Hide and Seek is not going down in history as Robert De Niro’s most memorable movie. It was bashed by movie critics for its derivative nature and because its ending was deemed “nonsensical”. While it is true that the plot of Hide and Seek has a fair share of logical fallacies, the movie simply cannot be fully understood without knowing about the key element at its core: Trauma-based Mind Control. From the first frame to the last, almost every line and every symbol found in the movie directly refers to concepts associated with mind control, specifically Monarch Programming.

In this particular brand of mind control, children are subjected to trauma so intense that it causes them to dissociate from reality. The slave’s handlers can then program into the children’s minds alter personas that can be triggered at will (for more information about Monarch Mind Control, read the article entitled Origins and Techniques of Monarch Mind Control). In a symbolic and theatrical way, Hide and Seek describes the horrible procedure behind Monarch Programming and hints to the more sadistic aspects of it. The fact that Monarch butterflies appear in key parts of the movie confirm that the whole storyline is based on Monarch Mind Control.

Further, when one understands the handler/slave relationship that is happening in the movie, the “nonsensical” ending becomes a little more “sensical” as it fits precisely with the way Monarch Programming works .

Let’s look at the story of Hide and Seek and the MK symbolism it contains.

Brief Summary

Warning: Gigantic spoilers ahead.

After witnessing the apparent suicide of her mother, a young girl named Emily Callaway (played by Dakota Fanning) displays symptoms of severe trauma. Her father David Callaway (played by Robert De Niro) attempts to help his daughter snap out of her trauma by leaving his job as a psychologist and by moving to a small town outside of New York.

There, he realizes that his relationship with Emily is extremely difficult and that her behavior is increasingly worrisome. Emily claims to have a new friend named Charlie who is “lots of fun” and plays with her, but Emily tells her father that Charlie doesn’t like him at all. David believes that Charlie is an imaginary friend Emily created to help cope with her trauma. Things however become unsettling when horrible things begin to occur around the house (i.e. the cat gets drowned in the bathtub) that Emily then blames on Charlie. When David discovers his potential new girlfriend has been murdered in the bathtub, he realizes that Charlie is a real person and that he’s extremely dangerous. After running around the house for a few minutes, David has a moment of clarity and realizes that HE is Charlie. Charlie is indeed David’s alternate personality, one that he didn’t know even existed. This alter personality has been manipulating poor traumatized Emily and has been committing horrible crimes. After this epiphany, Charlie takes control of David’s body and goes on a murderous rampage. Charlie is then stopped, and shot dead, by Katherine, a psychologist who worked with David in New York and who came to see if Emily was alright. After the ordeal, Emily goes to live with Katherine and that’s that.

As stated above, for most movie viewers, the internal logic of the script is somewhat unbelievable. However, once the MK symbolism of the movie is recognized, one understands that Hide and Seek is about a handler traumatizing and programming an MK slave. The fact that the father/handler has two personas is consistent with the fact that handlers are often dissociative slaves themselves who’ve been programmed to carry out someone else’s dirty deeds. Let’s look at the deeper symbolism of the movie.

Emily, the Traumatized Child

The movie begins with a symbolic image: Emily playing with her mother, spinning around in the bliss of childhood and innocence. Notice the doll: she holds this constantly in the first part of the movie.

Emily is a regular and playful child who appears to be very happy. In the first scene of the movie, we see her playing hide-and-seek with her mother, who then lovingly tucks her into bed.

Emily constantly holds a doll that takes on an important meaning later in the movie. The doll represents Emily’s innocent, core personality: her “real” self.

Later that night, Emily witnesses a horrifying scene: Her mother dead in a bloody bathtub.

Seeing her mother dead is Emily’s first mind-altering, life changing traumatic event … but not the last.

While the death appears to be a suicide, we later learn that Charlie (the alter personality of David – Emily’s father) killed the mother and placed her in the bathtub to make it look like a suicide. Did he do this on purpose to traumatize Emily and begin her Mind Control programming?

Emily is then placed in a mental hospital for children.

Emily displays the classic signs of a traumatized person: Shock, isolation and withdrawal.

The face of trauma.

David (or was it Charlie) decides to leave his job and moves to a small town named Woodland. He says to Katherine, another psychologist who works with him:

“Right now I need to be doing what’s right for Emily. I need to be a full time dad”.

Did he mean: “I need to be a full time handler”?

Right before leaving, Katherine, gives Emily a gift.

Katherine gives Emily a music box that plays the Mockingbird song. As the movie progresses, the Mockingbird song plays whenever a traumatic event happens, which makes it a programmed trigger song. Upon giving the gift, Katherine tells Emily: “Whenever I was feeling sad, I would open the lid and all my sorrows went away” – essentially telling Emily that she should dissociate from reality whenever she hears that song to avoid trauma.

Once in their new home, Emily goes into a wooded area behind the house. There, she follows a Monarch butterfly that leads her to a cave.

This mysterious cave is in fact the programming site where Charlie programs and traumatizes Emily.

The fact that a Monarch butterfly leads Emily to the cave is a coded way of telling viewers “in the know” that this is all about Monarch Programming and trauma-based mind control.

When Emily discovered the cave, she does something that ends up being extremely symbolic.

Emily drops her beloved doll, signifying that she lost her core, innocent persona. Mind Control handlers seek to “lock away” this core persona to be able to program new alter personas within their psyche.

Emily however did not simply “drop” the doll that represents her innocence. She literally mutilates it.

David finds Emily’s doll completely defaced in a garbage can. The mutilation represents how Emily’s mind is being mutilated by the torture and programming happening in the cave.

As Emily “plays” with her friend Charlie (handlers manipulate their slaves to believe they are their friends), she develops a disturbing taste for the morbid. A growing likeness for the dark side of things is often seen in Monarch slaves who become disillusioned with life. Starting with innocent children, handlers seek to create an opposite “mirror image” of their slave who become dark, twisted and disturbed (for this reason, the dualistic, black and white imagery in MK symbolism is extremely important). While we don’t ever see Charlie actually “programming” Emily during the movie, we clearly see the symptoms and the switch in Emily’s behavior.

While fishing with her father, Emily cold-hardheartedly inserts the hook inside a live insect to use as bait. Her lack of reaction to what is usually considered to be repulsive indicates that she might have been “desensitized” to pain, suffering and the repulsive due to the torture she received while being programmed by her handler.

Emily’s programmed dark side becomes more evident when she is set up to play with a “normal” girl.

David sets up a play date for his daughter with another girl from the area. Notice that the girl is holding a doll, hinting that she is “normal” as she is still in possession of her innocent, core personality.

Emily reacts rather badly to the playfulness of this girl and finds a way to show that to her.

Emily takes the girl’s doll and mutilates it – hence reflecting her own distorted soul and her loss of innocence. Notice that the mouth was melted away (symbolizing the slave’s inability ask for help) and has one eye (symbol of Illuminati Mind Control). She also holds her by the neck as if shocking her (shocking is a form of torture used in MK programming).

As things progress in the movie, Emily realizes that the “fun” Charlie is actually evil and sadistic. While playing hide-and-seek with Charlie, Emily gets lured into a dark and scary room in the basement of the house. Then, the lights go out and Emily screams.

David (who has switched back to his core personality) finds Emily in the basement in tears and in state of shock. We can deduce that, while the lights were out, some kind of traumatizing event occurred in that creepy basement – probably torture or abuse.

We then see her in bed with the “face of trauma”, hinting that something horribly wrong happened in that basement – and that Emily’s trauma-based mind control is continuing.

Towards the end of the movie, Charlie loses it, kills some people and starts running after Emily. In a classic “horror movie dumb move”, Emily decides to go hide in the cave where she gets tortured. There, we see a disturbing yet symbolic display of Emily’s stuff.

Inside the cave are Emily’s dolls – mutilated, decapitated and dismembered – representing the powerless state of MK slaves and the abuse they are subjected to. We also see the music box that plays the Mockingbird song, the song Katherine told her to dissociate to when “she was feeling sad”. In MK terms, the song was a trigger to engender dissociation.

In the movie, everything relating to childhood and innocence is twisted, perverted and destroyed, which goes in line with how Monarch programming works on children.

In the final scene of the movie, Emily is living in Katherine’s house and drawing a picture. While everything appears to be well, the last shot of the movie shows Emily’s drawing. Everything is not well at all.

Emily drew two heads on herself, representing that she has an alter persona.

The final frame of the movie basically confirms that the entire programming process succeeded. Emily has an alter persona and is living with another psychiatrist who may or may not be continuing the process. Is Katherine there to help her or is there to continue her programming?

The movie’s DVD features an alternate ending, where Katherine appears to be continuing Emily’s programming.

In the alternate ending, Emily is locked up in a room in a psychiatric institution.

In a deleted scene featured from the DVD, we see Emily acting extra creepy around her babysitter. She is  wearing a shirt with a big butterfly on it. Monarch programming.

David the Father / Charlie the Handler

The big “whoa” moment of the movie is when we discover that Charlie is David’s alter persona. While this plot twist was a major let down to most viewers, it falls right in line with how MK programming works. Many handlers are dissociative slaves themselves who are programmed to do someone else’s dirty work. At the end of the movie, we learn that David was deeply traumatized when he caught his wife cheating on him – and that’s when Charlie was born. I guess this is a clunky way of conveying to the viewers that he is also a product of trauma-based mind control.

David is a psychologist with intricate knowledge of the effects of trauma on the human psyche. One can therefore say he is qualified to do some Mind Control programming.

During the first part of the movie, whenever the Charlie alter is triggered, we see David sitting in his study, wearing headphones and listening to music. This symbolizes his core/real persona being “put on hold” while Charlie is in control of his body. David is “out of service” and oblivious to what is going on – hence the headphones.

While in his study, David notices a black mark on his hand.

We then learn that its because Charlie, while in the cave, was holding Monarch butterflies in his hand. Get it? Monarch … in his hand … ? Monarch … handler? While most viewers might perceive this scene as being very random, it is extremely clear to those who know about Monarch programming.

We therefore understand that David never actually sat in his study: It was a way of symbolically showing that his core persona was on hold while Charlie was triggered.

Other random scenes in the movie explain what is happening with David.

David’s head is torn off family pictures, hinting that his “real” self has been taken over and removed from the family.

David’s head is found in the song box, symbolizing his dissociation from reality while the Charlie alter persona is triggered.

At the end of the movie, Charlie is shot dead by Katherine, who takes custody of Emily and brings her back to New York City. Considering the Mind Control interpretation of this movie, we can ask ourselves: Was David and his programmed alter Charlie used by higher ups to traumatize and program Emily? Was he ultimately a disposable, mind controlled pawn who needed to be eliminated? Was his death the final, major traumatic event to completely break down Emily – and to make her an orphan that is completely dependent on the state? These are all questions that arise when one understands the Mind Control symbolism in the movie.

Also, were the people in this friendly town “in on it”? Is Woodland a kind of government-owned remote location used for MK programming?

Most people in Woodland are extremely creepy and strange. Every man made it a point of saying that Emily was “very beautiful” – with an unsettling, perverted look on their face. These scenes might refer to a child abuse ring going on in the town. Or maybe it was an odd way to add some suspense to the movie.

In Conclusion

Hide and Seek is a deeply symbolic movie that depicts, in careful detail, the process behind Trauma-based Mind Control. While the meaning of the MK symbolism of the movie probably flew about a mile above most viewer’s heads, a only a little knowledge of the subject is required to make the entire thing extremely overt and blatant. This story of a traumatized child who followed a Monarch butterfly into a dark cave full of pain and horror sums up the entire plight of Monarch slaves. But it played out before the eyes of most viewers without them even realizing it.

The same way Charlie stood in the dark in his deadly game of hide-and-seek with Emily, the truth about the movie is hidden in the darkness of people’s ignorance. However, simply flicking on the light of knowledge reveals the movie’s true meaning: A description of the ugly, disgusting world of Monarch Programming. Playing hide-and-seek with the truth? VCs ain’t got no time for that.

The post “Hide and Seek”: The Most Blatant Movie About Monarch Mind Control Ever? appeared first on The Vigilant Citizen.

 Warning: Major spoilers ahead!

There is no shortage of movies involving angry aliens these days and we can definitely add Prometheus to the list. However, while most of these alien flicks are centered around shooting them in their ugly faces before they destroy Earth, Prometheus has a back story dealing with timeless questions puzzling humanity such as “Where do we come from?” and “Why are we here?”… plus a healthy dose of shooting aliens in their ugly faces.

Directed by Ridley Scott, the movie was originally intended to be a prequel to the classic 1979 movie Alien, but the final product has little relation to it. The movie tells the story of scientists that discover ancient artifacts depicting visitors from another planet. To investigate this discovery, the scientists get the backing of a giant corporation and embark on space mission to find the planet the aliens came from and to ask them important questions. The premise is based on the Ancient Astronauts theory, which stipulates that thousands of years ago, early humans were in contact with a superior alien race.

As the movie’s name suggests, Prometheus is also filled with mythological references and symbolism that give the movie an underlying esoteric meaning. While the movie is, at face value, about humans going into space to find their alien creators, Prometheus can also be viewed as a metaphor for spiritual illumination as it is portrayed by occult secret societies. Let’s look at the concepts explored in the movie.

The Engineers?

At the beginning of the movie, a humanoid alien debarks on Earth and drinks a strange liquid.

An alien is dropped off on Earth by a massive spaceship.

After drinking the liquid, the alien completely disintegrates and falls into the water.

The alien is disintegrated at its very core, at the DNA level and interacts with the Earth’s water to create a new life form.

In the water, the DNA triggers a biogenetic reaction and, on a microscopic level, we see single cells beginning to multiply themselves. This is the movie’s theory on how human life appeared on Earth.

The movie’s title screen shows a single cell multiplying itself, creating life on Earth.

The movie then fast forwards to 2089, where two archeologists, Elizabeth Shaw and Charlie Holloway, are searching a cave in Scotland. There, they discover a painting drawn by a caveman that depicts humans looking towards a star formation in the sky. The researchers discover that this particular star formation can be found in the art of several ancient cultures.

The star formation in this cave painting is similar to star formations found in ancient Egyptian, Sumerian and Mayan art.

The archeologists believe that aliens (whom they call the “Engineers”) came from this particular star formation and spread human life on Earth. This causes them to embark on a space mission to find that planet and seek answers from the Engineers.

The premise of the movie is heavily inspired by the “Ancient Astronauts” theory originally proposed by authors such as Eric Von Daniken and Robert Temple. According to those theories, humanity was either created or “helped” by visitors from another planet, who left lasting traces on human history.

The director of Prometheus, Ridley Scott, appears to believe this theory. In an interview with Hollywood Reporter, he stated:

“NASA and the Vatican agree that it is almost mathematically impossible that we can be where we are today without there being a little help along the way … That’s what we’re looking at (in the film), at some of Eric Von Daniken’s ideas of how did we humans come about”.
- Hollywood Reporter, “Ridley Scott’s New Alien Movie Influenced by Ancient Astronaut Theory

Let’s take a closer look at the Ancient Astronauts theory.

Ancient Astronauts

Proponents of the Ancient Astronauts theory believe that much of human knowledge, culture and religion are remnants of an alien “mother culture”. Ancient monuments considered to be too advanced for the technology of the time such as Stonehedge, Easter Island and the Great Pyramid of Giza are considered to be proof of alien contact. Eric Von Daniken also claims that ancient art and iconography throughout the world contain depictions of space vehicles, non-human intelligent creatures and advanced technology. He claims that cultures that had no contact with one another had similar themes in their art, proving that there was a common source for their knowledge.

An actual cave painting found in Italy that is said to depict Ancient Astronauts visiting earth. This image was probably the inspiration for the cave painting found in Prometheus.

Egyptian hieroglyph said to depict flying machines.

In Prometheus, similarities between Egyptian, Mayan, Sumerian and other civilization’s artifacts prompt the research team to travel to space and seek humanity’s “Engineers”.

Proponents of the Ancient Astronauts theory claim that many ancient religious texts contain references to visitors from outer space. Two of the main works often cited are the Book of Genesis and the Book of Enoch, which both mention the existence on Earth of enigmatic giant beings named the Nephilim.

The Watchers and the Nephilim

The Book of Genesis mentions the presence on Earth of beings named Nephilim (the King James version uses the term Giants). These beings are described as hybrids that are the result of procreation between human females and “sons of Gods”.

“When human beings began to increase in number on the earth and daughters were born to them, the sons of God saw that the daughters of humans were beautiful, and they married any of them they chose. (…) The Nephilim were on the earth in those days—and also afterward—when the sons of God went to the daughters of humans and had children by them.”
- Genesis 6:1–4 (New International Version)

In Numbers 13, the Nephilim are mentioned again, described as giant destructive beings that appeared quite different from regular humans.

“And they spread among the Israelites a bad report about the land they had explored. They said, “The land we explored devours those living in it. All the people we saw there are of great size. We saw the Nephilim there (the descendents of Anak come from the Nephilim). We seemed like grasshoppers in our own eyes, and we looked the same to them”.
- Numbers 13:32-33

The apocryphal Book of Enoch greatly expands on the Nephilim and their originators, the Watchers. According to the text dating from 300 BC, the Watchers were a group formed of 200 “sons of God” who disobeyed God and descended to Earth to breed with humans. They were said to have taught humans advanced skills such as metallurgy, metal working, cosmetics, sorcery, astrology, astronomy and meteorology. Because the Watchers disobeyed God, they were also called the Fallen Angels.

The offspring of the Watchers were the Nephilim, described as giants who lived among humans. They ultimately became a destructive presence on Earth and were said to have consumed “all acquisitions of men”. In order to rid these beings from Earth (along with the humans who mixed with them) God created the Great Flood. In order ensure the survival of humanity, however, Noah was forewarned by God to build his ark.

Another ancient Jewish text, The Book of Jubilees, states that ten percent of the disembodied spirits of the Nephilim were allowed to remain on Earth after the flood, as demons, to try to lead humans astray until the Final Judgement. Is this why the occult elite is so bent on corrupting the masses with materiality and perversion?

So who were the Watchers and the Nephilim? Many different researchers have proposed many different interpretations, including a class of rich humans, demons or an ancient super-race. Proponents of the Ancient Astronaut theory believe that they were actually aliens that were sent to Earth to oversee the evolution of humanity – hence their name “the Watchers”.

The premise of Prometheus is greatly influenced by this theory as the aliens in the movie are giant beings who came to Earth to create and teach humanity.

The crew finally meets one of its “Engineers”, a giant alien. Unfortunately, the alien didn’t feel like having a discussion on the origins of humanity and ripped David the Android’s head off (the guy on the left).

Discovering that aliens were part of human evolution is not important from a scientific standpoint alone, but also from a spiritual one, as it could potentially render many religions completely obsolete. All belief systems would be thoroughly questioned, or at least revised to include the “alien angle”.

Spiritual Dilemma

The spiritual implications of the space mission are subtly reflected in the movie, through various scenes questioning the relevancy of Christianity in this alien-engineered context.

At the beginning of the trip, the Captain of the ship installs a Christmas tree. He is asked by his superior “What the hell is that?”, to which the Captain answers: “It’s Christmas!”.  The fact that this history-altering space mission takes place during Christmas time (the holiday that celebrates the birth of Jesus Christ) gives it a religious meaning.

Elizabeth, the hero of the movie, proudly and prominently wears a Christian cross around her neck. This pendant becomes symbolic of the spiritual dilemma that results from the findings of the mission.

When the ship arrives at its destination, the crew discovers a deserted building built by an alien civilization containing … dead aliens. After running tests on one of the bodies, the crew realize that aliens are indeed the originators of human life on Earth. In other words, the Ancient Astronauts theory is correct and being from another planet were indeed the “Engineers” of humanity. Once Elizabeth confirms this discovery to her boyfriend Charlie, he immediately questions her on the validity of her cross pendant:

“- OK, I guess you can take your father’s cross off now.
- Why would I want to do that?
- Because THEY made us.”

Elizabeth then gives a “whoa”-worthy reply:

“- And who made them?”

She therefore does not see a contradiction between believing in Christianity and in the Ancient Astronauts theory simultaneously. She still believes that God is the first creator of everything … but now she has to add aliens to the equation.

After this profound discussion, Elizabeth and Charlie get horny and have spaceship sex. What the couple doesn’t know is that Charlie was injected with alien DNA by David, an android.

Before Charlie visited Elizabeth in her quarters, David, a robot with an inquisitive mind, tricks Charlie into drinking a beverage containing alien DNA, knowing that he would copulate with Elizabeth and she would therefore give birth to a half-alien child. Notice the Christmas tree in the background.

The couple copulates without protection and Elizabeth soon learns that she is pregnant. She immediately realizes that her pregnancy is very, very wrong, as her child is not human and very hostile. Considering the fact that the mission takes place during Christmas time, Elizabeth becomes a kind of anti-Virgin Mary. Instead of giving birth to the Christ, she will give birth to a half-alien creature … not unlike the Nephilim.

Upon discovering her pregnancy, Elizabeth’s cross pendant is removed and stored away, symbolically meaning that her Christian faith is not valid anymore.

Elizabeth manages to “abort” the monstrosity. Then, the mission goes terribly wrong and everyone dies except her. After almost giving up, Elizabeth apparently has an epiphany and becomes determined to discover the truth about the aliens. Apparently, they abandoned humanity a long time ago and they were even planning to destroy earth. Something must have gone very wrong with human evolution.

At the end of the movie, she puts the cross back around her neck, signifying that she did not lose faith and that her quest for truth is now greatly spiritual. It is not about science anymore, but about the basic human need of having existential questions answered.

Elizabeth puts back her cross and is determined to find the truth about the alien Engineers.

The entire movie can be interpreted as a spiritual metaphor – a quest for enlightenment. The title of the movie itself, Prometheus, is greatly indicative of the underlying esoteric meaning of the movie.

Prometheus and the Quest for Enlightenment

In Greek mythology, Prometheus is a Titan, the primeval race of deities that came before the Olympians. He stole fire from the gods in order to give it to humanity – an act that enabled progress and civilization. For accomplishing the act of bringing fire (a symbol of divine knowledge) to humanity, Prometheus became an important figure in the mythology of Mystery schools, such as Freemasonry and Rosicrucianism, which are based on the usage of occult knowledge in order to achieve godhood.

Prometheus, a favorite figure of the Illuminist elite, is prominently displayed in the Rockefeller Center.

The Judeo-Christian equivalent of Prometheus is Lucifer, a “fallen angel” of great intelligence who, once a favorite of God, then defied him and brought a new form of knowledge to mankind. The name Lucifer is Latin for “light-bringer”, which is exactly what Prometheus accomplished by bringing fire to man. This “light” is said to be the occult knowledge taught in Mystery Schools, as it allows “enlightened humans” to ascend back to godhood.

The story of the Watchers and the Nephilim described above also appear to follow the same archetype as it tells the story of “sons of God” rebelling against his rule and descending to Earth, teaching humanity important knowledge. Also, like Lucifer, the Watchers are dubbed “Fallen Angels”. Where therefore see that there’s a lot of inter-connectivity in these mythos and in the movie’s symbolism,.

At the beginning of the space trip, the president of the corporation funding the mission holds a briefing and gives a speech regarding the importance of the mission:

“The Titan Prometheus wanted to give mankind equal footing with the gods and for that, he was cast from Olympus. Well, my friends, the time has finally come for his return”.

In the movie, Prometheus is the name of the spaceship that transports humans to their alien Enginneers. It symbolically represents humans using the “fire” (knowledge) that was given to them to ascend back to godhood (their alien creators) by their own means. This metaphor of spiritual initiation is reminiscent to the many mythological stories found throughout History that hide a similar esoteric meaning.

However, Mystery Schools believe that illumination is not given to all, but only to a chosen few and this is aptly reflected in Prometheus. In the movie, all of the people who were on board for selfish, monetary or insincere purposes died. Only the one that was there for the truth and with a strong spiritual faith survived. This type of narrative is on-par with allegorical stories of spiritual illumination stating that only the true of heart will reach that higher state of being.

Other than Elizabeth, another non-human character survived, David the Android.

Towards the end of the movie, David gets his head cut off but, since he’s a robot, he stills functions. Elizabeth takes the head and continues her journey, symbolically meaning that she needs pure intellect and technology to reach enlightenment.

David has great intellectual capacity, making him believe that he is superior to his human colleagues. Despite this fact, he is nevertheless crucial to Elizabeth’s quest – a subtle message stating that transhumanism is important in human evolution.

At the end of the movie, David does not understand why Elizabeth desires to continue her search for her creators. The difference is that she has a soul and he doesn’t. It is for this reason that she put back the cross around her neck. Her quest is not simply a space mission, it is a spiritual pilgrimage to discover where she comes from.

In the final scene of the movie, Elizabeth decides to not go back to Earth (representing materiality and the lower self) and continues to search for the Engineers (representing illumination and godhood). Her quest is therefore not over … and there might be a sequel.

In Conclusion

While most moviegoers probably stepped out of the Prometheus thinking that it was a “decent alien movie”, digging a little deeper into its meaning and symbolism reveals an entire other layer of interpretation. Drawing inspiration from the Ancient Astronauts theory, Prometheus proposes a radical rewrite of history and theology, one that makes humanity a product of extra-terrestrial “creator gods”. The movie also intermixes this quest for scientific knowledge with spiritual and metaphysical questions, making this story not only about angry aliens, but about timeless existential questions.

As the title of the movie suggests, the story of humans going into space to find their creators has an underlying esoteric meaning, as it can be interpreted as a metaphor for spiritual enlightenment. The Titan Prometheus is a central figure in occult mystery schools, an archetypal figure of a “rebel from above” that brought divine knowledge to humanity – with all the benefits and pitfalls it engenders. Occult secret societies believe that this knowledge provides the path back to divinity. The same way the spaceship Prometheus leaves earth to find the Engineers, occult initiates look to leave the material plane to reach illumination and “be one” with the Great Architect of the Universe.

That being said, is there any truth to the many stories and mythologies referring to a divine figure coming from above to impart knowledge to humanity? Do the figures of Prometheus, Lucifer, and the Watchers of the Book of Enoch have factual basis to them? Is there an “outside” source for humanity’s advanced and esoteric knowledge? Was there once a Nephilim-type “super-race” on Earth helping humanity develop itself, but ultimately corrupted it? Is this the “missing link” in human evolution? Is it the reason why humanity is self-destructive and somehow out-of-synch with the rest of the planet? Does this outside source come from aliens as suggested in Prometheus or from fallen angels and/or demons as written in ancient texts? Is this outside source behind the teachings of secret societies and behind … the Illuminati?

I agree with your face, Keanu. Whoa, indeed.

The post “Prometheus”: A Movie About Alien Nephilim and Esoteric Enlightenment appeared first on The Vigilant Citizen.

Warning: Major spoilers ahead!

Considered to be “groundbreaking” and a “game changer” by movie critics, The Cabin in the Woods contains many elements of classic horror films while adding interesting new elements to the mix. It continually refers to and comments on the horror movie genre, praising some aspects of it while poking fun at the many clichés that are found in the genre. The basic plot has been seen many times as it involves zombies running after teenagers that are so dumb and generic that you almost want them to die. But there is more to the story than hack and slash: It is about elite puppeteers overseeing a massive blood ritual using mind control and high tech monitoring. In the end, The Cabin in the Woods is a metaphor for our heavily controlled society that is under the control of dark, hidden forces. The movie was co-written and directed by Joss Whedon, who also created Dollhouse a TV series that tackled the concept of mind control in a rather obvious way.

At first glance, the characters of the movie are heavily clichéd, to the point that it is absurd. We have the typical jock, the typical slutty girl, the typical stoner, the boring smart guy and the timid prude virgin. These teenagers are purposely generic to comment on the boringness of characters in bad horror movies, but, as the story unfolds, we also discover that they were selected and manipulated by an organization to fully embody specific archetypes in order to complete a ritual.

The heroes (or the victims) of the movie are somewhat uni-dimensional. We soon learn that they were manipulated to become that way.

As the movie progresses, many key aspects of the occult elite and its way of functioning are described in vivid detail: Mediatised mega-rituals, occult secret societies, mind control, high-tech monitoring and so forth. At the end of the movie, one might realize that these scared and confused teenagers running around and falling into traps are…us, aka the masses. Let’s look at the elements found in the movie and analyze their full significance.

The Nameless Organization

At the beginning of the movie, we see five friends hoping into van and driving to a cabin in the woods (hence the title of the movie) where fun, alcohol and teenage frolicking awaits. The pals however don’t know that this weekend of apparent partying is, in fact, a big ritual sacrifice conducted by a high-level, international organization.

Never named in the movie, the organization behind the blood sacrifice utilizes high-tech facilities across the world and appears to have a great amount of resources and employees. Can we associate this organization with the occult elite, the NWO and its secret facilities? Yes, yes we can.

Simply looking at the command center, we understand that is not a small, clandestine operation, but a highly sophisticated organization dealing with military tracking equipment that is only available at the highest governmental levels.

The organization’s sole purpose is to set up high-profile mega-rituals involving the deaths of civilians across the world in order to appease dark forces beneath the Earth. These rituals are made possible through the manipulation of certain individuals into doing certain things, causing them to unknowing become participants in an occult ritual. This concept has been discussed several times on this site as mega-rituals involving symbolic elements and blood sacrifices do happen in real life, where everything is staged and set up to obtain maximum exposure and magickal potency.

Although this is a very obscure and taboo subject, some occult researchers have determined that many mediatised events are actually mega-ritual carried out to fulfill specific occult objectives. Whether we go as far as Jack the Ripper or as recently as the Batman killings, some murders are actually set up to follow specific rules and to imprint society with specific symbols.

“Of course, many serial murders are nothing more than the work of a single individual acting out a graphic horror movie he saw, or responding to powerful “psychotic” impulses for aggression and predation. But many other serial murders involve a cult protected by the U.S. government and the corporate media, with strong ties to the police. These murders are actually intricately choreographed rituals; performed first on a very intimate and secret scale, among the initiates themselves in order to program them, them on a grand scale, amplified incalculably by the electronic media. In the end what we have is a highly symbolic, ritual working broadcast to millions of people, a Satanic inversion; a Black mass, where the “pews” are filled by the entire nation and through which humanity is paganized, brutalized and debased in this, the “Nigredo” phase of the alchemical process.

The French adept Antonin Artaud, architect of the theory of the “Theater of Cruelty” with its transformative power, and the inspiration for the extreme sex-and-death media of our time, had this to say about the processing of the Group Mind: ‘Aside from trifling witchcraft of country sorcerers, there are tricks of global hoodoo in which all alerted consciousnesses participate periodically… That is how strange forces are aroused and transported to the astral vault, to that dark dome which is composed above all of… the poisonous aggressiveness of the evil minds of most people… the formidable tentacular oppression of a kind of civic magic which will soon appear undisguised.’

The issue of controlling humanity with esoteric words and symbols encoded within a play, a media spectacular or a ritual is one of the most difficult for people to comprehend. That is why most people are viewed with utter contempt as “cowans,” “the profane,” the “gentiles” and the “goyim” (cattle) by secret society initiates. “I think we are farmed,” Charles Fort said of humanity. It was Fort who also suggested that man deliberately invented the dogma of materialism in order to shield himself from the evidence of what was being done to him by means of psycho- spiritual warfare methods hyped by “coincidence,” symbolism and ritual.”
- Michael A. Hoffman, Secret Societies and Psychological Warfare

Although the above quote was written more than 20 years ago, it perfectly describes the plot of The Cabin in the Woods which, in turn, describes mega-rituals in a direct but very caricatural matter. By doing so, the movie reveals the elite’s way of functioning while fictionalize it – it puts everything out in the open while making people believe that “it’s just a movie”. While there is a lot of satire and foolishness in the movie, it underlying concept is truer than most would believe.

The shady organization carries out rituals across the world, some of which succeed and others fail. Most are made to appear as “accidents” and those that succeed are widely publicized across the world.

This elite organization, as powerful as it is, only obeys the will of dark forces called “The Ancients” and “the gods”. The “technicians” overseeing the ritual are actually members of an occult brotherhood and their job is to make sure rituals are complete.

After the death of the first victim, we see one of the technicians reciting a dark prayer and then kissing a pendant bearing the secret society’s magical symbol. Like in real life, some operations that appear to be about science and pragmatism are actually motivated by very obscure and occult reasons.

So the U.S. branch of this shady Organization manipulates five all-American students to go spend a weekend in a remote cabin in the woods. The cabin is set up in an environment that is totally artificial and controlled by the puppet masters. In fact, the cabin and its surrounding is one big TV recording studio, complete with mics and cameras, mind altering drugs to control the actors and remote controlled doors and light effects.

As the teenagers drive towards to the cabin’s location, we realize that they are entering a “virtual” zone that is totally created by and controlled by the organization. Inside of it, the teenagers become puppets at the hand of high-tech puppet masters.

The Sacrificial Lambs

Once arrived at the cabin, the teenagers are made to embody specific archetypes in order to complete the ritual drama required by the gods. It therefore needs to be carried out in a specific matter and it needs to completely recorded and televised. The “gods” require the death of five specific archetypes in the ritual drama: The whore, the athlete, the fool, the scholar and the virgin.

The Whore

In the brotherhood’s temple are displayed stone tablets representing each archetype that needs to be slain. This one represents the whore.

Right from the start of the movie, the character named Jules Louden plays the role of a s-bomb that appears to be aroused by anything. During her (short) stay at the cabin, she constantly feels the urge to talk about doin’ it or to dance like a stripper. We however learn that Jules is not being herself: She was drugged and manipulated to become the proverbial whore. Upon closer look, an astute viewer might realize that Jules Louden bares many characteristics of a Sex Kitten mind control slave.

The first scene involving Jules emphasizes the fact that she dyed her hair blond. In Mind Control symbolism, blond hair is used to identify Beta Kittens – Marylin Monroe programming. We then learn that the “puppet masters” laced her hair dye with chemicals to reduce cognition and to augment her libido.

So Jules is not usually a whore – she was manipulated and drugged into becoming one, the same way the elite uses mind control to make regular girls become Beta Kittens (think of the many slutty “celebrities” that started off “normal”). In the cabin, Jules displaying typical behavior of a MK slave, victim of Beta programming.

“BETA is referred to as “sexual” programming (slaves). This programming eliminates all learned moral convictions and stimulates the primitive instinct, devoid of inhibitions. “Cat” alters may come out at this level.”
- Ron Patton, Project Monarch

The most obvious example of Beta Kitten behavior occurs when Jules is “dared” to make-out with a wolf head mounted on the cabin wall. She engages in a disturbingly long make-out session with the wolf head, as her friends awkwardly watch. The scene ends with Jules saying “thank you” to the wolf, confirming that the drugs she was given completely eliminated her inhibitions.

Jules is getting a lot of pleasure making out with this wolf head because she was programmed to accomplish such tasks. Bestiality is only one of the twisted things actual Beta Kittens are ordered to do by their handlers.

The puppet masters make it clear that Jules needs to be sacrificed first – because she is a whore and therefore corrupted. This needs to happen in a very specific matter in order to follow dark occult principles. The technicians want her to be killed during coitus and, more specifically, when she is nearing climax. Magick principles stipulate that individuals accumulate the most “life force” during the moments right before climax. Sacrificing a person right at that moment would therefore insure the most magickal potency to a ritual.

The technicians closely monitor Jules copulating with the jock, hoping that she will take her shirt off. Explaining the ritual to an “outsider” who doesn’t understand why she MUST undress herself, a technician says: “We’re not the only ones watching…Got to keep the customer satisfied. You understand what’s at stake here?” In other words, the ritual needs to be graphic and fully broadcasted to be considered a success, something we see in real life without even realizing it.

After a few minutes of frolicking, which gets the teenagers (and the viewers) excited, Jules gets viciously attacked by a zombie right when she nears climax. The odd combination of copulation and death is characteristic of the dark rituals and is also featured be in underground snuff films circulated in elite circles. In short, Jules’ death was planned according the occult elite’s way of functioning.

The Fool

Like in most horror movies involving teens, there is some kind of stoner in the pack providing comic relief. Always smoking a joint, the character named Marty Mikalski plays that role. Interestingly enough, the “fool” is also quite the conspiracy theorist.

Inside the van, Marty explains how society is being heavily monitored through cameras and “chips inside children’s heads”. He states that one must sometimes “go off the grid” to escape the madness. Of course, he says all of these things while rolling a joint, subtlety telling the viewers: “Only paranoid pot heads are against microchips and state monitoring”. To make things worse, Marty then shows a finished joint to Jules and tells her “I’ll make you see things my way”, meaning that being “aware” equals being on drugs.

As discussed in my articles on the movies Contagion and 2012, “conspiracy theorists” (or anyone with non-mainstream views) are always depicted as loons with little to no credibility. Marty in The Cabin in the Woods accomplishes the same function. While he says things that are believed by many people, we still almost hear a “coo-coo” sound effect in the background while he discusses microchips and such.

The fool however turns out to be right about a lot things and tries to convince his friends about the conspiracy they are involved in. As it is often the case, nobody believes him until it is too late, because, after all, he is the fool.  We’ll later see how he’ll turn out to be an unlikely hero (while also destroying the world).

The Virgin

In most cultures that practiced ritual sacrifices, virgins were considered to be the “highest quality” offerings due to the fact that they were considered pure, clean, uncorrupted and innocent. They were untainted by man and the world and were therefore perceived as holy and the most spiritually potent. The character named Dana Polk was made to play that role in the ritual drama, although she isn’t actually a virgin (there’s apparently not many teenage virgins available nowadays)

Although she appears to be the weakest and the most vulnerable of the victims, the virgin ended up being an unlikely hero.

For the ritual to be complete, Dana needed outlive all of her friends and her death was optional. The important thing is that she suffered as the puppet masters need capture pain and punishment on camera, a fetish of the real life dark forces behind the Illuminati. In fact, the ritual in The Cabin in the Woods follows a specific protocol that is similar to the actual rituals carried out by the occult elite. Here are some of them.

Rules of the Ritual

Most mega-rituals follow specific rules that are clearly spelled out in the movie. These rules are made to give the rituals more potency while allowing the powers that be to avoid the negative effects of bad karma (according to their weird interpretation of it).

1st Rule: Announcing What Will Happen Beforehand.

On their way to the cabin, the teenagers meet an unsavory character dubbed “The Harbinger” that warns them in not-so-subtle ways that they will be killed. Despite the warnings, the friends resolutely carry on.

As seen in previous articles on this site, mega-rituals are often preceded by “clues” in mass media warning or preparing the victims (and the world) for what’s coming. If after being warned, victims go on by their own free will, then the puppeteers are liberated from karmic responsibility.  During the movie, one technicians says:

“They have to make the choice of their own free will. Otherwise, the system doesn’t work. Its like The Harbinger…this creepy old fuck who is practically wearing a sign saying ‘You Will Die’. Why do we put him there? The System. They have to choose to ignore him. They have to choose what happens in the cellar. Yeah, we rig the system as much as we need to but, in the end, if they don’t transgress, they can’t be punished.”

This concept is often seen in real life where victims of ritual sacrifice place themselves in a specific situation, although they have been thoroughly manipulated to do so (see MK victims dying from an “overdose”).

In one of the cabin’s rooms is a painting depicting a lamb being torn to pieces by all kinds of vicious creatures. This is yet another way the victims are subtly “warned” of what is bound to happen. However, since the kids have no idea of what’s happening, they simply ignore it. This can be compared the elite hiding in plain sight warnings and predictions about the NWO in public places (see the murals at the Denver International Airport).

2nd Rule: The Victims Must Seal Their Own Fate

Although every aspect of their environment is tightly controlled and manipulated by the puppet masters, the victims are still made to choose their fate by their own free will.

By reading cryptic Latin phrases inside a book, the 5 friends summoned themselves the redneck zombies that will tirelessly want to kill them. By triggering the killers themselves, the puppeteers are freed from karmic responsibility.

Although the above concepts are extremely obscure, they are clearly defined and communicated in the movie. They are a reflection of the occult elite’s (aka the Illuminati’s) particular way of functioning, where nothing is obvious and everything is manipulated behind the scenes in order to obtain a specific result. Ancient blood sacrifices were accomplished out in the open with participants that knew what was happening (not that I’m idealizing those days) but today, it is about deceit and manipulation, with an emphasis placed on suffering and anguish, something that only those dealing in black arts would revel on. Upon discovering exactly what was happening, Marty (the stoner) says:

“A ritual sacrifice? Great. You tie someone to a stone, get a fancy dagger and a bunch of robes. It’s not that complicated.”

To which the virgin replies:

“Tt IS simple. They don’t just want to see us killed. They want to see us punished”.

Who Wins in the End?

The ending of the movie is very telling, yet very unsettling. In order for the ritual to be complete, Marty must die before the virgin. If this doesn’t happen, the “ancient evil gods” will rise and kill everyone on Earth. When asked to kill himself to save the world, Marty refuses – knowing very well he’ll be killed anyways by the evil gods.

Dana and Marty then light up a joint and wait for the gods to rise. Dana says:

“It’s time to give someone else a chance…Giant evil gods”.

Then a giant hand rises up from beneath the Earth, kills everyone and then reaches out to grab the movie viewers. And that’s how the movie ends…with an evil god grabbing the viewer.

The big winner of the movie? An Evil god aka Satan himself.

So, in the end, the only winner of the movie is a “giant evil god” rising up straight from hell, one that could be equated to Satan in Abrahamic religions. Dana and Marty, the “heroes” of the story, therefore willingly allowed the evil god to rise up and to take over the Earth. The “heroes” brought about the worst ending possible, one of the movie’s original twists that kept the audiences guessing. It nevertheless has an important symbolic meaning and tells a lot about those who are behind the movie. In retrospect, were the puppeteers the good guys or the bad guys? They were sadistic jerks carrying out an occult ritual but they were also trying to save the world from the wrath evil gods. Hmmm…

In Conclusion

The Cabin in the Woods is a hit with movie fans due to its wit and its study of the horror film genre. However, going past these obvious remarks, the story of the movie conceals another layer of interpretation: It reveals the Illuminati’s occult way of functioning in order to maintain power and to imprint the group mind with symbols using rituals and sacrifices. The “organization” in the movie uses an odd mixture of scientific knowledge with “old world” occult rituals to carry out its plans. While this story is pure fiction, it also reveals (in a strange way) how the occult elite truly functions.

That being said, can we equate the clueless teens in the movie to the clueless masses? Can we equate the cabin in the woods to today’s highly monitored and controlled society? Are our perceptions being purposely modified through mind control, mass media and meds to make us fall into traps? Are we being purposely dumbed-down like these kids in order for us to do the elite’s bidding by our own free will? Is the movie The Cabin in the Woods an equivalent to the Harbringer in the movie, who communicates a grave warning to people that are too clueless to understand any of it? As Marty the stoner says: “You are not seeing what you don’t want to see”.

The post “The Cabin in the Woods”: A Movie Celebrating the Elite’s Ritual Sacrifices appeared first on The Vigilant Citizen.

Warning: This article contains spoilers and disturbing subject matters.

Videodrome is a dark Canadian movie about a sleazy CEO of a small cable TV station and his discovery of a broadcast signal featuring live torture and murder. As fascination turns into obsession, then into physical illness, the movie symbolically describes, in a very extreme and graphic way, the impact of mass media perversity on the human psyche, as well as the dark forces behind it.

The movie’s odd mix of gore, taboo subject matters and social commentary make it an original, but disturbing film to watch. I am glad I did not watch the movie as a child because I’d probably have gotten nightmares for days. Thirty years later, though Videodrome‘s horror special effects appear quite corny and laughable, one thing is for sure: Its message hasn’t aged a bit. In fact, the metaphorical meaning behind the twisted scenes in the movie is as real, relevant and shocking as it ever was, which probably explains why it became somewhat of a cult classic.

Videodrome was produced in 1983 but one can argue that it was decades ahead of its time. It successfully predicted the growing control of mass media by shady forces, the coming of reality television and the propagation, through various mediums such as the Internet, of all kinds of extreme underground films.

While many perceive the movie as a criticism of the effect of mass media, some claim that it is nothing less than a manifesto from the elite to reveal the way it functions.

“This writer submits that part of the ongoing “Revelation of the Method”, the cryptocracy recently issued a kind of Rosicrucian manifesto, revealing precisely what television is doing to us and what the future of the video imperium they are planning for us will be like. The name of this manifesto is Videodrome, directed by the Canadian David Cronberg whose other works include two films about psychic assassins, Scanners which features the Kennedy-sigil exploding head and the Dead Zone”.
- Michael A. Hoffman, Secret Societies and Psychological Warfare

Let’s look at the movie’s plot and how it relates in the context of today.

Discovering the Videodrome

Max Renn is the president of CIVIC-TV, one of those sleazy television stations that specialize in low-grade programming such as soft “adult” shows and low grade violent movies. He is convinced that the public is hungry for more extreme TV experiences and that his network must bring this to its viewers.

During a TV interview, Max Renn argues that TV acts as a catharsis, meaning that it is a healthy outlet for our violent and sexual needs. He soon discovers first hand that his theory is completely false.

Renn is actively looking for something new and exciting to propose to his viewers. To do so, he has a secret contact: A TV pirate named Harlan who can intercept satellite signals from across the world. The pirate shows him a television show that will change his life.

Harlan shows Renn a television signal broadcasting nothing but ultra-realistic torture, abuse and murder performed by masked individuals. Renn believes that it is all staged and that it is exactly the kind of programming his network needs.

Renn discovers later in the movie that nothing in Videodrome is staged and that it is, in fact, snuff TV, which is real live footage of violent acts.

In the “real world”, the concept of snuff videos is taboo and controversial. However, some researchers have exposed the existence of underground networks distributing snuff videos in elite organizations. Everything from blood rituals to abuse involving mind-controlled slaves and minors is distributed and consumed by high-placed circles operating above the law. Also, high-profile crimes that bear a ritualistic aspect are sometimes recorded and sold at high price.

“Some of the Son of Sam murders were videotaped by cult-members and copies command high prices in cash, drugs and other commodities on the underground snuff-film circuit.”
- Michael A. Hoffman, Secret Societies and Psychological Warfare

The masses are introduced and desensitized to the occult elite’s taste for the violent and perverse through mass media.

“None of this ought to be too shocking to any American TV watcher since a version of this process can be seen in those glimpses of actual murders and other horrors we are shown on broadcast TV, on the “news” and in “specials”, right in the “Videodrome”. Simulated snuff-videos are already available at many of our cheery neighbourhood video-rental stores. Cable and network television broadcast the highest grade of brutalizing voyeurism.”
- Ibid.

In the movie, Max Renn is somewhat representative of the masses. Even though he knows that Videodrome is not the most engrossing show on TV, he still irresistibly attracted to its graphic material. Fascination with blood and lust is a primal and instinctive reflex and has been used as a tool to capture attention and to control since ancient times (see Circus and Gladiatorial Games in the Roman Empire). Furthermore, when no moral objections are involved, some are willing to be exposed to truly evil and twisted deeds to satisfy a craving that often turns into an obsession.

In the movie, Nicki, the woman Max is dating, gets sexually aroused by the violence in Videodrome. Completely submitting to the call of their lowest impulses, the couple gets “busy” while watching some guy getting tortured. While blood and lust are primal instincts that are meant to insure survival, we see here that they’ve been twisted and distorted by mass media to manipulate weaker minds.

Watching Videodrome quickly produces negative effects on Renn. His interest for the show quickly turns into an obsession. The tape he uses for entertainment soon begins to consume him.

Max’s obsession for Videodrome causes a blurring between reality and fiction. Here, TV takes life and literally calls him.

Max begins to experience intense hallucinations. He doesn’t see a difference between television and reality. He soon realizes that Videodrome is not just “entertainment”.

More Than a TV Show

While researching the origin of Videodrome in order to broadcast it on his TV station, Renn learns that it is much more than a TV show. One his friends tells him that the action on Videodrome is not staged and that those behind it are powerful and dangerous. While the show simply appears to be about violence, there is much more behind it. Max’s friend tells him:

“It has something that you don’t have, Max. It has a philosophy. And that’s what makes it dangerous”.

This concept is very true in mass media. While most people do not live according to a specific philosophy and do not put a lot of thought about what they watch on TV, those in power and those controlling the airwaves are often motivated by strong philosophical and political motives. This results in the communication of propaganda to people who do not even realize they are watching propaganda.

The man behind Videodrome is Professor Max Oblivion, who only communicates through TV screens.

“The battle for the mind of North America will be fought in the video arena. The Videodrome. The television screen is the retina of the mind’s eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those watching. Therefore, television is reality. And reality is less than television.”

Oblivion is an idealist convinced that technology, particularly television, would help lead humanity to a better tomorrow. He runs “Cathode Ray Mission”, a homeless shelter that provides a “healthy dose” television to those who cannot afford it.

Oblivion’s office is full of items relating to religion and philosophy. He believes that mass media can bring near-spiritual salvation and promise eternal life through television.

As it is the case in the real world, Professor Oblivion’s altruistic dream got taken over by people who mean business. He is killed by a shady yet powerful organization that wants to use Videodrome to control and manipulate the masses. And Max soon discovers who they are.

The organization runs behind a front company named Spectacular Optical. The eye logo and the ominous slogan “Keeping an eye on the world” is rather Illuminati-ish.

When Renn meets to head of Spectacular Optical, he is shown an introductory video that describes the organization an “enthusiastic global corporate citizen that makes inexpensive glasses for the Third World and missile guidance systems for NATO”. In other words, it is the type of mega-corporation that would be part of our world’s global elite. Spectacular Optical also makes Videodrome.

The head of Spectacular Optical, Barry Convex, tells Max that Videodrome is extreme because exposure to violence affects the nervous system and “opens receptors in the brains and the spine which allow the Videodrome signal to sink in” – and mess with people’s minds. One can wonder if there is some factual basis behind this theory: Do sex and violence create a primal response in our bodies that makes us more receptive to other messages and signals? Even if there were serious studies on the subject, I doubt they would be divulged to the public.

Max then learns that he was purposely deceived into watching Videodrome because Spectacular Optical needs to take over his TV station to broadcast its signal to the masses. To do so, Max will be used as a mind-controlled patsy to kill his partners and hand over Channel 83 to Spectacular Optical.

When the Program Programs You

Although Max realizes that weird stuff is going on, his exposure to Videodrome has rendered him utterly powerless and at the mercy of those broadcasting the signal. The movie illustrates in a rather graphic matter how individuals can easily be brainwashed and controlled by mass media.

The head of Spectacular Optimal literally jams inside Max a tape in order to program his mind and control his actions. This is a rather graphic way of representing how the elite-controlled mass media programs its viewers, figuratively inserting a tape into people to get its Agenda and messages accepted.

Controlled by the tape, Renn enters the office of his TV station and takes out his partners. He is then told to go take care of Bianca Oblivion, the daughter of Professor Oblivion. There, he is stopped short and Bianca uses a TV screen to “deprogram” him. He is however quickly reprogrammed to kill the head of Spectacular Optical, Barry Convex. Max has become a blank slate that can be programmed and re-programmed at will.

Bianca’s TV points back at Max the gun he is holding. Media therefore became a reflection of him and him, a reflection of media. The TV then shoots Max which allows him to be free from the Videodrome tape and to be “reborn” in an almost religious way. Max’s new mantra: “Death to Videodrome, Long Live the New Flesh”.

Max then goes to take care of Barry Convex, who is in an optical trade show for reading glasses and such. The theme of the show is de Medici, Florence’s prominent political dynasty, banking family and royal house of the 14th century. This choice of theme is rather interesting considering the fact that Spectacular Optical can easily be related to the occult elite we call the Illuminati.

The de Medici family can be seen as a prototype of today’s Illuminati bloodlines, as it had a stronghold on the monetary, cultural and even religious affairs of their subjects (the family produced four popes). From an occult point of view, de Medici’s translated classical works on Mystery teachings (such as the Corpus Hermeticum) are often credited for having revived hermeticsm, the Kabbalah and Gnosticism in Europe – all basic teachings of today’s secret societies. The theme of the trade show can therefore further associate Spectacular Optical with the occult elite.

The stage of the trade show contains two quotes: “The eye is the window to the soul” and “Love comes in at the eye”. Considering the fact that this organization controls people by making them watch acts of cruelty, these sayings conceal a disturbing meaning. Then again, doublespeak is a specialty of the elite.

When Renn shoots Convex, we find out that he’s some kind of alien or monster, which is somewhat reminiscent of the movie They Live (read my article about They Live here).

Dazed and Confused

After carrying out his murderous mission, Renn hides in an abandoned place. He once again finds himself in front of a TV that directly talks to him. It tells him that “death is not the end” and that it can “help him”. Is it proposing eternal life through appearing on television? Max then tells the TV what many people unconsciously feel.

“I don’t know where I am now. I am having trouble finding my way around.”

His exposure to Videodrome (mass media) has caused him to lose his thoughts and even his free will. The TV, which uses the image of Nicki to seduce him and attract his attention, replies:

“Videodrome still exists. Its very big, very complex. You’ve hurt them, but you haven’t destroyed them. To do that, you’d have to go on to the next phase.”

The TV then tells him that he needs to go “all the way” and become the New Flesh. To do that, he has to kill himself. We see here how mass media can be a manipulative force, using seduction and rhetoric to influence behavior, even if it involves shooting oneself in the head. Then, the TV says: “Here, I’ll show you”.

The TV shows Max how to shoot himself.

Right after, Max imitates what he saw on television, says  “Long live the New Flesh” and shoots himself in the head … and the movie ends on that unsettling note.

Did Max truly “complete his transformation” and become New Flesh? Probably not. Like most of what is said on television, all of this New Flesh story was most likely a bunch of BS used to manipulate his confused mind and to push him towards suicide. By shooting Convex, Max became an enemy of Videodrome and, like most mind-controlled patsies, he was pushed into a “self-destruct mode” once he stopped being useful to the organization.

On a larger scale, the ending of the movie communicates a strong statement about the influence of mass media on the world. Does it directly influence people’s thoughts and actions, even if it goes against their best interests? This movie says yes.

In Conclusion

While the premise of Videodrome is over-the-top science fiction, its underlying message rings even truer today than it did in 1983 when it was released. With the advent of new technologies such as the Internet and mobile devices, we are today, more than ever, surrounded by the signals of the real-world Videodrome that is mass media. Its images and message can now reach us in a variety of ways, following us anywhere we go. While not as in-your-face and extreme as the movie’s Videodrome, today’s mass media still tap into these two primal urges humans that are difficult for human to ignore: blood-lust and reproduction. These two instincts were encoded in our DNA for the survival of individuals and the propagation of the species, but they are now “soft spots” that can easily be triggered with specific stimuli, causing an immediate and powerful reactions. As people get desensitized to sexual and violent imagery, mass media constantly pushes the envelope to bring new, distorted and twisted ways to capture their viewer’s attention. While the showing of a woman’s ankle caused quite a stir a few decades ago, today Internet users keep demanding for more extreme footage to get excited. As Max says in the movie: “They need something rough”. How long will it take until all-out snuff movies become acceptable for mass consumption? Some say that we are already being introduced to the Illuminati twisted underground world as a lot of snuff is actually already in mass media and we don’t even realize it.

However, as the movie states, blood and lust are not the ultimate end, but merely a vehicle to communicate the most important aspect of it all: the Agenda. This is what it is all about. It is about materialism, superficiality, the sexualization of anything, the destruction of family values and much more. All of the articles on Vigilant Citizen show that behind the bells, the whistles, the sexiness and the eye candy, a message is being communicated – one that goes with the best interests of the elite. Watching Lady Gaga in a music video wearing a bikini and whipping some guy (which oddly resembles a scene in Videodrome) is a good attention-grabber but, as we’ve seen in many articles, there are many messages that also being communicated. The Videodrome signal that causes everything from hallucinations and brain tumors is the constant conditioning that is exerted by mass media to force the world accept a specific world vision – which is a fake as a hallucination.

In the Illuminati’s Videodrome, the masses are constantly exposed to the values that need to be accepted, the mindset that needs to be adopted and the symbolism that needs to be embraced. From mega-rituals disguised as current events to propaganda disguised as entertainment, TV viewers find themselves like Max Renn, with tapes inserted right in their belly. Don’t want your mind to end up like Max’s? Remove that tape, throw it in the garbage and think for yourself.

The post The Movie “Videodrome” and The Horror of Mass Media appeared first on The Vigilant Citizen.

The 40 seconds long intro theme alone is loaded with symbolism. Here it is.

First, Great Uncle Stan wears a fez, which is the hat worn by the Shriners – an appendant body of Freemasonry. As they like to say, all Shriners are Masons, but not Masons are Shriners.

Stan wearing a Fez hat. Also, he is hiding one eye for the heck of it.

An Old School Shriner.

Up until 2010, only 32nd Degree Scottish Rite Masons (the highest degree attainable other than the honorary 33rd) or Knight Templars of the York Rite could join the Shriners. This means that Grunkle Fez is most probably a high level Freemason. Therefore, he knows what’s the deal with all of these symbols. He knows.

The show is full of eyes everywhere. There’s even a jar of eyeballs for sale at Stan’s store.

All-Seeing eye inside of triangle and more here…

This frame flashes for literally a split second at the end of the intro. We can easily recognize the Illuminati pyramid with illuminated capstone and All-Seeing eye, along with other alchemical and magical symbols. Also, there’s the Contra code on NES, which is rather hilarious.

I won’t start analyzing all of the episodes but here are some interesting shots from the first episode of Gravity Falls.

Aside from the eyeballs everywhere, the little humans in a jar are homunculi – a concept that is found in alchemy and occult rites.

19th-century engraving of Goethe’s Faust and Homunculus

All-Seeing Eye at the apex of the mountain

“Floating eyeballs, are they watching me?”.

The attic of Great Uncle Stan’s shack has a prominent Masonic stained glass window featuring a symbol that is omnipresent in this cartoon.

Stan appears to have two Owl clocks – the owl is an ancient symbol representing the occult elite (those who work in darkness), the Illuminati and the Bohemian Grove.

Check out the rug on the floor.

The letter “A” of the word “Shack” consists of a compass above and All-Seeing Eye, a combination of symbols of found in Masonic symbolism.

The entrance of a Masonic lodge.

In short, Disney’s new show is centered around a specific set of symbols associated with secret societies and the occult elite, which we call the Illuminati. While some might argue that these signs are inserted to add “mystery” to the show, we must also consider the fact that popular culture in general is being permeated with the exact same set of symbols. This show plays it part by exposing young children to the symbolism, which normalizes it and ultimately accomplishes what the occult elite has been doing for centuries: Hiding in plain sight.

The post “Gravity Falls”: A New Disney TV Show Loaded With Illuminati Symbolism appeared first on The Vigilant Citizen.

Produced by the Canadian production crew Heliofant, I, Pet Goat II is a short animated movie that quickly went viral across the internet. Praised for its visual feats and its interesting imagery, the video however left many puzzled about the meaning of its symbolism. Politics, conspiracies and false flag operations are mixed with esoteric spirituality and occult symbolism in one big mesmerizing mind bender. Here’s the video.

After watching the video, many might say something like “What the hell did I just watch?”. The story is somewhat non-linear and there are many cryptic and enigmatic elements in the movie. I won’t claim to fully decode every single symbol-filled frame of the video, but many of the messages are easily understandable due to rather heavy-handed symbolism.

In general, the movie appears to be about the political and social climate of the past decade – complete with puppet Presidents, false flag terror and mind-controlling sorcerers. Then, through the following of a Christ figure, we leave all the sadness behind to enter a new, sunny era. In short, the story is about the triumph of spiritual enlightenment against the forces of darkness. Let’s look at the movie and at some of its many details.

I, Pet Goat II

The opening scene is already replete with symbolism.

The video begins with an interesting scene: A goat inside a box in what appears to be some sort of detention (FEMA) camp. The goat has a bar-code on its head with the numbers 6 6 6 underneath it. If I, Pet Goat is about liberation from the forces of darkness, this first scene seems to depict the exact opposite. Does this goat represent those who have been “boxed in”, bar-coded and brainwashed by the corrupt system? The usage of the pronoun “I” in the title implies that the goat might be, in fact, the viewer himself.

The Puppet Show that is Politics

In the first part of the video, a hidden puppet master controls George “Dubya” Bush inside a classroom. When the planes struck the Word Trade Center in September 2001, Bush was inside a classroom reading the book My Pet Goat to children. The Masonic checkerboard floor of the classroom might signify that this whole charade had a ritualistic component to it.

Bush tap-dances, makes scary faces and says random stuff to keep the masses clueless about the truth.

Above Bush is an interesting graphic depicting the evolution of mankind from fish, to monkey, to man holding a weapon. What is the final stage of evolution? The illuminated man, represented by a sunburst around its head.

Bush wears a dunce cap, this conical hat that was given to “slower” students to humiliate them. When Bush is done making a fool out of himself, he turns into Obama, a charming and distinguished man wearing a graduation cap. He starts off nice and lovable, but he ultimately begins to laugh at the audience. While he appeared to be the perfect response to the idiocy of Bush’s era, the fact remains: He is simply another puppet controlled by the same puppet master.

While most of the audience is totally oblivious to what is happening, one girl is not buying it.

While the masses appear to be deaf, dumb and blind (and restrained by barb wire), this little girl realizes that “this apple is not hers and drops it”. Obama is concerned by the awakening of this girl.

We are then taken to the cold and snowy outside world around the school. On a wall, there’s a graffiti with an important message behind it.

On the school wall is a graffiti saying “Psalm 23″.

The Biblical verse that is referred to by the graffiti appears to foretell the journey viewers are about to embark on.

The Lord is my shepherd, I lack nothing. He makes me lie down in green pastures, he leads me beside quiet waters, he refreshes my soul. He guides me along the right paths for his name’s sake. Even though I walk through the valley of the shadow of death I will fear no evil, for you are with me; your rod and your staff, they comfort me. You prepare a table before me in the presence of my enemies. You anoint my head with oil; my cup overflows. Surely your goodness and love will follow me all the days of my life, and I will dwell in the house of the Lord forever.

- Psalm 23, NIV

A World in Decay

The outside world is dark, cold and literally in decay. It is sad, corrupt and everything is shaking and crumbling down.

At one point, two towers – reminiscent of the WTC – fall down. We then learn that it was an inside job.

Bin Laden is wearing a CIA badge, hinting to the fact that he was a tool used by the American government to advance its agenda. The moon crescent, a symbol associated with Islam, is reversed, which is may be a way of saying that all this Al-Qaeda stuff is a perversion and an exploitation of Islam.

While oil leaks from everywhere, a six pointed star appears under the Statue of Liberty, renamed by the makers of the movie “Lady of Helotry” (“helotry” means serfdom or slavery).

Is the six-pointed star (also know as the Star of David) appearing under the Lady of Helotry a way of saying that the US is highly influenced by Israel?

While the world is crumbling down, many ancient institutions disappear or get destroyed.

This Mosque is destroyed by fighter jets.

This Latino worker is sinking, along with his hammer and sickle – representing the disappearance of Marxism in third world countries. On Heliofant’s official site it is said: “After years of economic exploitation and the environmental degradation, Juan “Pepito” has a decidedly sinking feeling.”

Controlling the Masses

The world is under the spell of an evil sorcerer named Drako. According to the makers of  the movie, Drako is:

“The Sorcerer, the unseen hand and spirit of madness seeking ever more control through trickery, lies, poisons, false-flag events, wars, and mountains of bureaucratic and legal framework to siphon off the energy of the inhabitants of the earth. He fears the light of day as he fears life itself, and operates in the shadows. His greatest power is his hold on the issuance of the currency.”

Does this sound like what we call the Illuminati? Yes, yes it does.

The same way the Illuminati seeks to brainwash children since birth, Drako preys on this unborn child named Ludovic.

Drako’s reptilian eye awaits the birth of Ludovic.

In esoteric tradition, the symbol of the serpent-entwined egg is known as the Orphic Egg. In short, it represents the latent seed of life and the infinite potential of creation. In other words, while this child appears to be hopeless, he still has the power to reach his full potential.

When the egg is hatched and the child is born, Drako literally takes control of his mind in a creepy, parasitic way.

Drako has the pyramid and all-seeing eye found on the US dollar bill on his chin. Not only does it represent the fact that he controls currency, it also represents the Illuminati. Underneath Drako’s eyes is the saying “Ordo Ab Chao” – meaning Order Out of Chaos, the occult elite’s favorite slogan. Also, the dude has only one eye open. Could he, like, more represent the Illuminati?

The Liberator

Amid all this chaos, a figure emerges with the power to make everything right.

Navigating on an Egyptian ceremonial boat, Jesus Christ appears to be in trance.

The Christ-like figure has a third eye painted right on the pineal gland, which refers to the concept of spiritual illumination. The triangle above the eye represents divinity and that illumination leads to the contact with one’s own divine nature. The symbols on the Christ’s forehead are in complete opposition to pyramid on Drako’s chin. While both figures bear similar symbols on their faces, Christ has them “right” and Drako has them in reverse/inverted, meaning that he (and the Illuminati) have corrupted these ancient symbols.

Named by the makers of the video “The Fire of Truth”, the Christ figure is not meant to be Jesus Christ himself, but a representation of the concept of Inner Christ as defined by Gnosticism. According to this esoteric current of Christianity, the Inner Christ is the potential found in everyone to reach godhood through spiritual illumination. On Heliofant’s website, The Fire of Truth is described as:

“That’s YOU!!! when you stand in the awareness of your sonship with the Divine and the brotherhood of mankind!!! “

When the Christ figure breathes the Fire of Truth on the world, some oppressed or distressed characters come back to life, like Ludovic, the child inside the egg. Also, Aali, a little Muslim boy that appeared battered and dead rises back to life.

Little Aali rises up from the crumbles of the destroyed Mosque, twirling in traditional Dervish attire.

The boy is executing the ancient art of Sufi whirling, which is practiced by the Sufi Dervishes of the Mevlevi order. The Dervishes are an ancient esoteric current of Islam.

“The mysteries of the Islamic faith are now in the keeping of the dervishes – men who, renouncing worldliness, have withstood the test of a thousand and one days of temptation. Jelal-ud-din, the great Persian Sufic poet and philosopher, is accredited with having founded the Order of Mevlevi, or the “dancing dervishes,” whose movements exoterically signify the motions of the celestial bodies and esoterically result in the establishment of a rhythm which stimulates the centers of spiritual consciousness within the dancer’s body.”
- Manly P. Hall, The Secret Teachings of All Ages

Whirling Dervishes

The rebirth of the Muslim boy as a Whirling Dervish signals that there is a link between him and the Inner Christ: Both represent initiation into esoteric schools, which all have a common goal – the contact with divinity through spiritual illumination. Other religions with esoteric undercurrents such as Hinduism (represented by a dancing Shiva), are also represented in the movie. Is the Christ figure maybe the Anti-Christ deceiving all religions into following him? Perhaps.

When the Christ figure exits the Cathedral, the building (which was guarded by an evil-looking gargoyle) crumbles behind him.

In this new era of spiritual enlightenment, elaborate man-made buildings become unnecessary and outdated. They therefore crumble and disappear.

As night turns into day, the Christ figure opens his fiery eyes and navigates towards the sunlight. Lotus flowers, symbols of spiritual enlightenment in Eastern philosophy, appear behind him, confirming to the viewers that the path to freedom is indeed a spiritual one.

In Conclusion

I, Pet Goat II has received widespread acclaim for its technical prowess and its original storytelling. Although there is no narration or dialogue, an elaborate story is delivered using the most ancient and universal language in History: Symbolism. Through symbols, the movie manages to deliver an acerbic critique of today’s Western Civilization, to describe its numerous evils and even to predict its inevitable downfall. More importantly, a thorough decoding of the movie’s symbolism reveals a powerful message of spiritual enlightenment based on ancient Mysteries. While this esoteric aspect of the movie might not be understood by many, it is at the core of the movie and is presented as the ultimate solution to the evils and corruption of today’s world. The movie’s conclusion is therefore a very personal one: Either YOU become a pet goat with a 666 bar-code on your forehead or YOU become a Christ figure with a third eye on your forehead. This notion of personal enlightenment is definitively a Gnostic one and is common to most esoteric schools of thoughts in all civilizations.

Agreeing or disagreeing with the movie’s spiritual conclusion is a question of personal beliefs, but it is nevertheless obvious that those behind I, Pet Goat II are “in the know” about all things occult, esoteric and even conspiratorial. Each scene has a profound underlying story behind it – whether it be historical, political or spiritual – that would take pages and pages of words to thoroughly explain. Therein lie the power of symbols: They can simply be admired for their aesthetic beauty or they can, when fully understood, reveal a profound story about humanity, God and everything in between.

The post The Esoteric Symbolism of the Viral Video “I, Pet Goat II” appeared first on The Vigilant Citizen.

Warning: Major spoilers ahead

Released in 2009, Roland Emmerich’s film 2012 plays on the fears and panic engendered by the “OMG-the-Mayans-said-we’re-gonna-die-in-2012″ scare. The movie’s apocalyptic scenario depicts in vivid detail people’s worst fears regarding 2012: The destruction of everything and the killing of everyone … well, almost everyone. While a good portion of the two-and-a-half hour movie is dedicated to CGI destruction, 2012 contains many Biblical, mythological and historical references that gives the story a deeper underlying meaning. Furthermore, a specific message can be understood by the way the crisis has been handled in the movie. It basically says: “If something happens, the rich and powerful will live and the rest of you suckers will die”.

In the article entitled ‘Contagion’ or How Disaster Movies “Educate” the Masses, we discussed how disaster movies are an important indoctrination tool that present and sell specific “political responses” to major crises. In 2012, the political response to the mega-cataclysm that is threatening Earth is rather unsettling: The world elite learns about 2012 a few years in advance, secretly plans its own rescue mission (while keeping the masses in the dark) and leaves the world to die while creating a new world that is only populated by the elite. A few “regular” people do manage to infiltrate the elite’s ships. Apparently their survival, along with the world’s rich and powerful, constitutes a happy ending.

When I first finished watching the movie, I wasn’t exactly feeling happy having just paid a few bucks to basically watch a flick that predicts my death and the death of everyone I know while the elite embark on giant ships to start a new world by themselves. It’s a little insulting.

Does the movie accurately predict what will happen on December 23rd, 2012? Probably (hopefully) not, but I do believe that the movie uses the 2012 scare tactic to communicate specific messages to the masses about the elite’s plans for a New World Order and the coming of the Age of Aquarius. Let’s look at the movie’s most symbolic scenes.

The Preparations

The movie takes place in 2009 and begins with a cosmic event that triggers the cataclysm: A planetary alignment.

The alignment of astronomical bodies causes a series of events that lead to the destruction of Earth. On an esoteric level, the alignment of astral bodies is representative of the dawning of a new era – what some may call the Age of Aquarius.

On Earth, a few scientists discover that massive solar flares are causing the planet’s core temperature to rise. Adrian Helmsley, an American geologist, realizes that the end of the world is rapidly approaching. He rushes to Washington D.C. to inform the highest level of power that action must be taken, but it turns out that the world’s ruling elite is not only well-aware of the coming disaster, but have been secretly working on a rescue plan for years. The elite are taking steps to preserve the lives of those that are deemed “worthy” and collecting the Earth’s most important artifacts to bring to the new world.

In this scene, the Mona Lisa at the Louvre is fake. The real painting will be brought into “post-apocalypse” world.

The only people that know about the 2012 rescue plan are the world’s most powerful people. Tickets were also sold to private individuals. The price? 1 billion Euros … per person. In other words, there is no way that a regular person would survive. And that’s all part of the plan.

Meanwhile, as usual, the masses are portrayed as a herd of idiots, prone to panic and violence.

As it is the case in most disaster movies, the masses are portrayed as a “bewildered herd” that cannot act civilized. While the elite is planning its secret escape from the 2012 cataclysm, the masses are shown rioting during a G8 Meeting. Seeing how people are portrayed to act in times of crisis, one might be inclined to think: Maybe the elite is doing the right thing by hiding the truth from the masses …

This massive conspiracy against the public is not an airtight secret. Some prominent figures discover the ugly truth and attempt to warn the public, but they are rapidly silenced.

When the director of the Louvre discovered the elite’s plans, he called a press conference to disclose the truth to the entire world. He then dies in a “mysterious” car accident, right before he makes his announcement.

There are interesting facts about the above car “accident” that killed the French museum director. First, it is clearly stated in the movie that the accident occurs in the Pont d’Alma tunnel … the same tunnel where Princess Diana lost her life in a odd car accident. In my article Princess Diana’s Death and Memorial: The Occult Meaning, I’ve explained the symbolic meaning of the Pont d’Alma tunnel and how the death of Lady Di had all of the markings of a ritual sacrifice. The death of the Museum director at the exact same spot might be the movie’s way of saying that his death was a ritual sacrifice by the elite. The movie might also be indirectly saying: “If the death of the Museum Director inside the Pont D’Alma tunnel was a murder disguised as an accident, what do you think happened to Lady Di?”.

It is later discovered that the museum director is not the only whistle-blower that has “mysteriously” lost his life. Many other people who had the public’s well-being in mind also died in strange circumstances during the elite’s secret preparations.

A conspiracy theorist dedicated an entire wall to news clippings of people who got killed by the elite.

All of the elite’s decision-making is done in secret and secluded meetings and involving only the world’s most powerful people.

Meanwhile, the public is restless, to the point that the London Olympics are suspended. Is the movie predicting events to come?

While all of this is happening, the Chinese government has been put in charge of building the gigantic boats named  “Arks” that would allow the elite to survive 2012.

Farewell Atlantis

The hero of the movie is Jackson Curtis, a regular divorced father, that discovers the truth and attempts to embark on one of the Arks in order to survive 2012.

Jackson Curtis and his kids are told by the US Army that they must leave the national park. They are not told why because the public is not allowed to know about the upcoming 2012 disaster.

Jackson Curtis is a not-too-successful writer of a book entitled Farewell Atlantis, which is very symbolic in the movie’s context. Atlantis is the name of a fabled continent that got submerged by a massive flood several millenia ago. Legend holds that the highly advanced civilization that flourished on that continent disappeared, but some survivors of Atlantis managed to sail to places like Egypt, America and Asia, where they became great teachers to the natives. Atlantis is of a great importance in the occult elite’s Mysteries as it is believed that the continent actually existed and was the origin of the world’s occult knowledge. Atlanteans who sailed to far-away lands in order escape the Great Flood are considered the teachers of esoteric knowledge to the Ancient Egyptians, Mayans and possibly even the Celts. Mystery schools often state that the Biblical story of the Great Flood is, in fact, the story of the disappearance of Atlantis. They also claim that many other ancient cultures have similar stories within their folklore.

Today’s secret societies perceive and refer to America as the “New Atlantis”, a country that was founded on the principles of Freemasonry and Rosicrucianism, the supposed descendants of Atlantean Mysteries.

Francis Bacon’s 1605 book “New Atlantis” describes an ideal society where science and reason would rule, according the principles of Freemasonry and Rosicrucianism. The book is said to be the blueprint of the founding of America. Bacon is known for writing “Knowledge is Power”, a famous phrases that has deep resonance in Rosicrucianism and that is prominently featured in the US Library of Congress.

While Sir Francis Bacon’s New Atlantis appeared to be foreshadowing the founding of America, Jackson Curtis’ novel Farewell Atlantis appears to be foreshadowing its destruction. The same way Atlantis was completely submerged by water, America, the home base today’s occult elite, will suffer a similar fate. The lucky few that will embark in a modern version of Noah’s Ark will be given the task to found a New World – and the movie subtly states which institutions will carry on and which will disappear.

The Disaster

As the film progresses, the Earth begins to heat up and fissures start to appear in Los Angeles. Although it is obvious that a major disaster is about to happen, mass media (which is in collusion with the elite, in the movie and in real life) downplays everything in order to keep the population calm and oblivious to the fact that the world is ending. The only non-elite guy that appears to know what’s going on is a nut-job conspiracy theorist living in the woods (apparently, according to Hollywood movies, truth seekers cannot be level-headed, rational people).

Charlie Frost is a near batcrap crazy conspiracy theorist that hosts a radio show and that runs a not-so-great-looking website. He actually knows the truth and he is right about everything, yet, in the end, he is still depicted as a complete nutjob. Knowing the truth is not “cool” in Hollywood movies.

Charlie Frost describes everything that is about to happen to Jackson Curtis and even provides him a map to the Arks.

The map to the Arks are conveniently placed in Charlie Frost’s “conspiracy files”, right next to his documents on Marilyn Monroe. A little wink to the ultimate mind-controlled Presidential slave?

As the world is crumbling apart, members of the elite receive an important and top-secret message on their mobile phones.

When things get serious, members of the elite are notified that it is time to embark on the Arks and to  leave the rest of the world to die.

When hell breaks loose on  Earth, several important monuments are shown being destroyed. These scenes are not only spectacular to watch but they also represent the fall of important institutions as the world enters the Age of Aquarius. In one scene, the famous Brazilian monument “Christ the Redeemer” is shown falling down in a matter similar to the way statues of Saddam Hussein fell after the Gulf War.

Does this symbolize the fall of Christianity in the wake of a new era?

In another scene, St. Peter’s Basilica in the Vatican, the “epicenter” of Catholic faith, is shown crashing down on faithfuls and killing thousands of people who assembled to pray.

In this symbolic scene, a crack appears on Michelangelo’s iconic painting in the Sistine Chapel, right between the fingers of God and Adam – which can represent the break of the connection between humanity and the divine. Is the elite’s New World devoid of the touch of God?

Other religions are also shown being destroyed during the movie. According to an article in The Guardian, 2012 was supposed to contain a scene depicting the destruction of the Kabaa, the holiest site of the Muslim faith. However, the scene was axed for fear of backlash from Islamic groups. The elite’s new world, is therefore not only devoid of Christianity, but of all major religions – one of the goals of the New World Order.

2012 does not only show the destruction of religious monuments, but also of political landmarks. These scenes symbolize the fall of regular nation states before the formation of a single world government.

The White House, symbol of US power, is shown being hit by one of its own war ships and taken away by a gigantic wave. In the elite’s new world, it is not about National powers and military might: It is about a single world government and a single military.

The American President addressing the Nation for the last time. The “leader of the free world” symbolically stays in Washington D.C. to die with regular people. In other words, the (supposedly) democratically elected representative of the people has no place in the elite’s new world government.

The Noah’s Ark of the Elite

Several of these gigantic Arks were secretly built in China.

While most of the world’s population is getting killed by floods and earthquakes, the “chosen ones” are taken to China to embark in gigantic Arks.

In this clear allusion to the Biblical story of Noah’s Ark, animals are shown carried to the ships by helicopter.

Entry to those Arks is far from fair and is reserved for those that are “one of them”. For example, the Indian scientist that discovered the coming of the 2012 cataclysm is left to die, while greedy Russian billionaires are granted access.

Of course, as a member of the world’s occult elite, the Queen of England and her dogs are granted access to the ships. Because her hat-wearing skills will be very useful to humanity in the future.

A bunch of pointless “suspenseful” scenes happen as Jackson Curtis and his family attempt to illegally enter one of them. Seeing how many people were left to die, the scientist Adrian Helmsley makes a unavoidable speech about how us humans must stick together and whatnot. However, we don’t see him giving up his place for anyone and everyone still dies … except for the elite. So, despite the moralizing monologues about caring for each other, the elite’s plan carries on right on schedule and only those that were chosen to survive do.

After the disaster, humanity enters a new era and resets its calendar to year 0001. The previous calendar was based on the birth of Jesus Christ – which is esoterically associated with the Age of Pisces. The resetting of the calendar signifies that Christ’s era is over. It is the beginning of the Age of Aquarius.

At the end of the movie, the entire world is completely submerged by water, except for the African Continent. The Arks set sail to the cradle of Civilization to start anew in a place symbolically called “Cape Hope”. Is this a happy ending? Depends if you’re in the elite or part of the 99% of the rest of the world that died.

The Age of Aquarius

Esoteric schools teach that a “Great Solar Year” is the period of time during which the sun cycles through all of the zodiacal constellations, lasting about 25,000 years. Every 2,000 years (more or less) the sun enters a new zodiacal constellation and humanity, somewhat unconsciously, adopts symbolism that relates to that zodiacal sign. For nearly the past 2,000 years the sun was in the constellation of Pisces (represented by Two Fishes), meaning that we are in the Piscean Age. Oddly enough, Christianity has always been represented by the symbol of a fish (i.e. the Jesus Fish). Every 2,000 years, the sun migrates to the previous sign of the zodiac, which means that the world is set to enter to Age of Aquarius.

By showing the fall of Christian symbols and the emerging of a new world after a massive flood, the movie 2012 appears to be announcing the coming of the Aquarian Age.

The astrological sign of Aquarius consists of  a cup-bearer pouring water. In Greek mythology, the cup-bearer is said to be the cause of the Great Flood that probably caused the disappearance of Atlantis.

Since the symbol of the sign of Aquarius is a man pouring water and is methodologically associated with the legendary Great Flood, it is rather appropriate to depict the coming of the Aquarian Age with a flood that submerges New Atlantis, aka America.

In Conclusion

While 2012 is often described as a big orgy of explosions and special effects, the movie nevertheless contains a great deal of messages and symbolic moments. Its references to historical, Biblical, mythological and esoteric concepts give the movie a deeper meaning, one that fits with the world view of today’s occult elite. While the world will probably not crash and burn on December 23rd 2012, the movie uses the scare relating to the Mayan Calendar to communicate its plans for the future: The fall of religions, dissolution of Nations and the glorification of a select elite on the backs of the clueless masses. Everything that happens in the movie is remarkably on-par with “ten commandments” found on the Georgia Guidestones (see the article Sinister Sites – The Georgia Guidestones). Here are some of them: “Maintain humanity under 500,000,000 in perpetual balance with nature”, “Unite humanity with a living new language” and so forth. The way things go down is also reminiscent of the symbolic stories told on the prophetic murals found at the Denver International Airport (read the article here) and the murals at the Bank of America (read the article here). Both of these pieces depict a period of great tribulation, destruction and oppression that is followed by the founding of a new world based on the elite’s principles.

On a more esoteric level, the movie equates America with Atlantis, an advanced civilization that was destroyed by a great flood. The survivors of ancient Atlantis, who are said to be the originators of the occult lore of secret societies, went on to perpetuate their knowledge across the world.

And while solar flares are said to be cause of the 2012 disaster, major floods are the cause of the Earth’s destruction. Through this symbolism, the movie appears to announce the end of the Age of Pisces and the coming of the Age of Aquarius.

There is therefore much more to 2012 than originally meets the eye. Unfortunately, as it is often the case in mass media, the messages being communicated are neither enlightening nor inspiring. Quite the contrary, the movie basically tells the story of gigantic conspiracy against the public, complete with cover-ups and murders. In the end, the elite saves its own ass and leaves billions of people to die. To top it off, this conspiracy is presented as the only viable solution to such a crisis. Is the public being prepared for a major crisis that will be resolved with the heralding of a New World Order? As the movie’s promotional poster clearly states: “We Were Warned”.

The post The Hidden Symbolic Meaning of the Movie “2012″ appeared first on The Vigilant Citizen.

Warning: Major spoilers ahead (get over it, the movie is 24 years old).

Watching They Live is a conflicting experience. It is an odd combination of eye-opening messages with lackluster acting, powerful social commentary with 1950′s B-movie special effects and gripping satire with odd punchlines. Constantly making viewers oscillate between “Wow, that was genius!” to “Wow, that was corny!”, it is difficult to properly evaluate the movie from a cinematographic point of view. However, from a “message” point of the view, They Live is gold. Based on Ray Nelson’s short story Eight O’Clock in the Morning, the movie is one of those rare subversive stories that forces viewers to question their world and their surroundings. Because, despite the fact that the movie is about ghoulish aliens, it communicates truths to the viewers that are only alluded to in mainstream movies. In fact, looking deeper into the storyline, one might realize that there’s probably more “science” than “fiction” in the story of They Live … especially when one has “truth-seeing sunglasses”.

The hero of the movie, played by WWF wrestler Rowdy Roddy Pipper, is a drifter that is apparently nameless. In the short story and the movie’s credits, he is referred to as Nada, which means ‘nothing’ in Spanish. While this nameless nothing is broke and homeless, he still manages to expose the alien’s hidden rule of the world. How did he accomplish that? With the only thing he’d ever need: The Truth. Oh, and also guns. He used a lot of guns. Most importantly, despite the fact that Nada was tempted several times to shut up in exchange for “generous compensation”, he kept his integrity and never agreed to sell out to the aliens. Now, that’s a role model. To top it off, he says the best things ever.

Are the aliens in the movie an imaginative way to portray the world’s elite, those who secretly run the world, those we call the Illuminati? Let’s revisit this cult classic and see how it describes the hidden rule of the elite.

The Premise

Right from the beginning, as we see Nada walking around Los Angeles with his backpack, the movie sets a particular mood: Something is not quite right. While Nada appears to be a happy-go-lucky kind of guy, the city is not happy and it is not too kind to happy-go-lucky kind of guys. Quite the contrary, there is a sense of impending doom in the air: Poverty is rampant, helicopters fly around the city and street preachers speak of soulless beings ruling the world.

“The venom of snakes is under their lips. Their mouths are full of bitterness and curses. And in their paths, nothing but ruin and misery. And the fear of God is not before their eyes! They have taken the hearts and minds of our leaders. They have recruited the rich and powerful, and they have blinded us to the truth! And our human spirit is corrupted. Why do we worship greed? Because outside the limit of our sight, feeding off us, perched on top of us from birth to death are our owners. Our owners — they have us. They control us. They are our masters. Wake up. They’re all about you, all around you!”.

Is the preacher’s description of the “masters” applicable to the Illuminati? I believe so.

As we follow Nada’s aimless drifting across the city, the camera often focuses on people gazing blankly at television screens, mindlessly absorbing the vapid messages it communicates. Regular Joes appear to truly enjoy their television shows … until an obscure organization hacks the airwaves to broadcast subversive messages about the hidden rulers of the world.

“Our impulses are being redirected. We are living in an artificially induced state of consciousness that resembles sleep. (…) The poor and the underclass are growing. Racial justice and human rights are nonexistent. They have created a repressive society, and we are their unwitting accomplices. Their intention to rule rests with the annihilation of consciousness. We have been lulled into a trance. They have made us indifferent to ourselves, to others. We are focused only on our own gain. Please understand. They are safe as long as they are not discovered. That is their primary method of survival. Keep us asleep, keep us selfish, keep us sedated.”

Can the above statement be applied to the Illuminati? I believe so.

The Average Joes who watch this pirated TV broadcast all get a massive headache – the raw truth is indeed too much for most people to bear. One such viewer switches the channel after telling the guy on TV: “Blow it out your ass”. Just like today, most people do not want to hear about this kind of stuff … they just want to go back to their mindless TV viewing.

Nada realizes that the street preacher and the man on television are connected through a local church. When he sneaks into the church, he discovers that it is actually the headquarters of an underground organization.

On a wall inside the church is written “They Live We Sleep”, a phrase that describes the fundamental difference between the elite and the masses. Those in power know the truth about the world and possess the means and the power to truly “live”. The rest of the population is sedated, dumbed-down and manipulated into a zombie-like status in order for it to be as easily manageable as possible by the masters. The masses’ ignorance equals a state of endless slumber.

Nada learns that the rebellious organization is attempting to recruit people to take down the rulers. However, a few days later, Nada discovers what happens to those who plot against those in power.

Helicopters, bulldozers and police in riot gear raid the place, destroy everything and violently arrest the members of the underground organization. That is how the elite responds to contrary views.

After witnessing the violent police shakedown, Nada begins to realize that something is wrong in America. The happy-go-lucky guy who believed in working hard and following the rules is starting to believe that something is amiss here.

Determined to learn more, Nada re-enters the church and finds a few interesting things.

The police painted over “They Live We Sleep”. Obviously, “They” don’t want that message to be known.

More importantly, Nada discovers a box full of sunglasses that allows his to see the world as it is. Added bonus: They also look pretty cool.

Seeing the Truth

While the sunglasses found by Nada appear on the surface to be worthless, they actually provide him with the greatest gift of all: The Truth. When Nada first puts on the sunglasses, the experience is shocking.

When he has his sunglasses on, Nada sees through the smoke and mirrors projected by advertisement and mass media . He only sees the core of their message and the only reason why they exist.

No matter which magazine Nada flips open, he sees the same subliminal messages, which tells a lot about the true function of “celebrity” and “fashion” magazines. Despite the fact that they are all different, they all ultimately serve the same purpose: To reinforce messages from the elite to the masses.

Nada also quickly understands the truth about money.

“In God We Trust”?

Nada’s most shocking discovery concerns people around him.

Some people are not human. They are from another race that has infiltrated society.

Nada realizes that they are everywhere and that they hold positions of power, like this politician giving a typical “politician” speech on television. Is this a way to portray the Illuminati?

Upon discovering this truth, Nada became pissed off. REALLY pissed off. How did he react to the situation? He did not go home and write a poem about it. Nope, he grabbed a shotgun and started shooting aliens.

When the aliens realize that Nada can see through their disguise, they immediately alert the authorities saying “I’ve got one that can see”. Being able to “see” is obviously frowned upon by the aliens – they do not like to be exposed. Nada quickly becomes a social pariah and aliens start closing in on him. Confronted with this situation, Nada says profound and timeless words: “I don’t like this ooooooooone bit”.

Many aliens are part of the police force as its sole purpose is to ensure that the alien’s rule is not disturbed. Most policemen are however regular humans and just follow the orders because that’s their job … a little like actual policemen who do the Illuminati’s work.

Nada and everyone in the city are constantly monitored by flying surveillance cameras that are oddly similar to the new unmanned drones that are currently appearing around the world.

Flying surveillance cameras were considered science fiction in 1988. They are reality today.

An actual, modern unmanned drone mounted with a video camera.

The concept of truth-seeing sunglasses is an interesting way to illustrate the importance of knowledge in one’s world perception. Two people can be looking at the exact same thing yet perceive two very different realities, depending on the level of information and awareness possessed by each person. Nada’s sunglasses can therefore represent one’s knowledge of the truth, which allows a clear perception of reality.

Looking for Others Who Know the Truth

Upon learning the shocking truth about the world, Nada feels the need to share this vital information with his friend Frank Armitage. Nada however quickly realizes some people do not want to hear about it. In fact, many actually get angry and offended at the simple mention of something that alludes to it. When Nada asks Frank to put on his sunglasses so he can see what he sees, Frank firmly refuses and calls him a “crazy motha…”. Nada replies with another classic line “Either you put these sunglasses on or start eating that trash can”.

Then ensues one of the longest one-on-one fight scene I ever seen (eight minutes of punching and kicking), a scene that is dragged out for so long that it becomes utterly absurd and even comical. While the scene maybe appear ridiculous, it says something about the difficulty of making regular, average people wake up from their blissful ignorance.

Frank finally sees the truth. All it took is Nada beating the crap out of him, sticking the sunglasses on his face against his will and forcing him to look around. Yes, convincing other people of the truth can be a hard task.

It takes a lot of effort on Nada’s part, but Frank finally sees the aliens controlling the world. The two pals are then invited to a secret meeting of the underground organization that is attempting to rid the earth from the aliens.

During the meeting, Nada and Frank are given truth-seeing contact lenses. The sunglasses gave truth-seers a nasty headache, especially when they are taken off. When first exposed to the truth, adapting to the new reality can indeed be difficult, and even painful. However, after a while, it becomes seamless part of the person. A little like wearing contact lenses.

During the meeting, Nada and Frank learn that humans are being recruited by the aliens in exchange for wealth and power. As the leader of the underground organization says: “Most of us just sell out right away”. It is rather easy to make a correlation between the movie and actual politicians and celebrities we’ve seen in previous articles on this site who readily sell out to the Illuminati in exchange for wealth, power and celebrity.

The meeting doesn’t last long, however, as police barge in the place and start shooting everyone there. They are designated a “terrorist organization” by the elite. Nada and Frank manage to escape and accidentally find themselves behind enemy lines, in the alien’s underground base.

Behind Enemy Lines

While exploring the aliens’ underground base, Nada and Frank stumble upon a party thrown by the aliens for human collaborators to thank them for their “partnership”. Although humans will never be considered equals to the aliens, those who sell out to them get monetary benefits … much like those who are not part of today’s elite who nevertheless sell out to push the elite’s New World Order Agenda.

“Our projections show that by the year 2025, not only America but the entire planet will be under the protection and the dominion of this power alliance. The gains have been substantial, both for ourselves and for you, the human power elite.”

Frank and Nada then discover the source of the aliens’ brainwashing signals: A television studio. The aliens use the network to broadcast hypnotic and subliminal signals to humans, blinding them from the truth about their rulers and the world. The message that is communicated here: Mass media is the elite’s favorite tool indoctrinate the masses and to keep them in servitude.

The TV station ‘Cable 54′ is used by the aliens to hypnotize humans. Is this science-fiction? Barely.

Nada realizes that the only way to save humanity from the grips of the aliens is to go to the roof of the TV station’s building and to take down the emitter of the subliminal messages, disguised as a satellite dish. Indeed, without an elite-controlled mass media, indoctrinating the masses will be a lot more difficult. So Nada and Frank start shooting their way towards the roof, not an easy task.

The Disinformation Agent

While this lady appeared to be nice at first, she tried to mislead, deceive and even kill Nada during his quest. She ends up shooting his pal Frank in the head.

Nada met Holly Thomspon, a Cable 54 network executive, at the beginning of his wild rampage. While Nada appears to be somewhat enamoured with her, she always somehow brings trouble. During the “terrorist organization” meeting, Holly infiltrated the group, posing as a sympathizer and claiming that Cable 54 “was clean” and was not the source of aliens’ signal, which was false and misleading. Today, disinformation is widely used by the elite to confuse and mislead those who attempt to discover the truth about the world.

During Nada’s rush towards the roof of the network’s building, Holly appears again, claiming that she wants to help him. However, she is simply trying to kill him before the mission is accomplished. She is therefore another human that sold out to the aliens being used to disrupt non-corrupted humans attempting to liberate themselves and others.

Taking Down the Aliens

Here’s the biggest spoiler of them all: Nada manages to take down the aliens’ transmitter and saves humanity. This heroic move gets him killed, however, as a policeman inside a helicopter shoots him dead. Nada therefore becomes the quintessential hero, sacrificing his life for the good of humanity – a martyr for human freedom from soulless rulers.

Even though it cost his life, Nada visibly does not regret exposing the aliens to the world. With his last once of strength, Nada gives the aliens a uniquely human parting gift: the finger.

Once the aliens’ satellite dish is down, the masses are able to see the world as it is: the alien’s ugly faces are exposed to the world.

TV viewers around the world now realize that those giving the daily news were also those who controlled them.

In Conclusion

Although They Live is usually described as “a science-fiction movie that criticizes consumer culture”, the scope of its message actually goes way beyond the usual “consumerism is bad” lecture. They Live can indeed be interpreted as a treatise on the thorough and systematic conditioning of human experience in order for a hidden elite to covertly control, manipulate and exploit the masses. In the movie, the rulers are portrayed as a completely different race that perceives humans as inferior – something that can easily be correlated to the attitudes about the bloodlines of the Illuminati. The presence of these strong messages in the movie is one of the reasons They Live became somewhat of a cult-classic, despite the fact that it was panned by movie critics. As the years go by, the movie’s message is becoming increasingly relevant … and freakishly realistic.

Many of those who seek the truth about the world realize that it’s reins are held by an un-elected elite, one that is essentially hidden from the public eye. As the movie’s promotional poster says: “You see them on the street. You watch them on TV. You might even vote for one this fall. You think they’re people just like you. You’re wrong. Dead wrong.” Working behind the scenes, this secretive elite constantly works towards the creation of a global system that would serve its interests: a New World Order, ruled by one world government. As a human collaborator says in the movie to justify his selling-out: “There ain’t no countries anymore. No more good guys. They’re running the whole show. They own everything. The whole goddamn planet!”  To facilitate the rulers’ work, the masses are kept in the dark and are distracted with the fake puppet show that is politics and the “no independent thought” programming that is mass media. Apathy, ignorance and indifference are the elite’s best friends.

Despite its unimpressive special effects and odd dialogue, They Live manages to describe the world elite’s motives and strategy in a way that can be understood by all. And that is no simple task. However, in order to fully understand the movie’s message, one must be wearing truth-seeing sunglasses. Do you have yours on?

The post “They Live”, the Weird Movie With a Powerful Message appeared first on The Vigilant Citizen.

Pushed by a gigantic marketing campaign, The Hunger Games did not take long to become a world-wide sensation, especially among teenagers and young adults. Sometimes referred to as the new Twilight, The Hunger Games has similar components to the previous book-to-movie craze (i.e. a young girl torn between two guys) but takes place in a very different context.

Set in a dystopian future (why is the future always “dystopian”?), The Hunger Games paints a rather grim picture of the world of tomorrow, whether it be from a social, economical or political point of view. In short, it is a big-brotherish nightmare where a rich elite thrives on the backs of a starving population. Meanwhile, the perversity and voyeurism of mass media is taken to absurd levels and is used by the government as a glue to keep its unjust social order intact. Is The Hunger Games giving teenagers a glimpse of a not-too-distant future? It doesn’t take a crystal ball to see the elite are trying to take the world in that direction. Is the author Suzanne Collins communicating a strong anti-NWO message to the youth by showing its dangers or is it getting the youth used to the idea? Let’s look at the fictional, yet possible, future world of The Hunger Games.

Note: This article is about the movie and not the book series. The movie has been formatted in a different way and conveys a slightly different message.

The NWO for Teenagers

The Hunger Games takes place in a context that is strikingly on-par with descriptions of the New World Order as planned by today’s global elite. One of the main characteristics of the New World Order is the dissolving of regular nation-states to form a single world government to be ruled by a central power. In The Hunger Games, this concept is fully represented as the action takes place in Panem, a totalitarian nation that encompasses the entire North-American territory. The United States and Canada have therefore merged into a single entity, a step that many predict that will happen before the full-on creation of the NWO.

The President of Panem addressing the Nation.

In Panem, the concepts of democracy and freedom have disappeared from America to be replaced by a high-tech dictatorship based on surveillance, monitoring, mass-media indoctrination, police oppression and a radical division of social classes. The vast majority of the citizens of Panem live in third-world country conditions and are constantly subjected poverty, famine and sickness. These difficult living conditions are apparently the result of a devastating event that engendered the complete economic collapse of North America. In District 12, home of the hero Katniss Everdeen, the locals live in conditions similar to the pre-industrial era where families of coal miners lived makeshift in shacks and eat rodents as meals.

While the masses look as if they are living in the 1800s, they are nevertheless subjugated to the high-tech rule of the Capitol, which uses technology to monitor, control and indoctrinate the masses. Surveillance cameras, RFID chips and 3D holograms are abundantly used by the government to manipulate the will of a weak and uneducated population (although there are signs of solidarity and rebelliousness among the peasants). To preserve the fragile social order, the Capitol relies on a massive police force that is always ready repress any kind of uprising. The workers are often rounded up in civilian camps where they are shown state-sponsored propaganda videos. Panem is therefore a high-tech police state ruled by a powerful elite that seeks to keep the masses in poverty and subjugation. As we’ve seen in previous articles on this site, all of these concepts are also thoroughly represented in other forms of media as there appears to be a conscious effort to normalize the ideas of a high-tech police state as the only normal evolution of the current political system.

Living in sharp contrast to the proletariat, the elite in The Hunger Games inhabits the glistening Capitol city and indulges in all sorts of extravagances and fashion trends. This upper-echelon of society perceives the rest of the population as an inferior race to be ridiculed, tamed and controlled. All valuable resources have been vacuumed from the people living in the districts to profit the Capitol, creating a clear and insurmountable divide between Regular People and The Elite. The concept of an opulent elite ruling over the dumbed-down and impoverished masses (thus making them easily manageable) is an important aspect of the New World Order and it is clearly depicted in The Hunger Games. The government’s reliance on high-tech surveillance and mass media to keep the population in check is something we are already seeing and, if we keep going in that direction, the world of The Hunger Games will soon become reality. There is another concept important to the occult elite that is at the heart of The Hunger Games, however: Blood sacrifices to strike fear and gain power.

Blood Sacrifices for the Elite

Katniss is selected as tribute of her district.

The government of Panem created the Hunger Games in order to remind the masses of the “great treason” they have committed by engaging in a rebellion. As punishment for their insubordination, the twelve districts of Panem must offer to the Capitol one boy and one girl between the ages of 12 and 18 to be part of The Hunger Games. The teenagers must fight to the death in an outdoor arena in a Roman Gladiator-like event that is televised across the nation. The rules of the Games reflect the elite’s contempt and total lack of respect for the masses. The name of the Games itself is a reminder of the state of perpetual starvation the lower class is purposely kept in by the rulers in order to better control it.

The boys and girls that are selected to take part in The Hunger Games are called “tributes”, a term that usually describes a payment rendered by a vassal to his lord and thus even reflects the servitude of the mass to its rulers. Since time immemorial, blood sacrifices were considered to be the highest form of “tribute” to gods and, on an occult level, were said to wield the most potent power to be tapped by rulers and sorcerers. The same way ancient Carthaginians sacrificed infants to the god Moloch, inhabitants of Panem sacrifice their children to the Capitol. The Hunger Games are therefore a modern version of these ancient rituals that the masses had to participate in to avoid the wrath of their superiors. The entire nation of Panem is forced to watch the sacrificial ritual that takes place in the Capitol, stirring up fear, anger and blood lust within them, amplifying the power of the ritual. We’ve seen in previous articles that the deaths of specific people (Whitney Houston, Heath Ledger, Amy Winehouse) become such a media event that they are, in fact, mega-rituals that entire nations participate in. The Hunger Games reflect this concept of highly publicized mega-rituals.

“Tributes” for The Hunger Games become the property of the state and are revoked of all their rights.

In The Hunger Games, the ritualistic death of young people chosen from the mass is sold as a sporting event, a nation-wide celebration that is packaged as a reality show. Not only do the poor people participate in these demeaning events, they even cheer for their favorites. Why do they accept all of this? One of the reasons is that mass media can get people to accept anything … if it is entertaining.

Appealing to the Basest Instincts

The games are broadcast to the nation in the form of a reality-show, complete with TV hosts who analyze the action, interview the tributes and judge their performance. The tributes are so indoctrinated in this culture that they readily accept the rules of the game and turn are fully willing to start killing to win the Games. The masses also actively participate in the event, cheering for their district’s representatives, even though the entire event celebrates the sacrifice of their own. This reflects a sad but true fact concerning mass media: Any kind of message can reach people if it manages to capture their attention. There are two things that automatically, almost irresistibly, grab our attention: Blood and sex, the remnants of our primal instincts. The sheer violence of the event grabs the attention of the masses, who forget that the Games serve as a reminder of the people’s servitude to its elite. This concept is already well-known and fully exploited in today’s mass media, as elite-sponsored messages are constantly sold to consumers as being “entertainment”. The Hunger Games therefore aptly portray the role of media in the manipulation of public opinion. Will the movie help young people realize this fact?

At one point in The Hunger Games, the death of a little girl shocked the people to a point that it brought a brief moment of lucidity and solidarity as the kill highlighted the atrocity of the Games. The live broadcasting of the death lead to a violent uprising in her district as the locals realized that they were willing participants in something terrible. The uprising was quickly quelled however, by the ever-present police force of the state. Furthermore, in order to prevent further social trouble, the producers of the show introduced a new element to the show: Love between Katniss Everdeen and Peeta Mellark, the girl and the boy from District 12. By introducing love (and, by extension, sex) into the show, the producers managed to quell the masses and brought them back to their usual state of silent stupor. This part of the movie reflects how mass media is used by the powers that be today. The worldwide reach of The Hunger Games series itself proves that stories that cleverly feature the ingredients of sex and violence are bound to get people hooked. And, even though The Hunger Games seems to be denouncing the perversity of violence in mass media, it sure brings more of it into movie theatres.

Desensitizing to a New Type of Violence

While there is no shortage of violence in Hollywood, The Hunger Games movie crosses a boundary that is rarely seen in movies: Violence by minors and towards minors. In this PG-13 movie we see kids aged between 12 and 18 violently stabbing, slashing, strangling, shooting and breaking the necks of other children – scenes that are seldom seen in Hollywood movies. While it is surely a way for the movie the grab the attention of the movie’s target audience (which happens to be teenagers aged 12 to 18) The Hunger Games brings to the forefront a new form of violence that was previously deemed too disturbing to portray in movies. But in the particular kill-or-be-killed scenario of The Hunger Games, the viewers easily go beyond this psychological barrier and find themselves yelling stuff at the movie like “Come on, Katniss, take your bow and shoot that vicious little f**cker in the head!”.

In Conclusion

The Hunger Games is set in world that is exactly what is described to be the New World Order: A rich and powerful elite, an exploited and dumbed-down mass of people, the dissolving of democracies into a police state entities, high-tech surveillance, mass media used for propaganda and a whole lot of blood rituals. There is indeed nothing optimistic in the dystopian future described in The Hunger Games. Even human dignity is revoked as the masses are forced to watch their own children killing each others as if they were caged animals. That being said, there is little to no difference between movie goers who watch the movie The Hunger Games and the masses in the movie that witness the cruelty of the Games. Both are willing participants in an event that portrays the sacrifice of their own under the amused eye of the elite. Furthermore, one can argue that the movie accomplishes the same functions as the Games in the movie: Distracting the masses with blood and sex while reminding it of the elite’s power.

Is The Hunger Games attempting to warn an apathetic youth of the danger of allowing the current system to devolve into a totalitarian nightmare? Or is it simply programming it to perceive the coming of a New World Order as an inevitability? That question is up for debate. But reading what is being said in the mass media about The Hunger Games, it seems there is an even more important question up for debate: Are you Team Peeta or Team Gale?

The post “The Hunger Games”: A Glimpse at the Future? appeared first on The Vigilant Citizen.

Most people watch movies to be entertained. Well, I for one can say that there was absolutely nothing entertaining about Contagion. In fact, the only difference between this movie and state-sponsored educational movies shown in schools is that with Contagion you actually have to pay to be indoctrinated … and to see Matt Damon. During the cold war, students were shown videos instructing them to “Duck and Cover” in case of a nuclear attack. Contagion conditions the masses to expect martial law and to throw themselves at the first available vaccine in case of a crisis.

Featuring Hollywood mega-stars like Matt Damon, Laurence Fishburne, Jude Law and Gwyneth Paltrow, Contagion is a big-ticket Hollywood movie, but also an infomercial promoting specific national and international agencies while encouraging specific behaviors from the public. The plot of the movie appears to follow the big H1N1 scare of 2009 that left many citizens uncertain about the actual risk of the virus. Indeed, after months of terrifying news crowned by a massive vaccination campaign, an important portion of the population concluded that the H1N1 scare was grossly exaggerated and and thought that a vaccine was unnecessary.

This poll taken in November 2009 shows that 53% Canadians believed that the risks associated with the H1N1 virus were exaggerated.

In the wake of this “crisis”, the UN’s World Health Organization (known as the WHO) was harshly criticized and even accused of colluding with Big Pharma to sell vaccines. The U.S. Centers for Disease Control and Prevention (the CDC) also had its credibility tarnished as investigations revealed that the agency misled the public regarding the number of actual cases of H1N1 (for example, see this report from CBS News). As a result, these two agencies needed a good PR stunt to restore their credibility and to scare the hell out of the public. This is where Contagion comes in.

Directed by Steven Soderbergh, Contagion was produced with the active cooperation of the CDC, the WHO and other governmental organizations and its function is clear: To present a hyper-realistic disaster scenario to justify the vaccination campaigns promoted by these agencies while discrediting those who criticize them.

Nothing in the movie hints that it is a work of fiction. Quite to the contrary, everything in Contagion is made to be as realistic as possible, using actual locations and governmental agencies, to make the story as plausible – and as frightening to the masses – as possible. As the slogan of the movie says: “Nothing spreads like fear” and, boy, does it try to spread fear. This movie’s message is: “Nothing was exaggerated, and next time there’s a virus outbreak, listen to us … or you’ll die”.

The Function of Disaster Movies

Disaster movies are often action-packed thrill rides that venture in the sometimes fascinating “what if that happened” side of things. While some are very over-the-top and border on fantasy, others, like Contagion, emphasize realism and actual events. These movies tend to “hit home” with the viewers because they lead them to think “this could happen to me”. Disaster movies exploit the latent fear that recent events caused on the psyche on the masses, tapping into the anxiety and trauma they cause in order to create tension and terror in the viewers. Then, the “agenda” aspect of these movies kick in as they propose to the viewers the best (and only) way these issues can be resolved. Specific groups and agencies are cast as honorable, helpful and trustworthy during the time of crisis, while others are portrayed as hindrances and even traitors. The drama that follows becomes a case of predictive programming, as the steps taken in the movie to resolve the problem will thereafter appear normal to the masses if they ever occur in real life.

In his book Propagandes Silencieuses (Silent Propaganda), the journalist and writer Ignacio Ramonet describes the always present underlying message found in disaster movies:

“In all cases, the disaster causes a kind of ‘state of emergency’ that hands all powers and modes of transportation to state authorities: the police, the army or “the crew”. Portrayed as the ultimate recourse, these institutions are the only ones capable of facing the dangers, the disorder and the decay threatening society thanks to their structure and technical knowledge. (…) As if it was impossible to present to the general public a disaster that is not resolved by state authorities and governmental powers.”
- Ignacio Ramonet, “Propagandes Silencieuses” (free translation)

Along with the all-importance of authorities, the masses are inevitably presented as a herd of idiots prone to panic that must be kept in the dark.

“Another constant found in disaster movies is the infantilization of civilians. The full amplitude of the catastrophe and the danger the masses are facing is often hidden from them. They are kept out of any decision making process, with the exception of managers and technical specialists (engineers, architects, entrepreneurs) who are sometimes called to intervene in the crises, but always through state authorities.

The general public is often distracted with pointless entertainment and encouraged to obey without question to a ‘paternal and benevolent’ elite that is doing everything (to the point of self-sacrifice) to protect them.

These aspects, along with others, prove that disaster movies, beyond their entertaining value, also present a ‘political response’ to a crisis. Behind a naive mode of fantastic storytelling, a silent message is communicated to the public: the ruler’s profound desire to see entities such as the army, the police or ‘prominent men’ take charge of the restoration and the rebuilding of a society in crisis, even if this means partially sacrificing democracy”.
- Ibid.

Contagion follows Ramonet’s blueprint of disaster movies to a tee. Right from the start, specific organizations are identified as the go-to guys and are automatically given the power to act on a massive scale, namely FEMA, the WHO, the American Red Cross and the CDC.

So what solution does Contagion propose in case of the outbreak of deadly disease? Martial law and mass vaccinations. What will happen if ever an actual disease would break out? Martial law and mass vaccinations. Would the masses questions this type of drastic response to a crisis which might or might not be necessary? No, because hundreds of hours of media content have prepared the masses for this kind of situation. Let’s look at the main components and messages found in Contagion.

Fear Spreads Faster Than Germs

The movie starts by showing how a few sick people, who go about their daily routine, can easily contaminate thousands of people. The point of the introduction is simple: A deadly virus can spread around the world in a matter of days. This realistic yet terrifying scenario is a very effective way to grip the audience and to cause a state of fear. During these scenes, the camera focuses for a few extra seconds on common objects that can transmit germs such as drinking glasses, just long enough for the viewer to realize: “Hey, I sometimes touch these things! That could be me! Aaaah!”

This sick guy could infect the entire bus. To add to the drama and scare factor, they name big cities and their population.

Beware of glasses of water being handed to you…

Not even a mother’s hug is safe.

Most of those who are infected with the virus do not live long. In a series of heartbreaking scenes, one of the main characters, Mitch Emhoff (played by Matt Damon), sees his wife and his son lose their lives to the virus. Viewers watching this tragedy play out are led to think “Hey, that’s the most terrible thing could happen to me! AAaaah!”

Watching Beth Emhoff (played by Gwyneth Paltrow) die from the virus is quite disturbing and certainly helps create a climate of fear.

This movie was released only a two years after the outbreak of H1N1 and the media hype that surrounded it, so that fear is still latent in many people. These scenes from Contagion reactivates the “fear virus” that was planted in people … and adds some. After a few minutes of panic-inducing scenes, most viewers will say “Oh my God, someone do something about this virus! This guy lost his wife and child, that’s awful! AAArgh!”. Heroes do step up to the plate and take charge of things … and it just so happens that they were involved in the making of the movie.

The Organizations That Take Charge

In Contagion, as soon as the virus becomes a threat, the entire American government escapes to an “undisclosed location” and “looks for a way of working online”. Meanwhile, specific real-life non-government organizations (NGOs) are identified by the movie as the “heroes” and the go-to people to handle the crisis. These organizations are promoted to the viewers and are given automatic legitimacy and trustworthiness. However, those who are educated about the world elite’s agenda for a New World Order know that these organizations have been know to push that agenda and everything that goes with it. In short, the movie says: “If a crisis like this happens, the government will disappear, democracy will be suspended and NGOs will take over”.

The agencies identified by the movie  are:

The CDC (Center for Disease Control), which has always heavily promoted vaccinations campaigns.

The World Health Organization (WHO) – which was accused, in the wake of the H1N1, of spreading “fear and confusion rather than immediate information”. In the movie however, the WHO is an important factor in the resolution of the problem.

FEMA (Federal Emergency Management Agency) and the American Red Cross manage the civilians. Contagion, shows viewers how emergency situations could quickly lead to martial law, which would automatically lead to the creation of civilian camps ran by FEMA, who needed some good PR after Hurricane Katrina.

Of course, the U.S. army is all over the place since martial law is defined as the “imposition of military rule by military authorities over designated regions on an emergency basis”.

So, in the wake of a “biological crisis”, the democratically elected American government basically dissolves and specific organizations (CDC, WHO, FEMA, the U.S. Army) take charge of all aspects of society. And this “taking charge” proceeds in a very specific way: Martial law and civilian camps.

Martial Law

In Contagion, the deadly virus is called MEV-1 and the social result of the outbreak is portrayed in a specific way. First, the general population, always depicted as idiotic, cattle-like and prone to violence, spirals out of control. The masses are always shown panicking, yelling, stealing, fighting and looting. This leads to a general breakdown of social order and a state of lawlessness.

A bunch of rude people looting a pharmacy to obtain medication.

Wherever regular people are put together, all sort of crap ensues. This goes along with the concept of “infantilization” of the masses, who require to be taken charge by “fatherly” authorities. And boy do the authorities take over.

The US Army imposes Martial Law and places the State of Minnesota in quarantine, blocking all traffic out of the state. Those who seek to leave the state are told to turn around and go back home.

Citizens are then directed to FEMA camps.

This stadium has been turned into a FEMA camp.

Civilians (even healthy ones) have their rights revoked and are directed to FEMA camps where they are fed and lodged. In this scene, the lack of “individual meals” to feed all of the camp’s population causes a small riot.

The Conspiracy Theorist

If specific groups and organizations are identified by the movie as “competent” and “trustworthy”, other groups get a very different treatment, namely alternative media. Personified by a blogger named Alan Krumwiede (played by Jude Law), alternative media are presented as unreliable sources bent on sensationalism and profit. In other words, the movie implies that information that does not come from “official” sources is invalid and potentially dangerous. Not exactly a pro-free-speech message.

“Truth Serum”, a blog run by Alan Krumwiede, resembles the many “alternative news” website around the web. This type of information, which does not come from mass media or governmental sources, is definitely not portrayed in a positive light.

Right from the start, Alan Krumwiede is portrayed as a somewhat dodgy blogger with a questionable work ethic and who does not get much respect from the journalistic nor the scientific community. When he tries to get one of his stories published in a newspaper called The Chronicle, he gets rejected due to lack of evidence behind his story. When he contacts a scientist regarding the virus, the scientist replies: “Blogging is not writing, it’s graffiti with punctuation”.

Despite this lack of respect from “competent” bodies, Alan Krumwiede has a wide audience and proudly boasts “millions of unique visitors per day” on his website. On it, he claims that a cure for the MEV-1 virus exists and is named Forsythia but it is repressed by the powers that be to sell vaccines. He also urges his readers not to take the vaccine that is given out by authorities.

The government apparently does not tolerate this kind of dissent. Krumwiede gets set up by an undercover agent to get him arrested. When he discovers the ploy against him the agent tells Krumwiede: “Alan, I didn’t have a choice, they’ve seen your blog”. Government agents then appear out of nowhere and arrest Krumwiede for “security fraud, conspiracy and most likely man slaughter”.

Krumwiede is arrested due to the contents of his blog. Contagion sends out a powerful message against “alternative” information sources: Diverging from “official sources” is dangerous and against the law.

It is later learned that Forsythia was a lie and that Krumwiede made 4.5 million dollars by promoting it to his readers. The chief of Homeland Security wants to put him in jail for a “long, long time”. However, due to his popularity, Krumwiede makes bail because, as the chief of Homeland Security states: “Evidently, there are 12 million people as crazy as you are”.

The character of Alan Krumwiede and the way he is portrayed is interesting for several reasons. First, he reflects the growing influence of blogs and alternative websites on public opinion – a recent phenomena that does not sit well with the elite that seeks to have the monopoly of information. By depicting this character as dishonest, corrupt and even dangerous to the public, the movie justifies the shunning of such writers and even their arrest. Nobody in the movie seems to mind that all of this is in direct violation of the First Amendment.

Second, when the H1N1 vaccine was released in 2009 and mass vaccination campaigns were organized, many citizens and authoritative figures including public health officials, doctors and specialists spoke against it. They claimed that the vaccine was unnecessary, insufficiently tested and that it had negative side-effects. By associating the corrupt figure of Alan Krumwiede with the “anti-vaccine movement”, the movie discredits all of those who question the necessity of mass vaccination campaigns. If another virus should strike, viewers of Contagion might be more prone to ignore these movements. In other words, the movie says: “Conspiracy theorists are corrupt liars that are dangerous to public safety and they should be arrested. Do not listen to them. They make money off phony cures. HOWEVER, those who make even more money off phony vaccines are good. Listen to authorities and get the vaccine … or you’ll die.”

The Ultimate Solution

After months of horror and hundreds of millions of deaths, a final solution emerges and saves humanity: Mass vaccination.

The only solution to do virus problem? A mass vaccination campaign.

Those who receive the vaccine get the privilege of wearing a scannable wristband. This allows them to go to public places such as shopping malls.

You get vaccinated, you get a barcode and go places. You don’t get vaccinated, you stay at home … and you die.

In Conclusion

Contagion may be presented as a work of fiction, but it communicates several important messages that authorities need the public to accept. To do so, the movie defines a specific problem that has actually occurred in the past, it identifies the agencies that have the right to take charge of the situation and proposes the only solution required to fix the problem. That solution is not pretty: The dissolution of the government, the imposition of martial law, the creation of civilian camps, forced vaccination campaigns and the suppression of free speech. Democracy and civil rights are summarily suspended and we witness the establishment of a highly controlled and monitored society (using barcodes).

Are disaster movies such as Contagion solely created for entertainment or are they also used to teach the public about what is acceptable and what is not when a disaster occurs? Would the World Health Organization participate in a movie simply to entertain people? Interesting fact: The movie was released on DVD at the same time the WHO got accused of exaggerating the death rate of the new H5N1 bird flu. The WHO has also recently allowed the publication of controversial research describing the creation of a mutant and highly contagious version of the virus. Could a weaponized version of the virus be purposely released on the public to justify martial law? Wait, maybe I shouldn’t say things like that. I don’t want to get arrested for “security fraud, conspiracy and most likely man slaughter”.

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