Blade Runner: Indepth Esoteric Analysis

German Film Poster

Highest Levels of Illuminism Revealed

By: Jay

In Ridley Scott’s Blade Runner, we are presented with a prescient, dystopian future based on Phillip K. Dick’s novella, “Do Android’s Dream of Electric Sheep?” We will see that this film is full of not only accurate predictions of the future’s general landscape, but is also suffused with occult imagery and deep symbolic themes, as well as raising crucial moral and social issues.  As I will argue, the film operates on several levels: as the immediate story itself, the predictive future level with social critiques, the level of covert operations and mind control, and the deepest level, that of myths, archetypes, and alchemical occult initiatory transformation.  All these levels must be integrated to grasp the full import of the film as Ridley Scott conveys it.  The deepest level is what holds the other levels together in coherence and meaning.

As the film begins, the viewer is shown the 2020 landscape of Los Angeles, and then an eye viewing the landscape.  The eye represents the viewer, and just as I explained in my analysis of Eyes Wide Shut, the viewing of the film itself will constitute an initiatory experience.  The viewer is going to be shown the elite plan, yet the eyes of most will remain shut.  For the masses, there is no ability to make deeper level connections and associations between ideas, symbols and archetypes.  For the viewer who has eyes to see, they are seeing the future itself, as well as the worldview of the ruling class.  In fact, Blade Runner ranks with Eyes Wide Shut as one of the most explicit revelations of the method of the ruling oligarchs.  My interpretation of this is confirmed by the fact that the film doesn’t show us whose eye we see.  In fact, the reflection in the eye shows the scene the viewer just saw of the L.A. cityscape.

It is significant that we are presented with two shots of the eye and then the cut to the Tyrell corporation’s ziggurat/pyramid shape. Immediately we are presented with Egyptian symbology, as well as the notions of the so-called “Illuminati.” The all-seeing eye is flashed in between images of the exalted pyramid in order to initiate the viewer into who is running things.  This is the connection of imagery and meaning that most are not able to make. 

We are given hints as well that perhaps this is an ancient technology of dominance – the “technology of the gods.” In reality, the technology of the gods meme refers to the elite perspective of themselves and their “magickal” worldview: Any sufficiently advanced technology is indistinguishable from magic, as Arthur C. Clarke’s third law says.  The “god” is the one who controls the genetic engineering and artificial intelligence.  The cap of the pyramid is empty because the head of the system is secret.  It’s a shadow corporate government, where the eye floats above the pyramid itself.  The eye is thus above and transcends the externalization of the hierarchy on earth. 

Original DARPA “TIA” logo, echoing the Tyrell Corporation.

When the viewer approaches the pyramid in the open scene, it is engulfed in golden sunlight, conjuring up notions of Ra and Egypt.  The mysteries of Egypt center around the godlike philosopher king (Pharoah), as the material manifestation of Atum Ra, mirroring the spiritual hierarchy on the spiritual plane.  In this dystopian future, the Egyptian scheme is replaced by a corporate system.  The light is enlightening the viewer, taking him along for the ride in the flying car to the top of the pyramid.  In other words, for those that can see, you are about to see what they see. Read more of this post

G.I. Joe “Resolute” – VLF Weather Modification

Secrets of Prometheus Revealed

Big Trouble in Little China (1986) – Esoteric Analysis

"Have ya paid yer dues?"
"Yeah, the check's in the mail!"

By: Jay

 Big Trouble in Little China is another one of those goofy 80s films that you’re presently assuring yourself has no deeper relevance. You’re smugly saying, “Oh come on Jay, seriously? Another 80s esoteric analysis of something completely silly, like BTILC?” Well, dear reader, let me assure you of your error, and further promise to deliver juicy esoteric tidbits to sate your hunger as you journey on. Consider the opening scene that Fox mandated be added (where Egg Shen recounts the adventures of Jack Burton).  The actor is Jerry Hardin who played “Deep Throat” early on in the X-Files. Interestingly, the ambiguous government agent played here is similar to Deep Throat. What is also interesting is the obelisk on the desk behind him, initiating the viewer into what will be an occult journey.

Egg Shen reveals that the tale ahead will be one of Chinese “sorcery and black magic.” As proof, Egg Shen offers typical 80s blue lightning, of the Force variety. According to IMDB, the Chinese script in the beginning title sequence reads, “Evil spirits make a big scene in little spiritual state,” meaning the film will feature the primeval ancient religious tradition of the higher aeons or gods incarnating themselves in lower, visible, solid forms. This is almost universal in ancient cultures, from Greece and Rome, to China, and lends credence to the view that polytheism and monotheism come from a single religious tradition, as described in Genesis 1-12.

Note also that Egg Shen conceives of the usage of good and evil magic by both sides. Magic, in this view, may be used by the dark side and the light side, in what the dualistic scheme of most world religions views as the ultimate template for all reality. Eastern religions in particular have this dualistic focus, with the binary opposition never being transcended in this life, apart from “enlightenment” that results in some kind of dissolution or absolving into “pure being,” “thusness” or “nirvana,” or some state of being beyond the present world, which is often identified as “evil” and the domain of the fallen spirits and demons. The problem with this type of worldview is that it is self-defeating and contradictory. It claims to seek transcendence of the material and of all binary opposition, but its answer is to seek it in absolute impersonality. Since particularity and form in this world are the sources of “evil,” all particulars must dissolve. The result is monism and collectivism, and the history of eastern cultures demonstrates this enslavement clearly. Read more of this post

“GoldenEye” EMP in the News

Golden All-Seeing Eye

By: Jay

Two years ago, I did a brief analysis of GoldenEye and mentioned the reality of EMP weapons.  This appeared February 22, 2012 in the Telegraph, mentioning the possibility of a ‘GoldenEye’ EMP weapon.

The Telegraph reads:

“A nuclear device detonated up to 500 miles above the earth’s surface could   generate an electro-magnetic pulse (EMP) with a “devastating”   effect on power supplies, telecommunications and other vital systems, the   Commons Defence Committee said.

It warned that countries such as Iran – which is resisting international   pressure to end its nuclear programme – and even eventually some “non-state   actors” could acquire the technology to mount such an attack, in a   scenario akin to the plot of the 1995 James Bond film ‘GoldenEye’.”

Continued here.

While the “EMP” talk could be paranoia and psych warfare, it could also be real, as NASA and other outlets warn.  Pay close attention to what is said here: “Hollywood could be involved in this…”  (?)

The Avengers (1998) – Esoteric Analysis: Weather Warfare!

Note the exploding Big Ben, a standard Hollywood terrorized edifice. Will the twilight language eventually show Big Ben detonated like "V for Vendetta" also shows?

By: Jay

Update!  See below, in regard to “umbrella” (in relation as well to John Steed’s trademark umbrella).

———

It’s been a while since I did a really juicy tinfoil top hat write-up, and the 1998 film The Avengers is a just such a romp, in terms of filmwise conspiriana.  Upon first viewing, I noticed a few esoteric elements, and upon second viewing, I noticed quite a few more.  The film was a financial and critical flop, yet the plot is not as absurd as it seems, prima facia.  The cinematography and art direction are top-notch, but eventually it fizzles into standard late 90s apocalyptic CGI corn syrup eye candy.  I suspect a lot of people failed to understand that the original series and the remake are a parody of the 60s spy genre, and not to be taken too seriously.

However, as will be shown, the plot is anything but a parody, but instead a cloaking of some of the more unbelievable, yet real elements of conspiracy lore.  In fact, the film is notorious for “razzies,” but in all honesty, it isn’t that bad.The intro begins with different weather systems and what appears to be various energy wave patterns “beamed” at the ionosphere.  Then, following these images is a blood-red moon, looking somewhat like Mars.  This makes sense, since Mars is the god of war, and the film will be be about the very real subject of weaponized weather.  The blood moon is also a biblical apocalyptic image, and the moon governs the weather patterns of the tides, clueing the viewer into the tone to come.View the intro. here, with the blood/Mars/moon visible at 2:26.

Ralph Fiennes’ character John Steed is similar to James Bond: he is a cultured gentleman that works for British Intelligence.  In fact, he even hangs out in Boodle’s: the same club that Ian Fleming, the James Bond creator and author, favored.  The head of the Ministry of Defence apears to be a bumbling man named “Mother,” which hearkens to “M,” 007′s famed boss.  “M,” many believe based on Anthony Master’s biography, was at least in part derived from controversial British Agent and occultist, Maxwell Knight.  In The Avengers, “Mother” is a bumbling crippled man, who works as a front for “Father,” pictured as a manly woman operating as the real head of Secret Intelligence.  Judging by the timing of the film, this could possibly have reference to then head of MI5, Stella Rimington.

Rimington’s novels are said to be “insiders” espionage, and certainly this film is a presentation of a host of conspiriana that, in 1998, were only apparent to “insiders.”Uma Thurman’s character Emma Peel has worked secretly for a weather warfare program that has been hijacked by a double that appears to be her.  The head of the project is the eccentric former head of British Intelligence and black ops, Sir August de Wynter, a Scottish lord-type played by Connery, who lives a reclusive existence in his palace (And of course Connery played Bond, adding to the synchro-mystic associations).

"Say Moneypenny, would you like to reverence my obelisk?"

The name of the program is “Prospero,” which naturally calls to mind Shakespeare’s The Tempest, and Connery functions like the character Prospero as a kind of Masonic magician, using  instead his scientific prowess to create what is essentially a HAARP/weather warfare operation.  Keep in mind that although weather warfare was known to some military personnel, and although it had been written about by Zbigniew Brzezinski in 1973 in Between Two Ages, the public was utterly oblivious to such a thing in 1998.  The public is still oblivious to such a notion on the whole, yet much internet conspiracy lore speculates about HAARP and weather warfare.  As you can see, the VLF Group which is the basis for HAARP is undeniably real, and does more or less what de Wynter describes.

Brzezinski writes: Read more of this post

8 Examples of Unusually, Overly Specific Typecasting in Hollywood Movies

"I, ugh, I ugh, I'm I'm stroking my chin now, right now, as a proper Jeff Goldblum should do, and I, I, I, um, am about to tell you some, some, um, disturbing FUBAR event that we will marginally escape..."

By: Peter Parker

Most movie goers are familiar with the phenomenon of typecasting, where a certain actor, be it by his or her own efforts or by the capricious whims of some Hollywood Executive, ends up playing the same basic role over and over again. Examples include John Wayne’s myriad performances as Cowboys, Arnold Schwarzenegger’s frequent portrayal of guys who’ll “be back” and Shia Labeouf’s endless depictions of people I want to repeatedly punch in the face. However, what has gone largely unnoticed by folks with so-called “real lives” is what I have labeled “U.O.S.T.” or Unusually Overly Specific Typecasting. U.O.S.T is often so bizarre that it seems more like some wonky Synchro-Mystic reincarnation across an actor’s career history rather than a reflection of the utter unoriginality of Hollywood casting directors but perhaps we should just let the examples of it speak for themselves.

Mary Steenburgen: The Girlfriend, Turned Wife of Guys Who Travel Between the Late 19th and Late 20th Centuries.

Other than playing Bride of Frankenstein to giant foreheaded hubby Ted Danson, Mary Steenburgen is probably best known for playing the part of Clara Clayton, a schoolmarm romanced by nutty scientists Emmett “Doc” Brown, when he travels back to the year 1885 in the third Back to the Future movie. After contemplating destroying his time machine on the grounds that it might fuck shit up on a galactic scale, Doc eventually says “screw the laws of causality,” marries Clara and returns with her to his own era.

"We named our kids Jules & Verne, so basically, we’re one of those annoying yuppie couples that makes you wanna barf! But at least, be thankful we didn’t pull a Will & Jada Smith & call em Clemet & Emra."

What’s less remembered, however, is Mary played almost this exact same part ten years earlier, with only one slight inversion. In the 1979 film Time After Time, Mary plays Amy Robbins a late 20th century woman who is romanced by a time traveler from the year 1893, specifically the pimp-daddy of time travel himself, H.G Wells, who came through time to pursue none other than Jack the Ripper. After saving Amy from “Saucy Jack” Wells decides he must return to his own time and destroy the machine. Proving the old adage “time machines are the ultimate pussy wagons,” Amy begs Wells to take her with him. They return to 1893 with the ending credits telling us that they later married.

Hell, both movies even feature scenes where Mary gets all pissy when her respective beaus, reveal that they are time travelers. Apparently, she believes “I’m a time traveling scientists” to be a sleazy con to get up under her hoop skirt and as we’ve already established, it’s definitely an angle that works!

Speaking of perfectly executed segues; our next example of U.O.S.T also involves another actress from Back to the Future.

Maybe this movie traveled through time to become “Back to the Future 3.”

Lea Thompson: Young Women in Sci-Fi Related, Deeply Disturbing, Sexual Relationships.

If you weren’t creeped out by the Steenburgen/Danson pairing, then this next segment probably won’t phase you one bit, however if your disturbo-threshold is that of a normal human, prepare to go “eeww!”

The lovely Lea Thompson has twice played parts that combine sci-fi and totally wrong sexual relationships. Many of us remember, mostly in therapy sessions, the scene in Back to the Future where Lea plays 1950s chick Lorrain Baines, who through the miracle of time travel, tries to get it on with her own son, Marty.

Hell, both movies even feature scenes where Mary gets all pissy when her respective beaus, reveal that they are time travelers. Apparently, she believes “I’m a time traveling scientists” to be a sleazy con to get up under her hoop skirt and as we’ve already established, it’s definitely an angle that works! Read more of this post

1981 Film “Rollover” Predicts Present Financial Qualms

Prediction of Next Major Event in “Trespass”?

Engineered Revolution as Geo-political Stratagem

Julius Caesar, first Emperor of Rome, following the fall of the Republic.

By: Jay

Destabilization of regions is a classic tactic of political intrigue, yet most people think the color revolutions and “Arab Springs” are real.  Not only are they not real (although there are real discontents among the populace), the “springs” are revolutions that are engineered, with the recent trend including the implementation of social media in fostering fake revolutions.  These revolutions are engineered by front groups for the purpose of controlling Eurasia.   This was the geo-political stratagem of the West which was announced years ago, and Zbigniew Brzezinski spoke of the necessity of controlling Eurasia to control the world for the American Empire.  Destabilization is the neo-conservative approach to this area, however, and if we recall last year, Henry Kissinger noted that we would see a series of acts of destabilizations in the Middle Eastern nations that were, in a large part, given impetus by color revolutions. 

The destabilization campaign then spread to Libya and other nations, which were also furthered by economic warfare.  The Libya plot to “kill Gaddafi,” of course goes back decades, but the entire Gaddafi scenario was scripted, in my estimation.   The purpose here, of course, is objective analysis, and not moralistic judgments, as geo-politics is not concerned with morals, but with facts: the is, not the ought.    These geo-political strategists operate in conjunction with the nexus of  Washington, Wall Street and the six largest mega-banks that have the military industrial complex in their employ.  The world isn’t multi-polar, it’s banko-polar. And so there is an Anglo-American establishment that uses the British model of espionage and cloak and dagger to remain in control behind the scenes as an international shadow government, with a series of front governments and leaders that operate in their employ.  Cursory examinations of mainline books on espionage and intelligence operations reveal this same pattern of puppet leaders and phony dictators, who sometimes get uppity and rebel, and are quickly replaced with a new frontman.   

Note that the neo-conservative model involved direct warfare propaganda, while the left-cover Read more of this post

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