Warning: Immense spoilers ahead!

Throughout the years of analyzing pop culture, a recurring theme has been highlighted numerous times on this site: The proverbial red dress. I’m not talking about a dress that happens to be red; I’m talking about red that happens to be a dress. Like, aggressively and overwhelmingly red.

In the color codes of the occult elite, red is the color of initiation and sacrifice. When it appears in an occult-coded performance or music video, it is meant to signify profound transformation through a ritualistic process.

If you thought that one might be “reaching” about the symbolic meaning of the red dress, well, Hollywood created an entire movie about it. And it made sure you understood that this dress has a deep spiritual meaning rooted in the dark occult practices.

Mother Mary is about a veteran pop star seeking a comeback after a traumatic event. According to the movie’s writer and director David Lowery, Mother Mary – the pop star played by Anne Hathaway – was inspired by “Beyonce and Taylor Swift in fifteen years.”

Or maybe a younger Madonna. In fact, the names Mother Mary and Madonna both refer directly to the Virgin Mary in a rather blasphemous manner. And, like Madonna, Mother Mary is a veteran of the music industry who routinely shows her allegiance to the occult elite to remain a celebrity.

The movie’s music was written by Charli XCX, FKA Twigs, and Jack Antonoff (who has written songs for Taylor Swift, Lana Del Rey, Sabrina Carpenter, and many others). In other words, this movie about the dark side of the industry was made with the help of people who are deep in it.

Here’s a look at the symbolic meaning of that movie.

Possessed

There is nothing holy about what she’s singing. The song is called “Burial,” and the chorus foreshadows what will happen at the end of the movie.

This black suit fits like a glove
I was born to be the widow of love

While the song is playing, the movie sends us a message that is not subtle.

This is actually good advice for most pop music that has been coming out in recent years. Lady Gaga herself stated that her song “Abracadabra” contained a spell.

While Mother Mary’s performance was acclaimed by her fans, all is not what it seems. Because, behind the scenes, she’s breaking apart at the … seams.

During the movie’s intro, Sam talks about “feeling that Mother Mary was coming to see her.” And that’s exactly what happens.

Mother Mary needs Sam to make her a dress for her big comeback. However, Sam is angry that Mary abandoned her as a collaborator (and possibly a lover) several years earlier. Right from the get-go, Sam is demanding and controlling.

Before agreeing to make Mary a dress, Sam asks:

– Will you let me do whatever I like?
– Yes.
– Will you do exactly as I say?
– Yes.

Only after being assured of complete compliance by Mary does Sam agree to make her a dress.

As the movie progresses, one realizes that something is off and creepy about the Sam and Hilda duo, played by Michaela Coel and Hunter Schafer.

As she starts working on Mary’s dress, Sam explains what happened to her in these past years. She was so distraught by Mary leaving her that she literally manifested an evil spirit.

After hearing Sam’s story, Mary realizes that the same red entity is now inside of her. She proceeds to tell Sam the story of her possession.

Imogen is played by singer/actress FKA Twigs. Interesting fact: She recently starred in The Carpenter’s Son – a movie with demonic undertones where she played the role of the Virgin Mary. And now she’s in another demonic movie named after the Virgin Mary.

After connecting with the red spirit, Mary’s life and career took a disturbing turn.

Industry Slave

While speaking with Sam, Mary describes her years as a pop star as “possessed” by this red spirit.

As this is happening, Mary sings Holy Spirit 2, a song about rejecting God and embracing the spirit that took over her. Here are the lyrics.

[Verse 1]
You got that cold feeling, your sacred heart’s blue
Do you know what to pray for anymore
Or if you can make it through?

[Verse 2]
But me, I was raised up to believe
You could fill a cathedral with what I thought was true
All those churches all came crashing down, those churches all came crashing down, yes, they do
So now
I believe in you

[Chorus]
Did you ever feel you’re holy?
Did you ever feel it? Did you ever fear it?
Did you ever feel you’re holy?
Did you ever feel it? Did you ever fear it?

Feel the sign of your mind could match the prayer of your lips
Lord, forgive our wasted time
Did you ever feel the sway of my hips, the press of my fingertips?
No, I ain’t gon’ win this fight
Did you ever feel the—?
Babe, I spent my whole life praying for my whole life
I’ve never felt like this before
Babe, I spent my whole life praying for my whole life
I’ve never knelt like this before

So come on, baby, put the spirit in me, tongue, the fire in me
Rip me open, let me breathe
Come on, baby, put that heart into mine, press your knees into mine
Press my needs into the ground

In numerous past articles, I’ve pointed out that pop stars are often made to sing about their own slavery and spiritual darkness. This is what’s happening here. The song talks about “wasted time” with the Lord and her begging to be penetrated (spiritually and sexually) by the spirit.

After she sings these cursed words, a horrific, highly mediatized “accident” occurs.

After the event, people speculated that it was Mary having a breakdown and attempting suicide. But there was a spiritual dimension to this mega-ritual.

Mary attempted to break free from Sam (who represents the occult elite) and go her own way. As a punishment, a demonic entity found her, took over her, and pushed her to destroy herself.

Since then, Mary has been completely out of it. Sam tells her she can help her expel that spirit, and things become very symbolic.

If you draw a line between the candles above, you get a pentagram. And you get a hint about Sam’s true identity.

The sigil above bears the name “Samael”, the king of demons.

Samael is also the husband of the demonic Lilith, the primordial she-demon. In parallel, there’s a husband/wife dynamic between Sam and Mary.

Guess what happens next? Yes. Sam uses that red fabric to create Mary’s new iconic comeback dress.

Happy Ending?

To most viewers: The movie has a happy ending. Mary is liberated from that spirit and uses it as an inspiration to make a big comeback. However, when one understands the movie’s underlying symbolism, the ending becomes the exact opposite: she is more controlled than ever.

During the credits, Mary sings the praises of her those who control her in a symbolic setting.

Notice that everyone is wearing black. By doing so, the movie follows the exact same color codes highlighted on this site countless times.

Mary’s white outfit with a gold halo represents purity and godliness. Red represents sacrifice and spiritual metamorphosis. Black represents the completed embrace of the “dark side.” Even her halo is black. Mary is not free. She completed the process to become a fully controlled industry slave.

In Conclusion

The movie Mother Mary is about a pop star who attempted to break free from her collaborator (and lover) Sam, who represents the darkness of the occult elite. Sam did not take this betrayal lightly. She manifested a metaphysical force that would cause Mary to nearly destroy herself before irresistibly coming back to Sam.

After securing Mary’s full compliance, Sam had her wear the very symbol of her spiritual possession: a red dress. While the movie makes it seem as if she is “liberated” from that spirit, she’s actually more controlled by it than ever. The black dress seen during the credits confirms that Mary has fully “turnt.”

While this movie is technically fiction, it contains some truths that have been explained on this site for years. In its own way, Mother Mary documents the ritualistic dimension of pop culture and the spiritual cost of being an industry slave. The movie itself is a ritual: It is about Mother Mary submitting to Samael.

Warning: Big spoilers ahead!

The Academy loves to give Oscars to movies that cater to the elite’s obsessions. For instance, Emma Stone won the Oscar for Best Actress for her role in Poor Things, a deeply unsettling movie that involves a form of pedophilia and other degenerate things.

This year, the winner of the Best Actress category went to Amy Madigan for her role in Weapons. Indeed, the Academy loved watching her play an evil witch who uses witchcraft to abduct children … to extract something from them. It’s like a baseball player watching a movie about baseball. They relate to that stuff.

But there is more to this movie than a weird old lady doing witchcraft. It is a metaphor for the occult elite’s control over society. And, in a relatively veiled manner, the movie depicts the “farming” of children and their exploitation for youth-preserving purposes. Indeed, although not spelled out in the movie, the witch’s core motivation revolves around the extraction of blood (or maybe adrenochrome) from children to be extracted in her old, decrepit body. Hollywood loves this theme. The movie The Substance is also based on this concept. And it also won Oscars.

In other words, the elite loves to expose its nefarious activities through “entertainment.” And then, it loves to give trophies to this “entertainment.” Did Weapons truly deserve its recognition? That is rather subjective. However, when one understands the concepts and the symbolism in the movie, one realizes that it is actually a celebration of the elite’s most disgusting activities.

Here’s a look at the movie.

Witches

The movie begins with a narrator (voiced by a young girl) describing the situation.

“This is a true story. It happened right here in my town two years ago. A lot of people die in a lot of really weird ways in this story. but you’re not gonna find it in the news or anywhere like that because the police and the top people in this town were like so embarrassed that they weren’t able to solve it that they covered everything up.”

After this introduction that hints at a massive conspiracy, we are presented with the core problem.

This typical American suburb discovers in horror that 17 children are missing and, bizarrely enough, they’re all in the same class. Quickly enough, the parents point their fingers at the one thing all of these kids have in common: their teacher, Justine.

Justine does have some things going against her. She’s a heavy drinker, she seduced a man in a relationship, and she was fired from another school for “inappropriate behavior” (hugging children). Also, in an effort to elucidate the mystery, she’s been following that one kid in her class who isn’t missing.

However, we soon discover that there’s something way darker happening in this town than an odd teacher. Indeed, as Justine and Archer (the father of a missing boy) investigate the situation, they have frightening visions of the true culprit.

The fact that, despite not yet knowing her, the protagonists have visions of the villain is telling: we are not dealing with merely an old lady; it is a powerful, omnipresent force. The lady is merely a vessel for it. Although none of this is explicitly stated in the movie, several clues hint at it.

Ancient Evil

Gladys is Alex’s aunt, the one boy in the classroom who did not disappear. As his mother says, she is staying at his house because:

“She’s been very sick since a very long time.”

The “sickness” is not physical, but spiritual. And the “very long time” is not months but centuries.

When the school principal requests to see Alex’s parents, Gladys shows up instead (she turned his parents into mind-controlled zombies). During that meeting, Gladys says an odd sentence that hints at her true nature.

The term “consumption” was mainly used in the 18th and 19th centuries to refer to tuberculosis, and it is no longer used. The fact that she uses this odd, completely outdated word hints that she is not a normal human. Rather, she’s a vessel for an ancient supernatural force.

The disease was called “consumption” because it caused patients to waste away, appearing to “consume” their bodies from within. In other words, it acts like a parasite that consumes its host, not unlike a supernatural parasite controlling Glady’s body. Appropriately enough, there are numerous subtle references to parasites in the movie.

As the principal is watching this documentary, Gladys rings his doorbell and asks to come in. Then, she gets into intense witchcrafting.

On the bell is engraved an enigmatic symbol: An inverted triangle with the number 6. While the symbol’s meaning is never explicitly explained in the movie, it can be inferred rather easily. Triangles have three sides. Combined with the number 6, you get 666 – the number of the Beast. In other words, Gladys is inhabited by a Satanic force.

The concept of black goo has been mentioned numerous times on this site because the media loves to refer to it. Every time, it points to the same idea.

The Black Goo is a mysterious and evil entity that causes victims to become sick, drives them mad or corrupts them into performing every manner of criminal activities – often it is said to emit the smell of sulphur and moves of its own accord – the entity is said to actively take interest in the corruption of those around itself and is linked to a demonic conspiracy.

While Gladys can use her witchcraft to control adults, she is way more interested in children. Like the occult elite.

Preying on Children

While she has the power of controlling pretty much anyone, Gladys is mainly interested in children. One scene hints at the dark occult concept behind her endeavors.

Alex then asks:

– How will that make you better?

– It might just be what I need.

Although not spelled out in the movie, Gladys needs to extract something from the children to regain some youthful vigor. This is exactly what the occult elite has been doing for centuries (read my article about Elizabeth Bathory).

Once all the objects are collected, she mind-controls the children to run towards her.

As the children run, we hear George Harrison’s song “Beware of Darkness”. More specifically, we hear its fourth verse, which warns of “greedy leaders” who want to take you “where you should not go”:

Watch out now
Take care, beware of greedy leaders
They’ll take you where you should not go
While weeping Atlas Cedars
They just want to grow, grow and grow
Beware of darkness (beware of darkness)

Through this very intentional song choice, the scene becomes less about an old lady and more about a dark force preying on children.

Another symbolic detail is the recurrence of the number 217 throughout the movie. For instance, the children all wake up at exactly 2:17 am to start running. Interestingly enough, the movie revolves around 2 main protagonists who are looking for exactly 17 children (2:17).

What does this have to do with the movie, especially considering the fact that there are no guns in the movie? One theory is that this scene might be a political reference to a 2022 vote regarding the ban of assault weapons.

In any case, the net result is that Gladys is storing a bunch of kids in her basement.

Spoiler time: The evil old witch eventually gets defeated. Was it through the power of God and everything that is good and righteous? No. This is a Hollywood movie. And, in this movie, the only way to defeat witchcraft is with … more witchcraft.

Although the witch is dead, her victims are not magically cured. Indeed, the demon that inhabited Gladys lives on, even if its vessel is destroyed.

In short, the ending is more bitter than sweet. While the witch is dead, her impact lives on. Because this movie is not about an old lady, it is about the timeless occult forces behind her.

In Conclusion

While, at face value, Weapons is about an old witch doing spells, the movie is about more than that. It is about the occult elite turning the masses into “weapons” by tapping into dark forces they don’t understand or even know exist. In the same way Gladys terrorized a small town and turned people against each other, the elite manipulates the masses with fear and confusion.

Most of the messages and symbols mentioned above can easily be overlooked by the casual viewer, because, in true occult elite fashion, it is all about hiding things in plain sight.

In the movie, Gladys rings a shiny gold bell dedicated to Satan and turns children into her adrenochrome farm. This is what the elite does in real life. And this is why the actress playing Gladys won a shiny gold trophy.

Warning: Apocryphal Spoilers Ahead!

When The Carpenter’s Son was released in 2025, it was described as “Bible horror” involving teenage Jesus. This fact alone was already a strong indicator that something would be terribly wrong with that movie.

Then, it was announced that the Virgin Mary would be played by … FKA Twigs?

The blaring miscasting continued with Joseph being played by Nicolas Cage. It is seriously ridiculous. Throughout the movie, we’re watching FKA Twigs (and her iPhone face) speak with a British accent while Nicolas Cage (who is constantly freaking out) yells back in an American accent. None of it is remotely believable, and this might very well be by design.

The Carpenter’s Son is not about being believable or even entertaining; it is about desecrating the Holy Family and Christianity as a whole in a succession of highly symbolic scenes.

And the symbolism starts before the movie even begins.

As explained in previous articles, Saturn is esoterically associated with Satan. Saturn (Cronus) represents the limitations of the material world, as opposed to the sun’s divine light. In various mythologies, Saturn is associated with ancient deities such as Moloch and Baal and was later merged with Pan (the horned goat) to shape the modern image of the Devil.

In short, the movie’s motivations were not very Christian. Although it is described as a “biblical thriller,” none of its story can be found in the Bible. Instead, it is loosely inspired by the Infancy Gospel of Thomas, an apocryphal text from the 2nd century, which was described as “inauthentic and heretical” by early Christian writers.

Written by an unknown author, The Infancy Gospel of Thomas describes the life of the child Jesus from the ages of five to twelve, as he experiences bizarre, supernatural, and even malevolent events. For instance, the text contains stories where Jesus uses a curse to kill children who get in his way. He also blinds his neighbours as retaliation for complaining about his family.

The movie’s writer and director, Lotfy Nathan, was clearly inspired by this “evil Jesus” narrative. However, he took some great liberties with the story, adding Satan as a main character, even though the text makes no mention of him.

The rest of the movie is pretty much the director doing whatever he wants with the Holy Family as characters in a horror movie. And the result is … horrific.

Unholy Family

The Carpenter’s Son begins with FKA Twigs giving birth, squatting. While this position was the norm at the time, the scene immediately accomplishes one of the movie’s goals: making the Holy Family more human than divine.

After Jesus’ birth, the family flees to Egypt because King Herod ordered the execution of all male children under the age of two.

After this horrific scene, the movie fast-forwards 15 years.

As Jesus looks suspiciously at everyone in the village, we hear demonic whispers, hinting at the fact that Satan is in control of this land. This will occur throughout the movie.

Most of the movie’s scenes take place in desolate settings where pain, suffering, sickness, and death are prevalent. In this godless context, Joseph has to betray his beliefs and carve wooden idols to make a living.

Once again, the movie’s makers fabricated this part of the story, as there are no mentions of Joseph ever making idols. As a Jewish man living under the Law of Moses, creating idols would have been a direct violation of the Ten Commandments, which strictly prohibit making, bowing down to, or serving idols. However, scenes such as this one serve the movie’s true purpose: To turn the Holy family into an unholy family.

The desecration also applies to Jesus. Throughout the movie, he is yelled at, called a liar, slapped behind the head, and even spat at. When he becomes aware of his powers, Jesus is less a miracle worker and more a sorcerer who uses his “magic powers” to attack or even kill those who get in his way. This leads the townspeople to accuse him of being “Belial” – a biblical word describing the Devil.

Of course, this angers Joseph, who constantly berates Jesus.

Notice Joseph’s hands in the screenshot above. It is seen throughout the movie. Praying with one’s palms up (called Oran’s posture) is a sign of adoration and submission. Joseph has a bizarre version of it, with his hands clenched in anger towards God.

Joseph also has profound anger against Jesus. In the scene above, Joseph asks God:

“Is he from your angels or from demons? Is he your son?”

Joseph constantly complains about Jesus and heavily doubts his heavenly status. After wondering if Mary copulated with a Roman soldier (what?), he accuses Jesus of practicing black magic, adding:

“He who is near him is near the fire!”

At one point, he tells Mary:

“He’s unclean. He defiles himself, always covered in filth.”

What does Joseph mean by “defiles himself”? The movie implies some rather weird things about teenage Jesus.

In Christian theology, Jesus is considered both the Son of God and God in human flesh. However, he’s definitely not godly in The Carpenter’s Son. 

There is no religious text, biblical or otherwise, that documents a relationship between Jesus and a girl named Lilith. It is one of the many fabrications in the movie. However, it has a symbolic meaning.

The girl’s name is not random: Lilith is the primordial “she-demon” cited in the mythology of multiple civilizations.

Lilith, female demonic figure of Jewish folklore. Her name and personality are thought to be derived from the class of Mesopotamian demons called lilû (feminine: lilītu), and the name is usually translated as “night monster.”
– Encyclopædia Britannica

Appropriately enough, Lilith gets possessed by a demon later in the movie, and Jesus is accused of violating her.

Jesus befriends another demonic figure in the movie: Satan.

Satan’s Friend

Not only do Satan and Jesus become friends, but she also becomes something of a mentor to him. Satan makes him aware of his powers and informs him that Joseph is not his true father but “his oppressor”.

As they spend time together, Satan tells her “origin story” where she appears sympathetic, while God comes off as jealous and insecure.

“I was a very beautiful thing. Such a thing I cannot describe in words. He shunned me. He would let no one be his equal.”

In the Bible, Jesus dominates Satan and various demons. In The Carpenter’s Son, it’s the other way around.

After this display of power, Satan forces Jesus to say her name. This is less a movie and more a Satanic fanfiction at this point.

When Joseph finds the two friends bonding, he sees a very different Satan.

Then, Satan violently attacks Joseph while bragging to Jesus:

“He reveres me for my cruelty. Because he fears me!”

In The Carpenter’s Son, Satan violently murders Joseph (while stating that he “reveres” her) as Jesus stands by powerless.

When Jesus tries to use his powers to heal him, Joseph stops him, because, apparently, he wants to die and abandon his family. Kind of cowardly. In other words, he denies God’s help while allowing Satan to win over him.

As Joseph dies, he asks Jesus:

– What awaits us when we turn to death?

– Dust.

I’m not a theologian, but doesn’t this contradict Jesus’ entire teaching that his followers receive eternal life? Does that mean that Joseph is not one of his followers?

After this baffling interaction, Jesus goes back to Satan … and hugs her.

Jesus doesn’t contradict Satan on this. He just remains silent, implying agreement to this Satanic statement.

In Conclusion

The Carpenter’s Son is one of those movies where one can immediately feel that something terribly wrong is happening. It is not just about the bad acting, the pointless narrative, or the glaring biblical inaccuracies; it is about the mean-spirited energy that permeates it.

Either we are hearing demonic voices in the background, characters cursing God, or Jesus being dominated by Satan. We are not watching a movie; we are watching Hollywood weirdos partaking in an organized desecration of Christianity.

In short, The Carpenter’s Son is a perfect representation of the entertainment industry’s moral corruption: It promotes a movie under the “biblical” pretenses while it is nothing less than a Satanic manifesto.

With that said, does this movie have any redeeming qualities? Yes, it is relatively short. Thank God.

Warning: Dystopian spoilers ahead!

The Assessment is one of those “science fiction” movies where the “fiction” is not fun or fantastical; it is depressing and oppressive. Even worse, it is steeped in the agenda of powerful real-world organizations such as the World Economic Forum (WEF), causing viewers to wonder if it is only a matter of years before this terrible “fiction” becomes reality.

Set in a “New World” tightly controlled by an unnamed State, the movie follows a couple’s efforts to have a child—a difficult process in a society where natural procreation is forbidden.

As we watch the protagonists live isolated lives, we are also introduced to various aspects of their lifestyle, all of which are heavily regulated by the State. On many occasions, I wondered if I was watching a WEF propaganda film as numerous items promoted by this organization were seamlessly integrated into the story.

At this point, one realizes that the movie might be predictive programming “entertainment,” where the story is secondary to normalizing a way of life and preparing the viewers for what is to come. As if that wasn’t enough, the movie also heavily leans on a scenario involving pseudo-pedophilia.

In other words, The Assessment is just a heavy dose of the elite’s favorite obsessions. Here’s a look at the society depicted in this film.

New World

The Assessment does not begin with an elaborate prologue describing the origins of the New World. Instead, bits of information are revealed throughout the movie, mainly through dialogue and subtle visual clues.

Inside her home, Mia constantly talks with an Alexa-like robotic voice named Sjøhus. This AI assistant is omnipresent throughout the movie, managing every aspect of her life. Interesting fact: This movie is distributed by Amazon, the maker of Alexa.

Sjøhus tells Mia:

“Suggested Senoxidine dosage: One tab.”

Senoxidine is not a regular medication – it is a requirement of living in this New World. It is engineered to prevent aging, disease, and … reproduction.

In other words, Senoxidine is a population control medication. It prevents people from dying while disallowing new people from being created.

As characters in the movie discuss with each other, key aspects of this New World are revealed.

Evie explains how this New World came to be:

“In the beginning, all anyone could talk about was now nice it was to finally have decent summers. And then, the summers never stopped. Unbearable heat, endless storms. No crops, no shelter, nothing habitable. Famine. Disease. Countless species extinct. Did you know we tore each other apart of scraps?

And then one day, those of us who were left, we found a solution: a New World. We had to be smarter than we were before, because there wasn’t room for everyone. Choices had to be made. It wasn’t kind or nice, but it was necessary for survival.”

As seen in previous articles, the elite love to put this scenario in movies: An environmental collapse happens, and “privileged ones” form a New World, while the rest live in harsh conditions.

In this globalist-approved New World, technology and pharmaceuticals regulate everything. Furthermore, the State involves itself in people’s private lives to a disturbing degree.

For instance, here are screenshots of every couple seen in the movie. Can you identify what they have in common?

Yes, the movie makes it very obvious: In the New World, every couple is interracial—not some of them, but EVERY SINGLE ONE of them. This fact is not directly addressed in the movie, but is too obvious to ignore. Is it a requirement of the New World? It appears so.

Once again, this reflects the globalist elite’s goals: to blend everyone to form a uniform race that shares the elite’s homogenous culture.

In other words, the movie is a globalist manifesto. Even the actors featured in the film appear to have been specifically chosen because they all come from different parts of the world.

In the New World, this culture cannot be questioned. For instance, we learn that Mia’s mother was expelled to the Old World for “spreading lies and disinformation.” Again, one of the WEF’s obsessions is whining about “disinformation,” which can be defined as any fact they don’t agree with. In the New World, committing this sin leads to being thrown out of society.

In addition to geo-engineering, pharmaceutical obligations, and population control, the New World engages in another WEF-approved activity: eating bugs.

In my article “The Elite is Desperately Trying to Convince You to Eat Bugs. Here’s Why,” I highlighted the powers that be’s desperate attempts to make the masses eat bugs. This movie is part of it. These close-ups of bugs had nothing to do with the story, but they were placed there anyway. The goal: Normalization.

While Mia creates “sustainable food,” her partner Aaryan contributes to the New World in his own way: By creating virtual, lifelike pets.

Aaryan explains the dark reason behind his fondling of monkeys all day long.

“The pet cull was part of the disease prevention and ressource conservation program. The problem was the State underestimated the psychological importance of companionship when they exterminated all the pets. I was tasked to create an alternative.”

The State had all pets killed. Also, it doesn’t allow procreation. Therefore, people are encouraged to seek love and companionship using AI-powered robots. This is already happening in real life.

In this dystopian context, Mia and Aaryan want to have a child. Before they can do so, they need to undergo a seven-day assessment by a government agent. Needless to say, things get weird.

The Assessment

In their first meeting, Virginia tells Mia and Aaryan:

“Over the next seven days, you’ll undergo close observation and formal testing to ascertain suitability for parenting. In the event of a pass, your material will be passed on for ex-utero gestation. All other methods of reproduction still remain forbidden.”

In the movie, “ex-utero gestation” is the only reproduction method authorized. We’re gradually seeing this happening in the real life.

The State-sent assessor has to live with the couple for a week. Her goal: To be as intrusive as possible. There is no privacy in this Big Brother State; everything is subject to surveillance and analysis.

For instance, Virginia asks Mia and Aaryan questions such as “How often do you have sex?”, “Oral, manual, or full?” and “Do you achieve regular climax?”

Another part of Virginia’s job is to act like a bratty child to see how the couple responds. This is when the movie takes a “what the hell am I watching?” turn.

Then, it happens. While Mia has to spend the night outside the house, Virginia visits Aaryan in his bedroom.

As if this scene wasn’t off-putting enough, things get even weirder the next day.

In short, the movie exposes the viewers to another obsession of the elite: Pedophilia.

Not surprisingly, Virginia finally announces that the couple failed the assessment and Mia learns what happened. Then, the three main characters take three widely diverging paths.

Different Paths

After the assessment, Virginia leaves the couple and returns to her normal life. When Mia tracks her down and confronts her, we get the big twist: Everyone fails the assessment. The State doesn’t want any new children, and they only keep doing assessments because “stopping it would be bad for morale.”

This means that Virginia is not there to “assess” anything; she’s there to destroy the lives and dreams of couples who dare to want a child. It also means that she’s kind of a prostitute, as she’s paid to have home-wrecking sex with people. After revealing everything to Mia, Virginia says:

“I’ve done everything that they’ve asked of me! And I’ve been spat on, I’ve been demeaned and I’ve been debased. I’ve sacrificed every single part of me that is left.”

Indeed, the elite doesn’t want strong-minded people with values and dignity. They want demeaned and debased people willing to do anything for the State. That makes them much easier to control.

After realizing the sadness of her existence, Virginia commits suicide.

Meanwhile, Aaryan devised a “solution” to the couple’s issue: He created a virtual baby.

Mia tells Aaryan:

– She doesn’t smell of anything. She has no smell. I just want human.
– It’s the price to drink clean water, to live, to breathe.

To live in the elite’s New World, one must agree to live a sad, isolated, artificial life. Mia doesn’t want to do that, so she travels to the Old World, knowing she won’t live long out there.

While Mia embraces the harshness (and relative freedom) of the Old World, Aaryan does the exact opposite.

As Aaryan plays with a daughter who appeared out of nowhere, we understand that he created a virtual family for himself.

To keep enjoying the comforts of the New World, Aaryan did what is strongly encouraged by the State: To live a lonely, isolated existence where the need for human contact is filled by technology. Considering that numerous people are already in “relationships” with AI chatbots, this is not “science fiction,” this is “science that’s about to happen.” This movie is merely normalizing it, as Aaryan is the character with, relatively, the best ending.

In Conclusion

The Assessment is reminiscent of movies such as the Obama-produced Leave the World Behind, where the oppressive scenario is disturbingly within the realm of possibility. In these movies, the “science fiction” is not fantastical entertainment; it is dread-inducing programming. As we watch people who are dead inside go about their lives, we are exposed to their WEF-approved, bug-infested diet, their reliance on pharmaceutical drugs, their obsession with population control, their complete lack of privacy, and, bizarrely enough, their obligatory mixed-race relationships.

While all of these things can be defended by the powers that be using lofty words such as “sustainable,” the movie also exposes the viewers to a heavy dose of pseudo incest and pedophilia. That’s because, behind the propaganda, those in power are actually deranged, power-hungry degenerates.

In reality, every aspect of this New World reflects the elite’s insatiable need for greed, power, and control. But there is more to this. They also need to see through their multiple pervasions, which include seeing people exploited, debased, and humiliated.

After exposing the viewers to this unhinged vision of society, they are presented with three choices: Go with the program like Aaryan, die like Virginia, or seek freedom like Mia (but you will also die soon enough). Sounds good?

Thank you, entertainment industry, for another fun movie night!

Warning: Gargantuan spoilers ahead!

Remember when sports movies ended with a crowd cheering and the hero celebrating the result of his hard work and dedication? Well, HIM is about the exact opposite. It is about an athlete’s slow and agonizing descent into the dark world of the occult elite. And he’s taking all of the us with him.

HIM is yet another Jordan Peele movie (directed by Justin Tipping) that taps directly into the elite’s darkest tendencies. While Get Out was all about mind control and dissociation, HIM is an orgy of rituals and occult symbolism. And actual orgies. And adrenochrome-type procedures.

It’s all there. And there’s nothing much else there. There is no character arc, inspiring narrative, or great plot twist – only semi-possessed people who play their role in a puppet show.

That’s because the movie’s true focus is not its story or characters but the imagery surrounding them. Nearly every scene is peppered with symbols and references that point to specific occult concepts and secret societies.

All of this can be seen right on the movie’s promotional posters.

Notice the tagline: Greatness demands sacrifice. This is to be taken literally.

The movie’s title is symbolic in itself. In the Bible, Him is often used to refer to God or Jesus Christ, depending on the context. However, in the movie’s context, it refers to the next big superstar, who is appropriately dubbed the GOAT. While it is supposed to be an acronym meaning “Greatest of All Time,” there are enough goats throughout the movie to heavily remind us that GOAT is a nod to Satan as well.

Here’s a look at this highly symbolic movie.

Groomed From the Start

Before the movie even begins, we are warned that we are about to witness nothing less than programming.

The movie begins with the protagonist, Cam, watching a football game with his father as a child.

The name “Saviors” definitely has a clear Christian connotation, while “Masons” refers to the Freemasons, an occult secret society. As we’ll see, the movie contains enough blatant references to Freemasonry to confirm that none of this is a stretch.

Cam and his father particularly “worship” one player: Isiah White, aka Zay.

While watching TV, Cam’s father says:

“See Cam? That’s what real men do. They make sacrifices. Not guts, no glory.”

We’ll later understand that the word “guts” is quite literal.

At this point, Cam is expected to be drafted first. However, something terrible happens.

Throughout the movie, we see heavy emphasis on those staples, indicating that Cam’s “training” is not merely physical. It is mostly in his head.

Following his injury, Cam is invited to train with Isiah White at his compound.

Once there, we quickly realize that Cam is not there to train, he’s there to be programmed.

Programming Site

When Cam finally plays some actual football, things take a weird turn.

The training sessions are less about football and more about filling Cam with evil. After being taunted and manipulated about his father’s death, Cam is asked:

– What are you willing to sacrifice?
– Everything!

Right after, Cam headbutts a player so hard that he kills him.

As part of his programming, Cam is also subjected to a staple in occult elite initiations: Sexual humiliation and submission.

After being thoroughly observed while naked, Zay slaps Cam’s butt. Then, Cam cannot find his underwear because someone hid them.

The message: To make it in the elite’s industry, things have to go up your butt. There is no other way.

After sexual submission, Cam has to go through media training. Of course, it is all very symbolic.

Cam is also introduced to another obsession of the occult elite: Adrenochrome-like blood transfusion.

When asked about the procedure, the trainer says:

“Father Time is undefeated but here, we give him a good run for his money.”

That’s a very adrenochrome thing to say.

Later in the movie, we understand that this blood is special. And satanic. Zay says:

“Don’t you feel that f*cking beast burning inside of you now?”

Reminder: Satan is referred to as the “Beast” in the Bible.

Zay then explains that this special blood has been given to the “chosen one” for generations.

“They say this sh*t’s been around since the beginning of the league. Whoever has it is the chosen one. The one to bring salvation to the people. Whoever has it is the GOAT.”

In other words, Cam is next in line in a literal bloodline. Before this happens, he must partake in a final ritual.

The Final Ritual

Cam’s final crowning as the GOAT involves him meeting the team’s higher-ups and participating in some occult insanity.

Then comes the official signing ceremony. It is also a very symbolic affair.

Cam then notices something devastating placed next to the contract.

As Cam realizes what happened to him, he hesitates to sign the contract. His agent (who happens to be Zay’s agent as well) tells him exactly what is going on.

“You think you earned this? No, we groomed you since you were a child, okay? We attacked you to isolate you so that we could draft you, you dumb f*ck!”

This pretty much sums up how the elite operate. Then, the owner of the team gets even more occult elite with it:

“Listen, I’ll kill your family. Now sign that f*cking contract.”

Despite the pressure, Cam does not sign the contract. Instead, he massacres everyone in sight and decapitates the team owner.

Cam’s agent is the last one to get killed. And his death is highly symbolic.

As we’ve seen countless times, the inverted pentagram is the most important symbol in Satanism and is used in black magic rituals.

Then, the agent yells:

“He’s coming!”

Who is he referring to? We never see him. Is it Satan himself?

Then Cam says:

“No guts, no glory.”

And the agent explodes. His guts are all over the place. And Cam is glorious.

The movie ends on that note, leaving us to wonder what happens afterwards. Did Cam successfully overthrow this Satanic system? Did good triumph over evil? Or did Cam simply complete his Satanic programming and make a final offering to his lord and savior Satan before becoming the next GOAT?

In Conclusion

HIM was not well-received by reviewers. Roger-Ebert.com gave it an abysmal 0.5/5. The review started with those words:

I can’t believe I left the house to see “HIM.” (…) I won’t belabor my hate of “HIM” because the movie hasn’t earned it.

Other reviewers are not too kind towards that movie, either. That’s because HIM is not a movie. It is a programming session topped by a ritual sacrifice. The protagonist is taken from Point A (good Christian boy) to Point B (evil Satanic pawn) with no hiccups. He’s barely in control of his movements the entire time. He is injured, emotionally manipulated, spiritually corrupted, and constantly pumped with adrenochrome until he takes part in an ultimate sacrifice.

The goal of this movie is not to entertain us and definitely not to inspire us. It is to fill us with a sense of dread. Furthermore, it serves another key point of the elite’s agenda: The Revelation of the Method. T

They want us to know about what they do and give them our implicit consent, which they believe relieves them of their karmic duties. Of course, they’re not fully truthful in their revelations, as that would cause a worldwide revolution. Instead, they dramatize and fictionalize their deeds and feature them in terrible movies such as HIM.

Then, they promote the movie using a tagline that sums up their entire philosophy: Greatness demands sacrifice.

Warning: Stupendous spoilers ahead!

As soon as Sinners was released, it was lauded for its “masterful visual storytelling and toe-tapping music.” The praise was universal and relentless, as any criticism of this movie usually results in scorn and nearly being shunned by society. At the very least, one is perceived as Family Guy‘s Peter Griffin when he dared to state that he did not care for The Godfather because “it insists upon itself.”

Does Sinners also “insist upon itself?” Well, with a running time of 137 minutes and the inclusion of prolongued scenes that can only be described as “revenge porn”, there’s definitely some insisting going on. But there’s more to this movie than Michael B. Jordan killing KKK members in slow motion.

The movie’s first half is a period piece that paints a fascinating picture of the Mississippi Delta in the 1930s, where Black, White, Native, and Chinese populations intersect and collide. With this rich cultural tapestry as a backdrop, we follow the story of two gangster twins and a talented bluesman who decide to open a juke joint inside an old sawmill.

Interesting premise. But then, everybody gets possessed by the devil or dies horrifically. Modern movies tend to be that way.

Numerous critics and movie buffs analyzed the story’s metaphorical meaning, comparing the movie’s juke joint to American society in general. However, despite the thousands of words written about Sinners, nearly all ignore its obvious core message: It is a spiritual battle where Satan is a main character. Does he win in the end? Well, the movie is literally called Sinners.

Even though some believe Sinners is some kind of anti-establishment, pro-black statement piece, its core message is 100% aligned with the occult elite’s philosophy. Here’s a look at the deeper meaning of Sinners.

The Power of Music

The movie’s introduction sets the musical and spiritual tone of Sinners as a narrator explains:

“There are legends of people born with the gift of making music so true it can pierce the veil between life and death, conjuring spirits from the past and the future. In Ancient Ireland, they were called Fili. In Choctaw land, they call them firekeepers. And in West Africa, they were called griots.

This gift can being healing to their communities but it also attracts evil.”

In opposition to these ancient pagan traditions, the movie’s first scene occurs in a church where the protagonist’s father preaches.

After the sermon, the pastor urges his son to quit playing the blues, saying:

“Son, you keep dancing with the devil, one day he’s gonna follow you home.”

Sinners is one of those movies that starts with the ending, so this opening scene occurs after Samuel encounters Satan himself. In the end, Samuel still chooses the guitar and rejects religion. On several occasions, the movie presents Christianity as a religion that was forced on several cultures and that is disconnected from their true roots.

As the movie’s symbolism strongly suggests, Samuel’s choosing the guitar implies that he’s siding with the devil. One of these hints comes from the guitar’s origins: It was a gift from his cousins.

With money they’ve earned doing gangster things in Chicago, the twins purchase an old sawmill from a Klansman and convert it into a juke joint.

As we’ll see, this place will eventually have a “magical” feel. And it can also be compared to hell.

The Juke Joint

On the juke joint’s opening night, there’s drinking, gambling, fighting, fornicating, and murdering. In other words, it houses various activities that some might call sinful. At one point, Samuel takes the stage and sings about rejecting his father’s Bible.

Meanwhile, the piano player Delta Slim explains:

“Blues wasn’t forced on us like that religion. Nah son, we brought this with us from home. It’s magic, what we do. It’s sacred. It’s big. With this here ritual, we heal our people and we be free.”

Although the devil is a terrifying figure that turns people into soulless vampires by feasting on their blood, the movie sends a strange message about him: He’s not that bad.

Dancing With the Devil

After hearing Samuel’s transcendent music, Remmick looks to “recruit” him, knowing his talents will be of great use to build his army on Earth.

Furthermore, Remmick – the devil – promises people freedom. He says:

“I am your way out. This world already left you for dead. Won’t let you build. Won’t let you fellowship. We will do just that. Together. Forever.”

He’s advocating for a New World Order that unites all cultures in “fellowship”. Under his rule, of course. Isn’t it exactly what’s happening today?

Remmick also shares views on Christianity similar to those of Delta Slim.

“Those men lied to themselves and lied to us. They told stories of a God above and a devil below. And lies of a dominion of man over beast and Earth. We are earth, and beast and god. We are woman and man. We are connected.”

At this point, the movie turns into a vampire movie, and many people in the juke joint get bitten by Remmick’s minions. After lying dead for a while, the victims wake up as immortal vampires. Once again, the movie has a message about being under Satan’s control: It’s not that bad.

While numerous people in the juke joint turned vampires, Remmick is mostly after Samuel. He tells him:

“I want your stories and I want your songs. And you’re gon have mine.”

These words sum up why the occult elite recruits talented artists to turn them into satanic minions: To tell “their” stories.

In the end, Remmick never actually turns Samuel into a vampire. However, when one understands the symbolic meaning of Samuel’s interactions with the devil, his fate seems worse.

After much grossness, the sun goes up, the vampires burn, and Samuel returns home.

He didn’t. And the words “in the name of God” were purposely added in this scene to clearly convey the fact that Samuel playing the blues means that he’s rejecting God.

Although Samuel was spared from being bitten and turned into a vampire, he was “baptised” by the devil himself, and he bears his mark on his face. While he might not be a minion, he’s clearly on his side. The movie’s final scene confirms this fact.

The couple offers Samuel the chance to become an immortal vampire one last time, but he declines. Maybe because he’s at a “higher level” with the dark lord?

The moral of the story? Satan won. Those who went against him? Very dead.

In Conclusion

By mixing genres such as period drama and supernatural horror, Sinners tackles topics such as racism, segregation, and life in the American South during the 1930s. This is where most critics stopped interpreting the movie. With that said, as the movie’s title suggests, the movie’s central theme goes far beyond worldly concerns. It is about religion and spirituality, where the concepts of good and evil are somewhat muddled to the point of confusion.

Throughout the movie, the Christian pastor is portrayed as an oppressive figure who wants to stifle the protagonist’s musical calling. Conversely, despite routinely feasting on human blood, Satan promises freedom and allows Samuel to play music. Also, his vampire minions seem quite happy and look pretty cool, while everyone else just dies miserably.

While one can analyze this movie from all kinds of angles, its true message is quite simple and it happens to be fully in line with the occult elite’s relentless cultural agenda: Satan is cool, and Michael B. Jordan wearing sunglasses is the only proof you need.

Combining elements of period drama and supernatural horror, “Sinners” was praised for its ambitious depiction of the 1930s American South. However, behind the blues music and the vampire slashing, the movie’s core message is about a spiritual battle involving Satan himself. Does he win? Well, the movie’s title provides a strong hint.