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

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

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.

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

Dune (1965) Novel – Esoteric Analysis

Lynch film poster.

Lynch film poster.

By: Jay

Dune is an amazing novel: There is a reason it’s the best-selling science fiction series of all time.  Prescient for his time (1965), author Frank Herbert was able to foresee a future in which geo-engineering, rampant technocracy, geo-political intrigue and subterfuge, ecology, elite bloodlines, the occult and religious perennialism all coalesce into a story of unparalleled scope and imagination.  In that regard, it functions as both a fictional account of a far distant galactic future, as well as a predictive presentation of today’s headlines and scientific advancements.  Truly there is no novel to liken it to, especially in the genre of science fiction, relative to its time.  While any top ten sci-fi novels will undoubtedly include Dune among its ranks, I argue it is utterly unique in its inclusion of themes and characters that run completely contrary to Asimov or Orwell.

Most science fiction envisions a future of advanced technocratic control where religion has all but been abolished or taken on odd, irrelevant forms.  Not so here: For Hebert, religion takes a central role in the novel.  As for technocracy, the novel is decidedly in opposition.  We do see humans engaged in the usual court intrigues and conspiratorial machinations that echo Machiavelli’s Discourses and in particular, “Of Conspiracy.”  Yet with Dune, we do not see a utopianism predicated on technological advance and subjugation, but rather a future in which the good guys are those in harmony with nature, seeking to be a symbiotic organism in the larger cycle of ecological and cosmic forces.   Indeed, it is the Padishah Emperor Shaddam IV, working with the CHOAM trading guild and the Bene Gesserit bloodline coven of witches that seek to subjugate Arrakis (Dune), the desert planet of unmanageable wasteland home to the spice mélange, the consciousness-expanding drug that has a hold on the entire known universe.

Continue reading

The “Bin Laden Raid” is the Plot of Navy Seals (1990)

Original Cinema Quad Poster - Movie Film PostersBy: Jay

I have highlighted fake news recently, and in a fit of 80s mania, I decided to watch the Charlie Sheen/Michael Biehn Navy Seals because I had never seen it.  Although made in 1990, it was still in that gray area of 80s-90s transition, where there is little differentiation.  Hilariously, it quickly became apparent that Seals was more than it appeared.  Like the rest of the 80s military recruitment films such as Top Gun and Stripes, it is pure propaganda designed to dupe morons into thinking that signing up for the Navy would equal a life like the absurd portrayal of the Seals in the film.  And if you can imagine it, Navy Seals is far worse than Top Gun.  One can easily picture the Pentagon saying to Hollywood, “Look, we like that Top Gun thing – it did wonders for recruitment numbers following the drop of the draft.  Here’s a few less million, though, and see if you can slap together something really quick with that Sheen guy.”

There’s a lot of comedy to be had in Navy Seals, but the big reveal is this: it looks to be the plot of the equally cheesy B-movie known as the real-life Bin Laden compound raid.  One of the greatest frauds in the history of mainstream media is the bin Laden raid, which managed to dupe the majority of the childlike populace in Amerika.  A year or so after, throngs of people swarmed to bookstores to buy the absurd Seal Team Six book that supposedly described in detail how the daring mission was accomplished, along with a preposterous propaganda film, Zero Dark Thirty.   The fact that the film and book and raid came so close together and constituted such a perfect ratings boost for Obama seemed lost on most of the kindergarten public.

Readers of JaysAnalysis are not so easily duped.  Having tracked these frauds and hoaxes by the media magii for a while now, we have watched scam after scam, from North Korea to bin Laden, to you name it.  Like Katniss’ realization in Mockingjay, it is quickly becoming apparent that the Capitol regularly fakes news.  Now, the only real debate is to what quantitative degree is our news fake.  With Navy Seals we have a clear scenario that parallels the bin Laden fairy tale so closely that it is hard to accept mere coincidence.  Since we know the bin Laden story is pure bull, and since we know Hollywood is intimately involved in propaganda and staging events for the military industrial complex (and has been for a long time), it is not hard to believe that the news story behind the famed killing of bin laden was simply a recycled awful script from a 1990 Sheen film.

What Mac & Me is to E.T., Navy Seals is to Top Gun, though Top Gun is no good.

Navy Seal base in the film with the compound model.

We don’t really need a lengthy analysis of the plot, simply because there isn’t much of one.  What plot does exist is very simple: America is at war with Islamic radicals, and the Seals must extract the bin Laden-style boogeymen before they attain more stinger missiles.  Two Al Qaeda-ish leaders are tracked down in Beirut.  While the first is extracted from his compound, the main villain cannot be, and the film ends with a fight between Sheen and the bin Laden-esque villain.  In a hilarious twist of irony, the villain is given an impromptu burial at sea, as Sheen drowns him.  Just like in “reality,” we were told by the media that the compound was raided by the Seals with bin Laden captured and given a burial at sea.   As you can see, the model and the picture in the picture above from the film are very similar to the supposed model the Pentagon designed before the “raid.”

The Bin Laden "Compound" Model

The Bin Laden “Compound” Model

Continue reading

Fake News and Ritual Murders

Terrorist mastermind Bin Laden at his hilarious "compound," flipping through his high tech antenna channels.

Terrorist mastermind Bin Laden at his hilarious “compound,” flipping through his high tech UHF antenna channels in the mainstream promoted media image.

By: Jay

Two of the most difficult topics that cause such a ruckus among haters and critics of the subject matter presented on sites like mine are fake news and ritual murders.  For most, the concept of a ritual murder is unheard of, while fake news is equally as implausible and ridiculous.  These two nefarious topics are not just unbelievable to the public, but suggest a deeper significance in regard to the mass psyche.  In this article I’m going to highlight that connection.  One of the most common questions asked by those who see such claims and immediately react to evidence presented is “Why?” Why would anyone go to this trouble?  Why would powerful players use media and ritual murder to manipulate?  I intend to answer those questions, but first, a few considerations.

The main reason for these techniques is fear.  Control of large populations is done by management of human hopes, dreams and fears.  If your hopes and fears are known, you are that much easier to control.  The massive internet grid being erected is for this purpose: to track and trace mass movements for the purpose of algorithmic predictive ability.  This is explained in Asimov’s Foundation series, but now it is mainstream news that this is the goal of innernetz.  The establishment itself has even stated on many occasions the internet exists for this purpose.  So-called “leaker” Julian Assange, for example, stated:

“The internet is the “greatest spying machine the world has ever seen” and is not a technology that necessarily favours the freedom of speech, the WikiLeaks co-founder, Julian Assange, has claimed in a rare public appearance.”

Indeed, the history of the Internet is one of Pentagon futurist planning that fits well with the Marshall Plan for a total technological slave grid.  The Marshall Plan is technocracy, which recalls the technocracy of Zbigniew Brzezinski’s Between Two Ages, where socialistic techno-bureaucrats will quantify all things into cost-benefit analysis, as the summum bonum of transhumanist utopia is envisioned as the path to theosis.

Hugo Drax is real! He's Assange!

Hugo Drax is real! He’s Assange!

But let’s not trust too much in Assange and the establishment anti-establishment joke that is WikiLeaks.  If you recall, when Wikileaks was a big news story a few years ago, it was the buzz of the whole media.  Assange was pictured as a rebel that wanted to end the American Empire by releasing sensitive cables and videos that pictured the military as cruel and barbaric.   Around that same time, images were being promoted in the mainstream media that compared WikiLeaks’ “secret base” as something akin to a real-life Blofeld or Hugo Drax.  Here is CBS promoting the ridiculous story.  The Bond references are not just humor, either, as the references to Fleming are a tongue in cheek nod to psychological warfare.  The psy op here is WikiLeaks itself, and we are expected to believe that WikiLeaks houses its sensitive US data at the Swedish Pionen Defense bunker.  The Pionen “bunker” now houses a bar.  Too bad the State Department, CIA and the military can’t get into a Stockholm greenhouse bar in a country that offers rendition services to the CIA.

The Banhof bar in Pionen.

The Banhof bar in Pionen.

The mainstream narrative would have us believe Assange has damaged the United States credibility and must be dealt with by any measure to ensure the “security” of our great “republic.”  Nevermind that all these American companies are in Sweden – no, no, Sweden is entirely outside the purview of American technological and legal prowess and capabilities.  Only the foolish public would believe such utterly comical bullshit.  But what does this have to do with ritual killing?  Before we explore that, I’d like to highlight more fake news. Continue reading

The Apocalyptic Death of Reason

Rick brings the logic to a xombie

Rick brings the logic to a xombie

By: Jay

What is “reason”?  Dr. Bahnsen made a great point several years ago about the mass equivocation on the subject of “reason.”  It’s a common word, used by everyone, yet at the same time it’s one of the most ambiguous words to define.  What Hume thought reason was, was vastly different from what Plato thought “logos” meant.  So what is reason?  If “faith” contrary to, or in league with reason, or is faith the only rational position to hold?  Who is right?  There are different dialectics and possibilities in regard to this question, and thus different pitfalls to be avoided.  As a student of philosophy, science and theology, I intend to offer insights on this question.

Two easy pitfalls to avoid are fideism and rationalism.  These are two sides of the same coin, with both schools proffering an all-encompassing answer that falls on one or the other side.  For fideists, the divine is wholly irrational and beyond comprehension.  Since the divine is essentially something experienced by the individual and his own piety (supposedly), fideism has tended towards pietism, superstition and irrationalism.  Fideism is thus very anti-world, and anti-intellectual, viewing creation, reason and intellect as dangerous potential enemies to the idea of God.   Fideism is an immature, childish position, which is a common feature among cults and sects of all stripes, allowing for the void of objective truth or reasoning to be filled with the imposition of the de facto, unquestioned claims of the “prophet” or sectarian hierophant.

Likewise, the rationalist sees reason and logic as the sole and final authority.  For the rationalist, “reason” is a self-evident, objective standard anyone and everyone may potentially tap into to judge all matters.  In short, whatever cannot be measured, counted, analyzed and dissected, cannot be rationally accepted.  It is, as Guenon says, the reign of quantity.  Yet early rationalism had a peculiar feature that later western rationalism did not.  Early rationalism in thinkers like Plato up to Descartes and Leibniz preferred the Ideal as the real.  Since reason was truth, and truth is unchanging, the Ideal must be the truth, and the realm of flux deceptive.  Yet reason itself is not something that can, so to speak, “get outside itself.”  When empiricism and Darwinism gained the ascendancy, any notion of an Ideal was tossed out, since it could not be accessed through sense experience, and since Darwinism “proved” that all is flux and change. Continue reading

Vertigo (1958) – Esoteric Analysis

Film Poster. Note the spiraled vesica piscis atop the pillar.

Film Poster. Note the spiraled vesica piscis atop the pillar.

By: Jay

Vertigo is the best place to start a Hitchcock analysis.  While many themes repeat in his films, Vertigo is most memorable for its psychological depth and mystique.  Containing some of the most famous scenes in the history of cinema, Vertigo is also the “master of suspense’s” deeper message about the psychological manipulation that can occur in our own lives, in society, and amongst the elite.  My thesis is that Vertigo is not just a film about an average guy that is caught up in a spiral of madness (a common theme in Hitchcock), but also an insight into the control and manipulation we see from those who are our masters.  Not only does Vertigo present an elite shipping magnate that manipulates Scottie (Jimmy Stewart, protagonist), it demonstrates the lengths to which these powers are interested in, to use the words of the Collins brothers, “managing the beyond.”  Vertigo is therefore a film about the manipulation of beliefs.

Initially the audience is shown a series of eyes, probably of Kim Novak, with spirals emerging.  The spiral has the significance here of alerting the viewer that we are trapped.  The swirling spiral of madness will grip us, causing us to dissociate, losing our sense of self and identity.  Losing one’s balance, or falling, is thus a metaphor for the loss of place and identity: this will be the crucial point in Vertigo.  How far can the manipulation of the psyche go to create and induce the loss of identity?  In  the opening scene we see a flashback to Scottie, a traumatized former police detective who was involved in the death of a fellow officer.  While not intentional, Scottie was stuck on a ledge following a chase, which resulted in another officer falling to his death.  Scottie emerged from the scene with vertigo, and only after a few years has he begun to make progress toward recovery.  It is worth noting that for Scottie, the causes of his further descent into his downward spiral of obsession, mania and dissociation revolve around trauma.

Scottie spends his days with the homely “Midge,” waiting for something interesting to happen in his life, eschewing marriage.  Midge is sexually frustrated, annoyed that Scottie has no sexual interest in her (or in anyone apparently).  Upon receiving a special invitation to see his old war buddy Elster, Scottie reluctantly decides he must go, ignoring the innuendos of Midge.  Meeting at a disguised location, Elster explains that he married into great wealth, particularly a family involved in the shipping business.  Elster tells the fantastic tale that his wife Madeleine is possessed by a ghost – a dead woman named Carlotta Valdes.  Scottie is incredulous but finally caves and agrees to Elster’s request that he follow Madeleine.  Elster says Madeleine dissociates and drives to the Golden Gate Bridge and stares at the “pillars – portals to the past.”  This will be significant later, especially as twin pillars are constantly seen throughout the film.

The spiral associated with the eye and entering the psyche.

The spiral associated with the eye and entering the psyche.

Scottie spots Madeleine at a club called Ernie’s and follows her to a florist, where Scottie begins to develop a fascination for voyeurism.  Interestingly, he spies on her in the shop through a mirror which is a classic  symbol of the psyche and its double.  Scottie begins to fall in love with Madeleine, which only sucks him deeper and deeper into the spiral of insanity that awaits.  The reference to wealthy shipping magnates and British power calls to mind the research of Fritz Springmeier, who is generally accurate in his claims.  According to Springmeier, we can assume that the mention of connections to elite merchant and sea power is not accidental.  He writes in regard to Hitchcock, the Onassis shipping magnates and Grace Kelley:

Elster, the elite British shipping magnate.

Elster, the elite British shipping magnate.

“Grace had many affairs including one with Bing Crosby.  Grace Kelly worked for MGM. Alfred Hitchcock was the one who is credited with seeing a superstar in Grace. Alfred Hitchcock came from a British generational occult family, and was a dark genius who produced many exceptional films.  Grace Kelly acted for three of Alfred Hitchcock’s movies. Dial “M” for Murder was the first. Later, Hitchcock visited Grace and Prince Rainer at their Paris  home, and Grace made a rare public appearance in Apr. ’74 with Hitchcock in New York. Hitchcock’s life has been described by someone who knew him as “an enigma within an enigma.” Hitchcock was very secretive about his own life and   his parents. We do know that he was instructed by the Jesuits at St. Ignatius College which he left in 1913. He had an extreme fascination for sadomasochism, which can be seen in his movies such as Frenzy. Continue reading