers”. Pinky adopts the monicker “Johnathan Michael Charles”, i.e. “gift of yahweh”, “who is like yahweh”, and “free man”, respectively.

At first, the Brain makes a pitch for a stereotypical sitcom. The interviewer (Jerry Kilmer), however, is more interested in them. He wants to know what Jamal and Johnathan are all about. Behold, Spielberg’s even bigger flex:

Actually, we are two lab mice involved in a broad and sweeping plan to take over the world.


The interviewer fails to take this statement literally and construes this as part of the sitcom. He implies that if Jamal and Johnathan were famous, he would approve the show (Pinky & The Brain). Spielberg is literally telling us that Pinky & The Brain, specifically, is a weapon of world domination. And he broadcast it to children… through Warner Bros.

Imagine a jew flirts with a gentile’s wife in front of the gentile and tells the gentile exactly what he’s doing. “Seems innocuous to me!”, says the gentile. That’s pretty much what just happened, here. I hate to say it but I can totally understand the jewish contempt for the common gentile. There are levels of pathetic that just shouldn’t even be possible. One might say that I have the privilege of being in the know of the symbol language. The problem with that argument is that, when confronted with this information, many gentiles (various “based” personalities) turned their backs on reality and instead opted to slavishly worship alternative jewish myth bodies like “Norse” paganism. “Dude, he’s flirting with your wife”, “Oh, you’re so paranoid. He’s just a shoulder for her to cry on!” … you emasculated idiots.

But I digress, let’s continue.

Johnathan and Jamal set out to become famous, so that Warner Bros. will approve the Pinky & The Brain. Jamal, unsurprisingly, opts to use stand-up comedy for this purpose – a medium for the Word.

I must find my voice.

Brain / Jamal

Once in the comedy club, Jamal cracks some jokes which are too intelligent for the human (gentile) audience to comprehend. Initially, Jamal bombs. But then, 2 members of the audience heckle him to which he responds:

I find you repugnant.

Brain / Jamal

The word “repugnant” comes from the Latin root repugnare, which means “to fight against, resist, or oppose”. Thus, a repugnant person is an opposer, i.e. satan – a servant of yahweh who tempts people to go against yahweh’s will (to sin). In turn, the hecklers laugh. Jamal continues to berate them and the audience joins in the laughter. In other words, Jamal verbally attacks the humans and they respond by finding it amusing.

In case you thought “Spielberg surely can’t flex any better than that”, watch this: he just mocked the gentiles to their face. He, the real art creator, is telling the real world he’s supplanting / insulting gentiles with a weapon called “art” (Pinky & The Brain) and the real world’s reaction to the insult was also amusement. The comedy scene of Jamal is not only a metaphor for the actual gentile response to the cartoon itself, but it is, in fact, a prophesy: I will tell them that I am attacking them and the stupid goyim shall turn the other cheek.

And that’s literally what happened.

Moving on, Jamal becomes famous thanks to his comedy routine and Warner Bros. decides to proceed with Pinky & The Brain. Jerry asks the for a video tape of Jamal’s comedy routine.

To seek relief from torso pain, Jerry had previously sought relief from a faith healer. She hypnotized Jerry and picked a random word “repugnant” which turns pain off and on. So when he finally plays Jamal’s tape, he finds himself in excruciating pain and then in great relief when the word is repeated – this pain yo-yo goes on for some time, before Jerry falls out of a window. As such, he decides against working with Jamal and Johnathan. So the Brain’s plot ends as it always does: failure.

At the very 1st audition, 2 humans had been spying on the mice’s audition. They pitch a new idea to Jerry in a 2nd audition: a show about 2 lab mice who want to take over the world! Jerry then approves Pinky & The Brain.

The Brain’s plot ends as it always does: back inside the mice’s cage at ACME Labs. Here, Pinky and the Brain can be seen watching Pinky & The Brain:

Art within art. Both are weaponry.

Hey Cortex, what do you want to do tonight?


Same thing we do every night, Gimpy: try to take over the world!


Gimpy means disabled and the cerebral cortex is responsible for high-level cognitive functions, like reasoning. Upon seeing this, the Brain has had enough.

Enough fiction for tonight, Pinky. We must plan for tomorrow.


Translation: Spielberg (esoterically) breaks the 4th wall one last time to tell his gentile audience what he is really all about. Behold, his final flex:

What are we going to do tomorrow night?


The same thing we do every night, Pinky: try to take over the world.


Translation: Pinky & The Brain may be fiction, but I, Steven Spielberg, have had enough of fiction. Time to take over the world for real. In other words, Spielberg views his own work as part of a cycle. Every time he releases art, i.e. his weaponry, it marks the beginning of a new era where he acquires followers who adore him for no good reason. Of particular note: he never said “for no reason”, just that the reasons are not “good”. Basically, his disciples are suckers.

Now, the cycle is complete and a new one begins at the start of the next episode. What Spielberg has done with Pinky & The Brain is quite literally an artistic portrayal of art itself with himself in the shoes of the art creator, the Brain, a character which happens to also be yahweh.

Like the prophetic Brain (yahweh), Spielberg’s artistic (religious) attempts at world domination through discipleship fail, as he only ever succeeds at gaining some willing followers, but never the whole world. So, his plots end as they do every time: he must plan for his next plot – the next era / cycle.

What’s Spielberg gonna to do for his next plot, Aristocrat?

You, the reader

The same thing he does every time, reader: try to take over the world.

Above: My reaction when I 1st saw the episode.
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Conceptual Open-Source License (COSL)

The original ideas and arguments presented herein are published under the COSL license.