Captain America 2: Winter Soldier is Real

Film poster.  The film was released on 4-4-14.

Film poster. The film was released on 4-4-14.

 

By: Jay

The new Captain America film is heavily laced with either revelation of the method programming, or genuine artistic rebellion against the corrupt, globalist establishment.  The plot is one of the most anti-new world order films I’ve seen, in terms of plot.  Granted, Marvel is now owned by Disney is 100% establishment, regurgitating decades of Disney mind control, but apparently that doesn’t prevent a positive message to seep out.

Or, from a darker perspective, was the completely revelatory plot of Captain America 2 purposefully released as another middle finger?  Does the intentional selection of  sentimental old Americana (represented by Captain America) perhaps signal the establishment’s statement they know the truth of the opposition’s side better than the opposition, associating anti-establishment impetus with childish comic book plots?  Let us analyze.  The plot begins with a French “terrorist” organization hijacking a high-tech SHIELD warship called “The Lemurian Star.”  Lemuria is associated with Atlantis in the writings of occultists like Blavatsky and Leadbetter, giving us a clue that the key to interpreting the meaning will be the attempt to restore Atlantis.  This false flag attack is designed to frame SHIELD commander, Nick Fury (Samuel L. Jackson), disabling the Avengers and Captain America.

The state-sponsored terror is actually led by Hydra, a kind of World War 2 analogue for the Bilderberg Group.  Hydra, like Bilderberg, was founded by former Nazis seeking to implement a worldwide technocratic government.   Like the actual Bilderberg Group, it has the same goals and motivations, but what was so surprising about Captain America 2 was the revelation of the AI control/kill grid that is Hydra’s real weapon.   The Avengers discover that the AI kill grid is put in place to utilize all the data that the government surveillance has captured over the last several decades using complex algorithms that predict who the likely threats will be in the future.

Thumbs up to Natasha Romanov

Thumbs up to Natasha Romanov

Predictive algorithmic AI computing is precisely the purpose of the Internet itself, as well as Google and all the other tech monstrosities.  The purpose of the Internet itself was always to gather reconnaissance on the masses.  The AI grid stores basically everything, and based on the vast information stored at the “data vaults” and warehouses around the globe, information is processed for future predictive accuracy.  There is a virtual version of everything happening, with a virtual version of you and me, where tests are run to see the outcome of various scenarios.  The reconnaissance is for the ultimate goal of the AI takeover.  Films like the Terminator series and Oblivion also have this same plot, but rather than art life imitating art, this is art based on actual Pentagon programs.  And just like Skynet is real, so is the Avengers’ version of Skynet, where advanced decapitation and space-based weapons (for removing heads of state) are in place since at least the Star Wars Defense initiative of the late 70s. Continue reading

Noah (2014) – Esoteric Analysis

Noah film poster.

Noah film poster.

By: Jay

Darren Aronofsky’s Noah has become the talk of the Internet and religious folk.  As a film, I found it flawed and a little odd in its pacing, but on a deeper level, there is plenty to mine.  Most analyses that focus on the deeper elements come from the evangelical right, up in arms about the “lack of biblical” elements, and some even saying it is blasphemous and “gnostic.”  Readers of Jay’s Analysis know I have no hesitation in slapping the gnostic label on Hollywood’s latest, yet here I am not so eager.   It’s not that the film has no gnostic elements – there are some.  It’s that the film is utilizing kabbalistic  and Jewish oral tradition, which I think is the source for much of the confusion.

Aronofsky did make Pi, which is also based around kabbalistic ideas, particularly numerology and its relation to God.  I am very interested in numerology and how it relates to God, yet on a personal level I just didn’t connect with Pi.  It’s not a bad film, I just found it depressing.  The relevance here is that Pi shows Aronofsky is very much a man of Jewish mysticism and esoterism, despite his claim to be an atheist.   So, more than containing a lot of “gnosticism,” Noah contains a lot of kabbalism, as well as ideas from the Bible, the Book of Enoch, and Jewish midrash.  I don’t pretend to be an expert in these areas, but I have far more familiarity than most.

Overall, I liked the film.  There is nothing wrong with looking beyond there mere text to the oral tradition and the wider context that surrounds the classical biblical narratives.  Evangelicals that were thrown into a frenzy are generally unaware that the “environmental” message was, in fact, accurate.  In the biblical narrative, Noah and his sons had not yet begun eating flesh.  Longevity was much greater due to being still relatively close chronologically to the Edenic state.  Granted, the film took liberties with giving Noah a period of doubting where he thinks he may not have done correctly, since it appeared for a time that God wanted all humanity dead.  Noah was a man, not a superhero.  I think it is appropriate, like all the saints of Genesis, he is portrayed as a flawed man.  Like the rest of the prophets, Noah was not perfect.

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Egyptian Mysteries of God and Energy in Relation to Modern Geopolitics

God made the eye. It is not "evil." The mysteries of creation and energy are contained within it.

God made the eye. It is not “evil.” The mysteries of creation and energy are contained within it.

…I will show you a great mystery.

“The Cosmos moves within the very life of eternity, and is contained in that very eternity whence all life issues. And for this reason it is impossible that it should at any time come to a stand, or be destroyed, since it is walled in and bound together, so to speak, by eternal life.”
Asclepius III, 29c.

By: Jay

Energy is not something pondered by most, yet energy is one of the most fundamental aspects of reality and figures prominently in physics, metaphysics and theology.  But what might a fundamental aspect of metaphysics have to do with geo-politics?  Is there a correlation between energy and its process and social and political trends and movements? I think there is, and in this article I intend to lay it out.  Movement itself is energetic.  All movement represents energy in motion, from one state of affairs to another.  In theology we speak of God’s active energies or attributes are the ultimate causation and ground of being in the universe, meaning energy itself is the locus of power.  Speed also factors into this, since speed is a certain rate of energetic action.  Modernity has seen the increase of the speed of motion due to the advancement of technology: both matter, information and persons are all able to move much faster and in much greater quantity than ever before.

Before considering questions of modern and future energy expectations, I would like to highlight an argument I’ve made a few times now concerning the ancient Egyptian hermetic notions, and how their archetypal religious symbols encoded basic principles of quantum physics and the energetic process.  As many esotericists and traditionalist thinkers have commented, it seems as if ages or eras of history also partake of cosmic processes or aeons.  Eastern writers speak of “kali yuga,” where proper roles of hierarchy and caste are reversed.   Spengler spoke of civilizations as having an organic lifespan and Western man as “Faustian Man.”  My thesis here is that the cyclical process of energy itself gives a model of ages, too.  If movement is energetic, then history and time also reduce to energetic movement.

The basic triadic structure, utilizing the vesica pisces.

The basic triadic structure, utilizing the vesica piscis.

I have mentioned in the past that the rites of the gods encode secrets of nature.  One of the best examples of this is the mythology of Isis, Apophis and Osiris, whose mythology includes the principles of life and energy itself.  Isis is the feminine principle of nature/energy extended in space and time.  Apophis represents the principle of destruction and entropy, and Osiris represents the reemergence of energetic loss towards eternity to a higher state of eternality and immortality.   The ancient Near Eastern symbol of IAO was representative of this formula, and when considered in comparison to the Pythagorean monad, dyad and triad, the same imagery is found to encode the same formulae.  The point or monad extends to the dyad, with the two points connected forming a line.  The line either has a circumference drawn around it and/or extends to a third point.  It can also form a vesica piscis, or an eye.

The monad extends, utilizing the generative principle, forming IAO.

The monad extends, utilizing the generative principle, forming IAO.

The eye is also a circle with a dot in the middle, as well as a circle surrounding a point or an extended line.  This is the meaning of the obelisk in the circle, which, when viewed from above (as the gods would have seen it) is also a dot in a circle.  Quantum physicist Brian Greene discusses the fundamental energetic nature of reality as mirroring the binary computer model as follows:

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What is the New World Order and Why Does it Matter?

Fabian socialist H.G. Wells set the stage for the sci fi deception of the new world order.

Fabian socialist H.G. Wells set the stage for the sci fi deception of the new world order.

[Many readers have requested some articles that are more readable and simple.  This is an old article I have redone to aid those that want a better introduction to what this site is all about.]

By: Jay

Unfortunately, we have been programmed and conditioned from the earliest years to not believe in the existence, or even the possibility, of large-scale conspiracies.  Students of history learn in introductory courses that there are three views of the philosophy of history.  First, the random contingency view in which historical events are merely “one damn thing after another” (as one of my professors so elegantly stated), with no apparent reason or causal significance. Second, the so-called “great man” view, in which key religious and political figures cause certain landmark events with history revolving around these figures, such as a Napoleon or a Caesar.  The third and least popular is the providential or conspiratorial view.  In this view, history is led along by unseen forces, be they malevolent or beneficent.  Humans play their role to be sure, but man is not the autonomous god of his own destiny.  He is the actor on a stage in which there is a grand narrative and ultimate reason for every event, even if humans are not always cognizant of those reasons.

Coming to see the truth of a worldwide conspiracy that has been especially centralized in the past few centuries in a western, Anglo-global establishment is also not something people prefer to hear.  Humans tend to have a normalcy bias and what is called cognitive dissonance.  Cognitive dissonance is the tendency to continue to believe something erroneous in the face of masses of contrary evidence, due to the devastating psychological impact discarding the previous erroneous belief would have.  Americans are raised with the narrative of being a nation of independent individualists: the frontier mentality still dominates and is an image is always latent in our culture. This individualistic mentality refuses to consider itself as the victim of any conspiracy: we are too great a nation to be ruled by an evil elite, bent on world depopulation.  After all, Obama is a  “liberal” president, isn’t he?  “How could there be a massive conspiracy?  If there were, they would all be caught!  It’s just not possible,” the opponent says.  That’s all “black helicopter, tin-foil-hat nonsense.” To those with low education or no critical thinking skills and common sense, it’s evident that none of these objections suffices to demonstrate that the conspiratorial view is false.  From the fact that one is a “proud American” or that George Bush claimed to be a Christian, it does not follow that the conspiratorial view is false.  This is called, in logic, a non sequitur.  The conclusion does not logically follow from the premises. Continue reading

Lost Highway (1997) – Esoteric Analysis

Film poster.

Film poster.

By: Jay

Lost Highway is a bizarre, psychical film that has mystified most. Reviews and analyses abound with endless questions and speculations that often fails to transcend the most basic levels of “Buddhism” and “dreamscape.” When connected with other David Lynch films, these elements are certainly present, but remaining on this level fail to plumb the depths of more esoteric motifs and symbols that even further integrate the Lynch canon. Indeed, the Lynch canon must be known in entirety before the individual works begin to reveal themselves.

Lost Highway is a convenient starting place for analyzing Lynch, as it initiates what a friend of mine aptly titles the “Hollywood trilogy,” comprising Lost Highway, Mulholland Drive and Inland Empire. In contrast to Wild at Heart or Blue Velvet, the “Hollywood trilogy” focuses on the dark side and corruption of the film industry. Many critics have pointed out these themes in Lynch, but there is a deeper level to the rabbit hole. Lynch films are not merely dreamy zen meditations on Americana and film, but long, dark journeys into the dark side of the unconscious that envelop the viewer in something more ominous than satire or tales of pulp crime. The Lynch viewer is shown a profound, surrealistic revelation of the dark side of something much more ancient, functioning like a shamanic journey into cosmic, primeval mysteries.

The best description for Lost Highway is Neo-noir occult psycho-drama. The telling of the story is non-linear, yet influenced heavily by classic 1940s (date) Noir. Lost Highway is influenced by zen philosophy and Jungian dreamscapes, but as for the deeper occult elements, it’s necessary to understand why the stories are presented in a interlinking duality, as they are in Mulholland Drive. Zen philosophy is concerned with duality and its transcendence, as ultimate principles, as well as with the individual’s particularized psyche, and its relation to the whole of reality. Zen is therefore a quasi-religious philosophy concentrated on ultimate metaphysical principles, known in philosophy historically as the problem of the one and the many. For Lynch, these philosophical questions are not just abstract philosophy, but also relate directly to the psyche in its conscious and unconscious/sleep states.

The opening credit scene is a car racing down an ominous dark highway which will be our first clue to the ultimate meaning, as this is also the final scene. The highway will represent the mental stream of consciousness Fred Madison (Bill Pullman) is experiencing, as the truth of his life and actions begin to manifest in this cyclical dreamworld. Fred is on a journey into madness – into his subconscious, as he suppresses his guilt for murder. The murder of his wife Renee (Patricia Arquette) and two others due to his vengeful jealousy has led to a dissociation and split in his consciousness, as well as his darker side becoming possessed.

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Webster Tarpley – The Venetian Conspiracy

If you’ve followed Jay’s Analysis the last few years, you’ve been aware of my argumentation ad nauseam against scientism, materialism and empiricism. Today I came across a lecture by Tarpley I had not seen that argues many of the same points, but extends the origins of modern scientism back to the Venetians. Included as well are the connections to the intelligence intrigues of the time, up to Bacon, the British empiricists and Bertrand Russell. Readers of my blog will be aware of the suppression of platonic and Theistic worldviews. Here is the basis for that thesis.

Introduction to Hidden Metaphysics, Part 1 – Jays Analysis

In Part 1 of this discussion, I introduce metaphysics (the branch of philosophy, not witch books), and explain why it has been suppressed in the West. I argue that a special metaphysics is the basis for highly advanced technologies, while the masses are spoon-fed garbage relativism.

See these articles for referece:

“Aether Returns to Oust Dark Matter”

“Unified Field Theory”

“Energetic Aether Metaphysics”

“Numbers Prove God”

The Matrix (1999) – Esoteric Analysis

Film Poster.

Film Poster.

By: Jay

The Matrix, as I’ve joked many times, is one of those perennial topics in philosophy 101 classes that tends to evoke the most inane and mindless “philosophizing” by the mind-warped morass of modern morlocks.  Yet still, it is a film that is packed with esoteric symbolism, philosophy, “predictive programming,” and all other manner of poppy culture engineering.  In this analysis, we are going to go elucidate themes, motifs and symbols missed by other sites, as we consider one of the system’s principal works of self-flattery.  Interestingly, of all films to analyze in the way sites like mine do, this the most obvious seems forgotten in the haze of the now umpteen hundred Eyes Wide Shut analyses.

The Matrix begins with a computerized image of the Warner Bros. logo, a phone ring, and a conversation between Trinity (Carrie-Anne Moss) and Cypher (Joe Pantoliano) about watching “him” (Neo, Keanu Reeves), and whether the line is secure.  The implication is that the communications are all surveilled (think of how few knew of the mass NSA surveillance that existed at the time the film was released). The viewer sees the screen morph into 1s and 0s and the now-famous green screen code.  From the outset, this is to signify that the audience, as with Eyes Wide Shut, is in the dark.  It is the movie going public that is about to enter into the videodrome “matrix,” as they step into the theater to see what will be a largely CGI Hollywood production.  The audience is not only stepping into the matrix of the videodrome, but as the overall message of the film will convey, lives out lives occupied almost entirely in an engineered world of simulated reality.  In this regard, The Matrix will operate on multiple levels, from the conspiratorial/geo-political, to the psychological, to the metaphysical.

In the first scene, the viewer is shown a motel called “Heart O’ The City,” where bumbling police enter room “303.” Numerology does play into the film, especially since binary code is the very heart of computers.  “303″ is the equivalent of 33, and Trinity is caught trying to dial into the “real world” to escape her inner-matrix watching of Neo.  Alchemy and numerology place a high value on the number 33, being the highest degree of Scottish Rite Masonry.  Manly P. Hall speaks of 33 as highly significant for alchemy because 3×3=9, the number of the emanations from the One, and conversely as the number of initiation.  We can therefore speculate that, given the many examples of masonic and occult symbols and referents in the film, this is very likely the paradigm from which the film was crafted.  The heart is also crucial to alchemy, inasmuch as the heart and intellect must combine to produce balance.  “Trinity” is also a triadic symbol and name, so the usage is not accidental.  Trinity will function as the feminine principle to Neo’s masculine principle, as they join to complete the alchemical mystical union in the trilogy of Matrix films.  Trinity here is not used here in the common Christian sense, it is meant in the sense of a gnostic feminine principle, sophia.

Morpheus mentioned as a terrorist sought by British Intelligence.

Morpheus mentioned as a terrorist sought by British Intelligence.

Agent Smith and his cronies quickly arrive and exemplify jurisdictional control over the local police: In terms of actual politics they represent the shadow intelligence establishment.  The Matrix will operate on one level as an allegory for this intelligence world.  The Agents are controlled by cold, calculating numeric logic, with no empathy or emotion.  Through an “informant” (Cypher), they had intercepted the transmission and are on the case of tracking down this “Neo.”  In the next scene, we see Neo and some interesting images appear on his computer screen in his apartment.  An image of “Morpheus,” said by “British Intelligence to be an international terrorist” on the run from authorities.  Given the hints at 9/11 that are in the film which premiered in 1999, we can surmise this was intentional as another key to unlocking the multiple layers of meaning and “programming.”  Morpheus is shown as wanted by Arab news sites like An-Nahar, giving the impression Morpheus is a bin Laden-esque “terrorist.”  On a deeper, esoteric level, the establishment was weaving into the narrative hints and clues to 9/11, especially with the infamous date on Neo’s file. Continue reading

Operation Hollywood: How the Pentagon Shapes Movies

When Vergil wrote the Aeneid, he was writing Imperial mythology to vindicate Rome as the new civilization chosen by the state-approved gods. When Spenser wrote The Faerie Queen, he was admittedly writing the same mythos for Albion (Britannia). Our modern myth makers are no different: The system controls and crafts the arts for the purpose of propaganda.

The Technocracy’s 1984 Predictive Programming

The technocratic Eye of Big Brother watches you.

The technocratic, panopticon Eye of Big Brother watches you.

By: Jay

All the smart dummies, upper class and yuppies go along with and/or join the Outer Party thinking they’ll win, when the Inner Party hates them more than the proles.

As I have documented many times, the coming technocracy is not something to come in the dark, distant future, but a present reality.  Snowden’s supposed “revelations” were nothing more than rehashed information from years ago that James Bamford included in all his books.  Technology is actually 30 years ahead of what is released to the public, and this means the coming AI dominated central system is presently in its reconnaissance stage, gathering intel on the best human opponents through the large online gaming communities.  Through all the tracing and tracking, the supercomputers are storing the data for future-predictive algorithmic war gaming.

The key issue to understand is that the very computer system outlined in Asimov’s Foundation is now a reality.  In Foundation, Hari Seldon figures out how to track mass movements over long periods of time for future predictive programming.   While I do not believe that a computer can become sentient, the transhumanist technocracy being erected is more interested in the implementation of a techno slave grid that will massively depopulate and reorganize society.   This is why the computer games are so crucial: from Halo to World of Warcraft to Black Ops, the information is all being stored and analyzed for the purpose of creating a system in which human error is unable to bring the system down.

The logic of this system is, in a limited sense, highly logical: past elites were unable to maintain control due to human degeneration and mistakes.  The thinking behind a technocracy is that AI programmed bots will not err, and the ruling structure will thus never fail.  The large tech companies have all discussed this openly at large conferences and in white papers, but the ignorant public marches on, building the very system to enslave with their own money.  Money is a symbol of energy, and the erection of the mass surveillance grid is not for the purpose of security or preventing “terrorism.”  The purpose is that which is laid out by science fiction writers, scientists and technocrats, and that plan is massive depopulation and a reboot of society.   However, in a deeper sense, it is not logical: what is the reason, the logos, of building a world system that is self-destructive?  The only answer that is rational is evil.  Those that have bought into this lie, believe the transhumanist falsehood that immortality will be given through technological progress. The assumption of those who go along with this scheme is that they will be given all the life extension and Elysium style gifts of the gods to bring about a spacely Valhalla.


Agent Smith appears in a creepy GE ad for hospitals. This is a dark, inside joke. They didn’t choose Neo – they chose Agent Smith for the ad!

But there are several flaws with this logic.  First, there is no reason to believe that a system that is fundamentally anti-human and anti-life will pay off the dividends it promises.  Those at the top of our system are master con men villains.  Everyone knows from archetypal stories from time immemorial the villain lies.  Villains are known precisely for betraying those they recruit underneath them.  It should therefore be incumbent upon those in the system not to trust their overlords, yet that is inevitably what men do. Continue reading