Olympics Opening with Queen and 007 Semiotics

Olympics Opening Ceremony: James Bond and the Queen Meet, Parachute Into the Stadium (Video)


Precisely what I was writing my thesis on. See these articles:

The Semiotics of Bond: Ian Fleming’s Use of Propaganda

Quantum of Solace: 007’s Alchemy

Casino Royale Novel Analysis

Golden Eye – Esoteric Analysis

Interview with Former MI5, Annie Machon

Psychological Warfare and Media

Dr. Philip Sherrard: Presuppositions of the Sacred

Raiders of the Lost Ark – Esoteric Analysis

Original film poster.

By: Jay

There’s nothing more 80s than Steven Spielberg, and there’s nothing better 80s than Raiders of the Lost Ark.  Based on the oft-referenced classic film serials, Indiana Jones is a household name.  What is far from common knowledge are the profound religious and esoteric themes in the Indiana Jones films, particularly in Raiders.  Written by George Lucas and Lawrence Kasdan, and directed by Spielberg, Raiders demonstrates a carefully ordered, intriguing religious progression, evident to those well-read in esoterism and in this case, so-called “traditionalism” or the “perennial philosophy.”  In short, it’s much more layered than the basic-level adventure story presented, and I will demonstrate that below.

The film begins with the mountain image, prominent in Spielberg films, particularly Close Encounters of the Third Kind.  There, “Devil’s Tower” in Wyoming becomes the meeting point of the aliens/gods and mankind.  Biblically, the Law and prophets frequently mention the “high places” where the pagans and apostate Israelites would offer sacrifices to the “gods” or “demons.”  Textual examples.  This trend is consistent in many alien motifs, where the aliens are simply no different from the traditional religious ideas of the “gods.”  Spielberg especially has utilized this trend, as well as Lucas.  Indeed, Mt. Sinai itself is the meeting place of man and the God of the Bible, which will be of particular relevance for Raiders.  As a side note, Wired magazine reports that “Devil’s Mountain” also has relevance to the NSA as an old Cold War listening and surveillance post in Germany.

The Hovito Temple where Indy and Belloq haggle over the golden idol situates the viewer in the primitive superstitious world of polytheistic paganism.  The Hotivos are savages, and are used by Belloq to obtain the idol from Indy, who risked his life in the well-known trap sequence.  At view in the background is a golden sun with a skull.  From South America we fly to Indy’s classroom at the fictional Marshall College.  Army Intelligence arrives because Dr. Jones is an “occult expert,” and wants information on Hitler’s own fascination with the occult, and his search for the Ark of the Covenant.  Indy, we note, is a rationalist and pragmatist, and doesn’t believe in “hocus pocus” and mumbo jumbo, much like Han Solo dismissed the Force.  The Ark demonstrates the power of God, and Hitler believes that by controlling it, his army will be invincible.   There is some truth to this in terms of Hitler’s circles being into bizarre forms of occultism, as shown in the video.

From the university we fly to Nepal. Nepal is relevant because of the Nazi quest for the Great White Brotherhood of Madame Blavatsky and Himmler.  Indy is after Marion From Nepal, Indy and Marion fly to Cairo, where we will begin to be initiated into the mysteries of Egypt.  The progression has been from primitive animism to the ascended masters to Egypt, where the “Well of Souls” supposedly houses the Ark in Tanis.  The scenes in Cairo are of particular importance, particularly for the scene with the Sufi.  Sufism is Islamic mysticism, and so we have the mysteries of each religion leading Indy to the culmination of the perennial tradition in Judaism as its source.  This is a unique twist, since generally, traditionalist writers ascribe to Judaism a place of derivation—that Judaism’s mystical side is purely based on Platonism or Egyptian hermeticism or some other supposedly older tradition.  Here, Judaism is the true source.

The All-Seeing Eye emerges in the midst of the Star of David.

Indy meets with Belloq in Cairo, and Belloq tells Indy he is his “shadow” – the Jungian archetype of the inner dark side of the psyche that must be faced.  Indy could very easily be made to turn to the dark side, Belloq says.  However, Belloq, like Hitler, believes that the Ark is a magical device—that one can “talk to God” with it.  Indy sees it in a more rational, yet humble perspective, and seeks out the actual meaning of the Ark.  Sallah, Indy’s Muslim friend, takes him to visit the Sufi where we see a Star of David with an All-Seeing Indy Eye, and then a square and compass on the lamp.  When the Name of God is mentioned, a wind blows, like when Moses approaches Sinai.  Is Indy a kind of Moses/deliverer?  In the next film he does deliver slave children from the Thuggee cult. Continue reading

Batman: Dark Knight Rises – Esoteric Analysis

Note the class warfare element of the poster. Very Ayn Randian.

By: Jay

False Flag shooting event analysis broken here first.

-Spoiler Alert-

Update: The blending of fiction and programming has extended into reality like I predicted, with the New York Police Commissioner (like Commissioner Gordon) saying the villain was “The Joker,” and the NYPD will keep everyone safe from “The Joker” and/or Bane. 


“Bruce Wayne’s grandfather founded Skull & Bones.” -Batman tv show

Batman: The Dark Knight Rises is the final installment in the Christopher Nolan trilogy and, in my opinion, is excellent.  Like the previous two, the concluding film is just as esoteric and filled with predictive programming as the others, yet stands out as preeminent.  This final film is the climax of this version of revelation of the method par excellance.  The entire essence of this film is concerned with how the system itself operates on the deepest levels—levels far beyond what most people are able to comprehend.  Like the rest of Nolan’s films, this one resonates with a particular Jungian ethos, almost to the level of Inception. In fact, Dark Knight Rises is very similar to Nolan’s Inception, and, believe it or not, Jim Henson’s Labyrinth

In fact, Nolan even takes Dark Knight to the higher esoteric level of including actors from previous films and roles to play them again in this film.  As I myself and Ross have discussed on Jay’s Analysis, this often turns out to be the case, especially in the case of the top Hollywood figures—figures like Angelina Jolie, Nicole Kidman, and now, it seems, Rachel Weisz.  Among males you can see it with Robert DeNiro Nicolas Cage, Johnny Depp and Tom Cruise.  Granted, some roles are chosen on the basis of having a certain “look” adapted from another role, but as I argue, and as we see in films like Mulholland Drive, roles are often chosen for deeper, occult reasons.  Think about Heath Ledger in Batman: The Dark Knight, and then his role in The Imaginarium of Doctor Parnassus and then his strange death. 

What?” you say, “Why, that’s wacky.”  That’s because your view of the world isn’t the same as those who understand liturgy and ritual.  The study of liturgics is not some dry, dusty, arcane academic discipline for old religionists to haggle about.  Liturgics to those who know, is the very heartbeat of the universe itself.  It is itself the meaning of things.  Granted, one can learn about metaphysics or science in philosophy or at some university, yet these are merely fields that operate in the realm of bare knowledge.  Knowledge itself is lacking in that it is static and merely one of the divine energeia.

All the bad guys rolled into one.

To combine will and action in harmony with intended purpose in the service of God in symbolic act is meaning, and thus all of life becomes a liturgical ritual.  Most ancient religious traditions have some notion of this.  Thus the standard exposition most “conspiracy theorists” and/or critics give is done at the most basic level of plot, interpretation of meaning, technical achievements, and possible “Illuminist” symbols.  While there is a place for all of that, none of them understand the principle of the film itself, including the actors and their own experiences, the set, the script, etc., all coming together at a certain time, with a certain zeitgeist behind it. A couple good books on this I would recommend would be Mircea Eliade’s The Sacred and the Profane, Abraham Heschel’s The Sabbath, and any basic introduction to liturgy.   Such a radical alteration of perception is only achieved by investigation into, and participation in, liturgy.  Those who have experienced this will understand, and those who haven’t will not.  But regardless, films are themselves a kind of ritual ‘working,’ and whether the 99% of the critics out there acknowledge or know this is irrelevant: it is true.

“Baroness, why do I feel like Cobra Commander is wearing a Bane mask and once again ripping off my style and screwing us over?”

In fact, as I write this, it has just happened that several people have been killed in a Dark Knight Rises premier in Colorado.  Readers of this blog will be aware of Colorado being outlined in other films and in reality as a new, more secretive command base for various elite factions.  Think of the Denver Airport and the Columbine events.  The RT article states:

“Police say that the assailant initially opened a gas canister. Witnesses recounted hearing a hissing sound and smoke, and then the shooting started.

Some say that when they first heard the gunfire, they thought it was some new type of special effect.

It was chaotic, it was surreal, it was like in a movie,” one of the witnesses told 9news Denver TV station. Continue reading

Jay’s Analysis – Kant & Wolfgang Pauli – Inner and Outer Worlds

“A system of categories is a complete list of highest kinds or genera. Traditionally, following Aristotle, these have been thought of as highest genera of entities (in the widest sense of the term), so that a system of categories undertaken in this realist spirit would ideally provide an inventory of everything there is, thus answering the most basic of metaphysical questions: “What is there?” Skepticism about the possibilities for discerning the different categories of ‘reality itself’ has led others to approach category systems not with the aim of cataloging the highest kinds in the world itself, but rather with the aim of elucidating the categories of our conceptual system. Thus Kant makes the shift to a conceptualist approach by drawing out the categories that are a priori necessary for any possible cognition of objects. Since such categories are guaranteed to apply to any possible object of cognition, they retain a certain sort of ontological import, although this application is limited to phenomena, not the thing in itself. After Kant, it has been common to approach the project of categories in a neutral spirit that Brian Carr (1987, 7) calls “categorial descriptivism”, as describing the categorial structure that the world would have according to our thought, experience, or language, while refraining from making commitments about whether or not these categories are occupied. Edmund Husserl approaches categories in something like this way, since he begins by laying out categories of meanings, which may then be used to draw out ontological categories (categories of possible objects meant) as the correlates of the meaning categories, without concern for any empirical matter about whether or not there really are objects of the various ontological categories discerned. Continue reading