BBC Sherlock: Malaysian Airlines False Flag Scripting

Season 2, Episode 1, "A Scandal in Belgravia," in 2012: Mycroft tells Sherlock Flight 007 was a false flag with already dead bodies.

Season 2, Episode 1, “A Scandal in Belgravia,” in 2012: Mycroft tells Sherlock Flight 007 was a false flag with already dead bodies.

Like Many 9/11 Examples, the Scripting of the Malaysian Plane Fiasco Matches the Plot of BBC’s Sherlock

By: Jay

Our latest media theatrical blitz is the Hollywood-esque sequel to last month’s suspicious and likely scripted airplane disaster, the mystical Malaysian Plane fiasco.  News junkies and analysts will recall the recent “loss” of Malaysian Airlines Flight 370 which sparked a media furor of high ratings, speculation, pundit nonsense and even the enlistment of Courtney Love’s noteworthy, famed sleuthing abilities.  In a rare anomaly, Love was  in this case, unable to solve the so-called disaster.  Followers of JaysAnalysis or my Twitter or Facebook feed know that I deemed this event unworthy of any attention, and that I think it was likely staged, with a high probability of there being no plane at all.  That may seem extreme to some newer readers, but longtime readers will recall the numerous instances of known, staged and faked news casts cataloged here when RawStory attacked me.

However, with the new Malaysian Plane Flight MH17, we have what appears to be something more significant – an emerging false flag event run by western intelligence and NATO to frame Russia for the purpose of further US/EU/NATO operations in staving off Russia.  In this article, I want to present that false flag thesis and other speculations based on the evidence that has emerged so far.  I will investigate the known facts to date, based on reliable sources with a good track record, the motives for the so-called attack, and the more esoteric and speculative connections that may also be relevant to seeing the “calling card” of who might have been behind the event.

The first and most obvious suspicion is that this is Malaysian Airlines, part deux.  I am not saying anything ridiculous like they are the same planes, but rather that two Malaysian Airlines flights become “diverted” to become center stage media foci within a month as mere coincidence stretches credulity.  One recalls immediately the numerous TWA flights of the last several decades that mysteriously were lost, hijacked and shot down, all of which served specific political motives advantageous to the Western establishment.  A second related question involves Malaysian Airlines itself – who owns this airline, and what intelligence agencies might be able to utilize it for such covert operations?  Hardly anyone in the media is asking this question, nor was it asked the last go around.

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JaysAnalysis Featured on The Sunday Wire

SUNDAY-WIRE-web-small-150x1501Journalist and talk radio host Patrick Henningsen of 21stCenturyWire interviewed me on his Sunday Wire show.  We cover a broad range of topics, centering around film analysis, esoterica, philosophy and twilight language.  I come on about thirty minutes in. Note – I said William Hurt and meant John Hurt.

The link is here.

The Prestige (2006) – A Film About Revelation of the Method

Film Poster. Image: Impawards.

Film Poster. Image: Impawards.

 

By: Jay

The Pledge

For most viewers, The Prestige was a film about rival stage magicians in the Victorian Era, alternately seeking to top one another in the dank climate of emerging industrial revolution and technological wonder.  Lord Caldlow/Angiers (Hugh Jackman) is the secret nobleman who has a flair for the art of illusion, while Robert Borden and his twin (Christian Bale) are the working class stage hands who have devoted their lives to their art.  In the midst of this rivalry, the curious figure of Nikola Tesla enters (played by David Bowie) to interject the element of real magic, titled in the film, “wizardry.”  Both magicians are on a quest to sabotage the other, while seeking to perfect the greatest trick of all – the transported man.

Stage rivalry and obsession is what The Prestige is about, but it is also about much more.  After several viewings (as is my normal habit), my thesis began to congeal: The Prestige is about Hollywood and film-making itself.  And not only that, it is an industry that is an art of deception and illusion.  The director and the actors are in effect illusion artists, or con men, if you will.  The successful director is able to fool the audience into accepting that what is presented on the screen is real, even if it is evidently fantastical.  The magicians’ ingenieure, Mr. Cutter (Michael Caine), explains this principle of film as illusion at the beginning, which is to be applied to the film itself.  Cutter states:

“Every great magic trick consists of three parts or acts. The first part is called “The Pledge”. The magician shows you something ordinary: a deck of cards, a bird or a man. He shows you this object. Perhaps he asks you to inspect it to see if it is indeed real, unaltered, normal. But of course… it probably isn’t. The second act is called “The Turn”. The magician takes the ordinary something and makes it do something extraordinary. Now you’re looking for the secret… but you won’t find it, because of course you’re not really looking. You don’t really want to know. You want to be fooled. But you wouldn’t clap yet. Because making something disappear isn’t enough; you have to bring it back. That’s why every magic trick has a third act, the hardest part, the part we call “The Prestige”.”

Director Christopher Nolan explains in “The Making of The Prestige” this is to be applied to both directing and the film itself as theatrical illusion: “For me, The Prestige is very much about film-making.  It’s very much about what I do.  It is also intended to suggest to the audience some of those ideas about how the film itself is spooling its narrative out to the audience.  You want people to be aware of the effect the film is having as it’s unfolding before their eyes.”  The Prestige follows this same tripartite structure, as it draws you into an ordinary story of human rivalry and obsession, the “Turn,” where the audience is looking for the secret of Angier and the Borden’s trick, but not truly looking, because like film, stage magic operates under the audience’s suspension of disbelief.  The audience “wants to be fooled.”  And in the end, the transported man must come back – reemerge or resurrect, as the final climax of the show.

Keep ya bird in her cage, mate.

Keep ya bird in her cage, mate.

 

The Turn

In order to properly understand Nolan’s film, we must consider the same principle elucidated concerning David Lynch films – twilight language.  Researcher Michael Hoffman defines “twilight language” as follows in his Secret Societies and Psychological Warfare:  “The path to unlocking this gnosis was centered in “twilight language,” a once nearly universal subliminal communication system used in Egypt, Babylon, the Indian subcontinent and among the Aztecs, consisting of a combination of numbers, archetypal words and symbols, which in our time are sometimes embedded in modern advertising, and in certain modern films and music…. In Oriental Tantra, the mantra (including dharanikavacayamala, etc.) is sonically calculated to induce a particular action.  It forms part of the original sanskrit concept of sandhyabhasa(twilight language).  In Tantra, ‘Sandhyabhasa…is a language of light and darkness…in this higher type of discourse, words have another, a different meaning: this is not to be openly discussed.”  (pg. 207) Continue reading

Magickal Kingdom Ultra: Escape From Tomorrow and Sinister Disney

Escape From Tomorrow film poster with panopticon all-seeing eye.

Escape From Tomorrow film poster with panopticon all-seeing eye.

By: Jay

What is Disneyland?  Is it a classic incarnation of Amerikana, or is it, nowadays at least, something more?  Is it harmless, family friendly entertainment where the imagination is able to run free, or is there more at work inside the nation’s largest theme park/entertainment complex?  Rumors and speculation have abounded for years of  bizarre, inexplicable events associated with the parks as well as on the cruise ship lines, odd images embedded in the films, even to the Disney family being involved in “brainwashing” and “incest,” according to news reports.  While most of these topics are supposedly laid to waste through snopes.com and other debunkers, I propose there is more than meets the All-Seeing Eye at work.

A recent independent film has been released called Escape From Tommorow, in which the theme park is presented as a descent into madness, where an average family embarks on something akin to a bad acid trip, experiencing strange encounters, demonic forces, sexual enticement and self-destruction.  The film utilizes classic mythological and fairy tale motifs, concomitant with classic Disney, as well as blending all of that with Freudianism, conspiracy memes and technocracy.  Having received mixed reviews, I find it particularly relevant to the question of Disney itself, as the film is both a satire of what has become of Amerikana, as well as connecting with other recently released Disney films, such as Maleficent, another telling of the Sleeping Beauty like Escape From Tomorrow.  While it may seem strange to say, it is not outside the realm of possibility from the occult perspective that multiple films are released around the same time, utilizing similar stories and themes with the intention of having a ritual effect.  While this could be mere coincidence, there could also be more at work.

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Edge of Tomorrow: Esoteric Analysis

Film poster revealing eternal return.

Film poster revealing eternal return.

 

 

By: Jay

Edge of Tomorrow is like Groundhog Day meets Oblivion, which sounds awful, yet somehow it works.  You get to see Tom Cruise killed over and over by tentacled black aliens.  As odd as that sounds, I recommend it.  After viewing it last night, readers should be warned that there will be spoilers below.  Simply put, the film is a presentation of Nietzsche’s eternal return, which is a restatement of the ancient view of cyclical history.  The rise of Christianity and biblical, linear history displaced the older, wherein man was viewed as trapped in a never-ending wheel of reincarnations and rebirths.  In this scheme, man’s actions in this life determine his higher or lower incarnation the next time around, with ultimate goal of transcending the cycle altogether. Eternal return thus differs, with the same characters returning to the same life and events they previously engaged in, leading to a fatalistic determinism.

In the film, Major William Cage (Cruise) is a propagandist in the near future for the NATO forces that have united to create the United Defense Force, or UDF, which functions as a high tech globalist supersoldier army, geared towards battling recent alien invaders.  Cage is forced into demotion and enlistment as a frontline soldier, having never seen combat.  Cage is a mere NATO/UDF propagandist, with his name itself signifying his existential and ontological state.  Cage is trapped in a psychical, temporal prison of constantly reliving his day of death.  The alien force, “Mimics,” are archons in the gnostic sense.  In gnostic cosmology, the archons have the ability to manipulate time into a kind of prison.  Certain humans are susceptible to the influence of the Mimics, and even have the presence of the mimics in their bloodlines.

The surprising element here is how close this story line matches up to real aspects of the actual new world order and its global conspiracy.  The US/NATO/London axis are the global enforcement arms of the new world order, with virtually all of humanity falling under its sway.  In the film, the “alien invasion” provokes the formation of the global government, unified finally under a common threat.  The idea of using space aliens as a manufactured threat is a real psy op, with President Reagan even pushing the idea publicly at the United Nations.  And to add more salt to the wound, the film’s usage of “alien bloodlines” is symbolic of the “elite” bloodlines of the real world, who do not intermarry or mix with the “profane” breed.  This is demonstrated in the film when Cage accidentally receives a blood transfusion, making him common and depriving him of his occult powers of vision.  The Mimics, who already know how the final battle will go, have the upper hand through advanced knowledge of the events.

Stone engraving of Abraxas with entwined serpentine legs.

Stone engraving of Abraxas with entwined serpentine legs.

One of the chief archontic deities who relates to time is Abraxas, mentioned by St. Irenaeus of Lyon as a deity invoked by the gnostic Baslidians.  Wikipedia explains of Abraxas:

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The Theater of Media Operations: Snowden Analyzed

Wikileaks, Part Deux. Image: Truthseeker.co.uk

Wikileaks, Part Deux. Image: Truthseeker.co.uk

By: Jay

One of the evident patterns that emerges concerning the theater of operations known as “media” is the never-ending rabbit hole of trails and endless, conflicting details that don’t and won’t add up concerning a figure like Edward Snowden.  The application of the military term “theater of operations” is especially relevant here, since we swim in a sea of media theater and infotainment.  This is not by accident: The theater of infotainment itself is an important pillar of the Infowar.  With Edward Snowden, the recent star of the world media acting stage, the trails and legend(s) surrounding his back story are purposefully misleading.

Concerning this intentional labyrinth of false leads and bogus details, analyst Jon Rappoport comments:

“Of course, the American people don’t consider all these potential elements of the Snowden affair. (More on the various potential elements of the Snowden affair can be found here under the #Spygate heading on my blog (top right hand side link).)

Although they watch spy movies and television shows, they don’t believe, when push comes to shove, that intelligence operations have layers and false trails and cover stories and limited hangouts.  They don’t believe that deception can run that deep. They don’t stop to realize that all spies are trained to lie.  Lying convincingly is the number-one requisite for a spy. Lie to enemies, lie to friends, lie to the press, lie to other agencies of government.  If a spy doesn’t wake up every day thinking about what lies he’ll tell from breakfast to dinner, he’s a dud. A washout. A danger to himself and others.  Spies live in a labyrinth of deceit. It takes a certain kind of personality to thrive in that atmosphere.” Continue reading

Raw Story Attacks JaysAnalysis – My Response

OBEY.

OBEY.

 

By: Jay

The limp wrists at stRaw Story have somehow managed to find the strength in their upper appendages to type up a hit piece on JaysAnalysis for daring to question the immediate, prepackaged narrative of the mainstream media machine concerning the Elliot Rodger event. Raw Story, as most are aware, is a Democratic Party line outfit that parrots whatever the Democratic talking points are – so just as the author wants to castigate me as the lunatic fringe, we can likewise place him in his appropriate cubicle at Obama Apologetics, Inc.

The article has little substance, other than flowery rhetoric designed to lull the most avid Party followers into assuming that everything at my site is written directly from a mental asylum communal computer space, yet readers know that in the last month alone, I’ve had numerous viral news stories, including accurately predicting both the IMF bailout in Ukraine and the CIA revelations about Snowden as one of their own. It also doesn’t matter that I’ve interviewed top politicians, analysts and intelligence experts – no, none of that matters. The only thing relevant is the typical faux leftist race card accusation.

Classic Fake War Broadcast from CNN

The writer insinuates that I am racist by accusing me of writing about “Jews,” though I nowhere mention Jews or international bankers in the article. In fact, the first person to say the Elliot Rodger incident was a false flag was in fact the former State Department head of black operations, Dr. Steve Pieczenik, a Jew. It’s also worth asking the Raw Story Obama apologists if, since they tend to follow the Party line, they agree with Obama’s actions in supporting Al Qaeda, an anti-Jewish organization, as well as the funding of Neo-nazis in Ukraine and other color revolutions? What about Obama’s expansionist warfare through AFRICOM killing blacks?  I oppose those actions, while so-called leftists have tended to support them.  What about the fact that the Pentagon now openly does Psy Ops on American citizens, whereas formerly it was covert (and here)?

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Hollywood Occult Brainwashing in Lynch’s ‘Mulholland Drive’

Film Poster. Wikimedia Commons.

Film Poster. Wikimedia Commons.

“‘I learned that just beneath the surface there’s another world, and still different worlds as you dig deeper.’ – David Lynch

By: Jay

The Academy Award-nominated 2001 work of David Lynch, Mulholland Drive, is remembered by most as a macabre, satirical nightmare dreamscape of Neo-noir centering around a typical girl next door’s dream of becoming the next Hollywood starlet.  That is about the only thing viewers can agree the film is about.  Reviewers speak of “surrealism,” “imagination,” “nightmares,” and a few of the more philosophical pieces look at semiotics in relation to the performance at Club Silencio, yet no one seems able to truly crack the language of Mulholland, even with Lynch’s clues and hints.  In my analysis, I want to propose something radically different – Mulholland follows Lost Highway as a similar story of Hollywood dark side, but with a new twist, revealing actual occult brainwashing techniques.  Not only that, Lynch’s film will make “twilight language” references to a host of esoteric subjects, including the Manson murders and the CIA’s MKULTRA mind control programs.

Before delving into that topic, author Michael Hoffman defines “twilight language” as follows in his Secret Societies and Psychological Warfare:  “The path to unlocking this gnosis was centered in “twilight language,” a once nearly universal subliminal communication system used in Egypt, Babylon, the Indian subcontinent and among the Aztecs, consisting of a combination of numbers, archetypal words and symbols, which in our time are sometimes embedded in modern advertising, and in certain modern films and music…. In Oriental Tantra, the mantra (including dharani, kavaca, yamala, etc.) is sonically calculated to induce a particular action.  It forms part of the original sanskrit concept of sandhyabhasa (twilight language).  In Tantra, ‘Sandhyabhasa…is a language of light and darkness…in this higher type of discourse, words have another, a different meaning: this is not to be openly discussed.”  (pg. 207)

In my Lost Highway analysis, I mentioned that David Lynch is a fan of Buddhist and zen philosophy.  Presumably, he is also aware of this Tantric conception of twilight language and its significance in terms of using and manipulating symbols and events.  The opening of that analysis is appropriate for Mulholland Drive, as well:

“The telling of the story is non-linear, yet influenced heavily by classic 1940s 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.”

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Did Tykwer’s 2009 ‘The International’ Predict Banker Deaths?

Film poster. They own everything.

Film poster. They own everything.

 

By: Jay

In film analysis found in alternative news it is often the norm to look for hidden symbols and all-pervasive evil codes, as if every artistic venture were controlled by shadowy black ops commanders and occultists. We must avoid being too negative and falling into a myopic view of the world. Some films are good propaganda and deliver a positive message: One of those positive messages is found in The International. Tom Tykwer’s 2009 film is a stunning expose of the true to life inner workings of the global banking crime syndicate, otherwise known as the new world order. And as an even more interesting question, did Tywker’s film also predict or foreshadow the deaths of numerous high level bankers of late?

The film stars Naomi Watts as a New York Assistant District Attorney “Eleanor Whitman” and Clive Owen as Interpol agent “Louis Salinger” on the trail of the killer(s) of a prominent banker Interpol is trying to flip from the IBBC, the International Bank of Business and Credit.  The IBBC in the film matches up to a couple real banks, like the Bank for International Settlements, the BIS, or the BCCI, the Bank of Credit and Commerce International.   The first is the elite Swiss Bank seated at the top of the world banking empire in Basle Switzerland.  A product of the last century of globalization, Council on Foreign Relations historian Dr. Carroll Quigley gives the inside skinny in his Tragedy and Hope  and discusses Lord Milner’s Round Table Groups, upon which the RIIA, Council on Foreign Relations and the elite BIS are based.  Quigley writes:

“The powers of financial capitalism had a far-reaching plan, nothing less than to create a world system of financial control in private hands able to dominate the political system of each country and the economy of the world as a whole… Their secret is that they have annexed from governments, monarchies, and republics the power to create the world’s money…  -pg. 324 Continue reading

JaysAnalysis Featured on The Rundown Live

 

The Rundown Live was gracious enough to interview me for their podcast and local radio show.  In it, we discuss Plato, philosophy, globalization and transhumanism.