Space opera in Scientology

Scientology founder L. Ron Hubbard routinely referred to "space opera" in his teachings, drawing from science-fiction and weaving it into his origins of human history.

In his writings, wherein thetans (roughly comparable to the concept of a human soul) were reincarnated periodically over quadrillions of years, retaining memories of prior lives, to which Hubbard attributed complex narratives about life throughout the universe.

Scholars of religion have described the space opera narratives as a creation myth designed to encourage reverence of Hubbard as a supreme messenger.

[20] Hubbard located his first 'incident' four quadrillion years ago, in which a thetan encountered 'loud cracks and brightness' and then observed a cherub and chariot before experiencing total darkness.

[21] Another important event in Scientology's chronology of the universe occurred on a space city known as Arslycus, the inhabitants of whom brought about an incident when capturing thetans.

[21] Eventually, officers of the Galactic Confederacy launched a rebellion against Xenu, which continued for six years before capturing him[21] and placing him in an electrified prison in the center of a mountain.

[21] Another significant encounter in Hubbard's narrative occurred when a large group of planets formed the Marcab Confederacy,[22] described as in search of slaves,[31] and called a "decadent" society.

[32] Committed Scientologists pursue courses and procedures offered by the church in the hope of gaining freedom and enlightenment,[33] allegedly permitting travel around the Solar System.

[40] Mikael Rothstein, associate professor of religious history at the University of Copenhagen, sees the Xenu myth as building on, and the culmination of, these accounts.

"[44] Although Hubbard spoke openly about space opera in the 1950s,[16] Scientology eventually became an esoteric faith: some teachings are withheld until followers reach a certain point in their spiritual development, and the mythological foundation of the courses are unknown to many members.

[46] German scholar Gerald Willms notes that in addition to the esoteric foundations, Scientology cites practical justifications for its rituals, so they can be pursued without knowledge of advanced teachings.

Scientologists maintain that the true meaning of these texts is only accessible to those who have progressed through their courses, and that those who read them prematurely risk damage to their spiritual and physical conditions.

[49] Rothstein observes that the church also has a strong financial motivation to keep members from accessing higher-level courses, as devotees are required to make large payments to obtain them.

[52] Reitman relates that some members accept the space opera teachings by seeing them as similar to seemingly implausible stories of popular religions or simply remain quiet about their doubts.

Five years later, Wollersheim offered confidential Scientology materials, including space opera teachings, to the court as evidence, a move that was vigorously protested by the church's attorneys.

[55] In 1990, after being sued for libel by the Church of Scientology, Steven Fishman, a former member turned critic, offered a large amount of the group's highly confidential teachings in court.

[59] The anti-Scientology website Operation Clambake prominently uses space opera doctrines in their criticisms of the church, casting the implausibility of the stories as a clear reason to reject the group.

[58] According to Susan Raine, Hubbard's concept of "space opera" significantly diverges from traditional definitions by asserting that it is not a fictional genre but rather a factual account of human history.

Although an official Scientology dictionary defines space opera as a sub-genre of science fiction, Hubbard's writings and lectures from the early 1950s present it as a genuine reflection of human events spanning millions of years across galaxies.

[63] Hubbard was a science fiction writer before starting Scientology, and some aspects of the church's space opera bear similarities to his previous writings.

[64] Kent posits some of his cosmology, such as the priests and psychiatrists loyal to Xenu, were modeled after events in Hubbard's life, such as his distaste for Christianity and clashes with the psychiatric establishment.

[65] Rothstein argues Scientology's space opera identify Xenu as the root of evil and Hubbard as the hero,[66] for having uncovered the mysteries of the universe.

[67] In addition, Rothstein notes the space opera teachings also provide fundamental justifications for some practical aspects of Scientology, including the rejection of psychiatry and the formation of the Sea Org.