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 newscasts 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.

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.

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

Now You See Me – Revelation of the Method

The closer you look, the less you'll see.

The closer you look, the less you’ll see.

By: Jay

Now You See Me is, on one level, a silly, contrived film about a group of magicians invited to be part of a large-scale heist and con operation.  Simply put, amateur magic acts Henley Reeves (Isla Fisher), Merritt McKinney (Woody Harrelson), J. Daniel Atlas (Jessie Eisenberg) and Jack Wilder (Dave Franco) are chosen to join a wealthy Arthur Tressler-backed operation called The 4 Horsemen (Michael Caine is Tressler) that plan to steal from various banks. The “magic” the team uses is really a series of advanced techniques of Hollywood magic, psy ops and other forms of smoke and mirrors.

Each of the stage acts are sent a Tarot card that is relevant to their act and persona.  Eisenberg is sent a “lovers” card, Harrelson the “hermit,” Isla the “priestess,” and Fanco is sent “death.”  The cards invite them to an abandoned apartment that is their recruitment for a secret “Order of the Eye” that exist to utilize magic and illusion to balance justice against forces of greed and corruption.  The symbol for the Order, of course, is the All-Seeing Eye that emerges as Harrelson touches the light bulb.  The significance here is that the ignition of light, which is what enters and exits the eye to cause perception, is the beginning of their initiation. This is relevant because the whole film will be about the management of perception.  The Order, in fact, requires a large-scale psy op to enter its ranks.

The Order, in terms of decoding the symbology, stands for the secret elite cryptocracy that make up the top levels of the shadow government.  The first bank robbed is a French bank, Credit Republicain of Paris, and the money is funnelled into the auditorium in Las Vegas. This first trick involves fooling a plant into thinking he was teleported to his bank in France.  In reality, the plant was chosen, studied, and put under mind control and hypnosis and given a trigger word that put him into a trance.  The code word triggers a reaction in which the plant thinks he is in France, but has been programmed to attend the Vegas show.  The 4 Horsemen it turns out had hidden inside the delivery truck to steal the real cash using flash paper to make the fake money appear to disappear.

Meanwhile, FBI Agent Dylan Rhodes (Mark Ruffalo) and an Interpol Agent Alma Dray (Melanie Laurent) from France are on the trail of the hoodwinkers.  Alma tells Ruffalo that the Order of the Eye is really the Eye of Horus and that they may be a real secret society.  Meanwhile, the second act of the great show by the 4 Horsemen is the looting of Arthur Tressler’s bank account, which is given to the audience in New Orleans.  Tressler, dejected, is informed by magic debunker Thaddeus Bradley (Morgan Freeman) that the theft of his millions was merely a sideshow distraction for the main act, proposing they team up to debunk the Act.

The Order of the Eye

The Order of the Eye

The 4 Horsemen are also hackers, we learn, and end up located by Tressler, Bradley and the FBI, leading to the “death” of Jack Wild.  Of course this was all staged, but Bradley makes an interesting comment that all the actions of the Horsemen are done for the purpose of playing out their ritual magic event on the world stage.  Indeed, this is precisely the perspective the “Illuminati” have, as the events they perform on a mass scale involve not only “Hollywood” smoke and mirrors, but also real events worked on the stage that is the real world.  The writers of Now You See Me are quite aware of that fact, and are making it very obvious.  The Third Act of the Four Horsemen involves stealing a large sum of money from a defense contractor, and giving that “money” to the masses. Continue reading

Star Trek: Into Darkness – Esoteric Analysis

In the original film poster, Khan, the genetically-engineered weapon of the establishment stands poised over the huge San Francisco false flag terror attack.

In the original film poster, Khan, the genetically-engineered weapon of the establishment stands poised over the huge San Francisco false flag terror attack.

By: Jay

J.J. Abrams’ Star Trek: Into Darkness differs quite a bit from the original reboot with a much deeper, esoteric geo-political plot.  While Star Trek was much better rated, and in ways a better film, the follow-up was a striking parallel to modern international political alignments that include a stark reference to 9/11 and staged false flag terror and the present East – West Cold War dialectic that is re-emerging before our eyes.  Indeed, the entire storyline of Into Darkness appears to be based on the Great Game of the Anglo-American Empire versus the Russian Bear.

First, it is incumbent upon readers to understand the Great Game, which emerged in the last century as the British Imperial merchant power sought to manage the risk of a possible rise of its eastern rival, the Russian Empire. This Great Game is a large part of the wars and power moves of the last century and continues today in the present destabilization efforts of the west to hedge in Russia in the Middle East with the chess moves of toppling Iraq, Egypt, Libya, Syria, and other states.  And the justification for these latest moves the last decade have been of course 9/11.

Initially we see Kirk and Bones fleeing a primitive tribe on Nibiru, reminiscent of the opening of Raiders of the Lost Ark’s opening scene.  The reference to Nibiru is worth considering, especially if we completely ditch the entire mountain of goofy pop mythology in relation to Nibiru (to be classed in the absurd “2012” category of fake conspiracies).  Nibiru was actually the highest point in the ecliptic in Babylonian astronomy where Marduk had his seat as chief among the Akkadian pantheon.  It is also sometimes identified with Jupiter, the seat of Zeus in western mythology.

In the vast mythology of Stark Trek the common notion is that it presents a rationalistic scientific socialism, where the world government of the Starfleet Federation governs all races and aliens in a benevolent harmony, yet those who are familiar with the esoteric and happen to be Trekkie nerds know better.  The deeper subplots of many Star Trek episodes and films are glaringly gnostic, including storylines related to Plato’s Forms, gnostic demiurges, reality as a holographic projection, etc.  In this way, we can understand that, like the plot of Prometheus (which Damon Lindelof also wrote), the Federation views itself as the elite establishment tracing its origins back to the original planet of the gods, while simultaneously becoming the object of religious veneration to the primitive Nibirians, as the Enterprise is forced to flee the planet prior to Spock’s Cold Fusion detonation (to stop the volcanic eruption).

This ends up causing a ruckus at Starfleet, since the Prime Directive mandates that Starfleet cannot interact with a primitive planet’s development.  My thesis here is that Starfleet represents the Anglo-American establishment’s façade of “democratic,” “charitable” and “scientific” expansionism, engaging in the infiltration and co-opting of numerous nation-states in a continuation of the older British colonial model.  The establishment presents itself as gods to primitive continents like Africa under the guise of protecting the “free world,” while mining these areas for resources, engaging in never-ending expansionary espionage endeavors.  Viewers will recall a similar theme in Lindelof’s Prometheus, where the search for the origins of man leads to the Space Jockey’s bio-weapons manufacturing planet. Continue reading

Science Confirms We Fringe: Who Runs the World?

Look, see how the globe is become a pretty shiny ball of progress through innernetz!

Look, see how the globe is become a pretty shiny ball of progress through innernetz!

But the “elite” TED speaker still can’t use the “C” word (not cunt)

By: Jay

First, watch the TEDtalk lecture at the bottom, “James Glattfelder: Who Runs the World?”  If you recall, this study mentioned in the below lecture was going around the web, especially on “conspiracy” sites, a year or so ago.  What the study shows is the relationship between the ownership of shareholders and corporate networks.  Now, while you think we live in a “free market” system under capitalism, the study shows we absolutely do not.  In fact, this interpretation of the data is the siren song we fringe thinkers and researchers have been saying for years.  The speaker is right that perhaps the international data in relations to systems analysis has not been analyzed before, but his conclusions are old hat to us in the reality community.

The conclusion is that the transnationalist entities are linked and basically run the world.  The influence of the shareholders amounts to running the planet through maintaining the controlling shares of the top companies.  146 top players thus can control half the world’s wealth and resources.  To point this out is not “communism,” since I have shown numerous times that “communism” and “socialism” are not real movements, though the anti-establishment energy they channel is very real.  Communism and socialism are control mechanisms to divert anti-establishment furor into movements controlled by the transnationalist/globalist interests the TED talk speaker mentions at the bottom.  The speaker also fails to mention that all these top “TNCs” are behind the speakers who frequently appear on TED talks, like Bill Gates and Al Gore.

But keep in mind, they are not capitalists.  Capitalism always takes the blame for the machinations of entities that want to stamp it out.  These entities are not, strictly speaking, socialist, either.  Gore and Gates, for example, are billionaire monopoly capitalists that openly intend on imposing a Fabian technocratic socialism for the masses, while ensuring privatization for those at the top.  For the bottom 99%, regulations, laws, rules and bureaucratic red tape are marshaled to shut down any and all competition, while those at the top are above any and all laws.  In essence, we are under the worst system imaginable for 99% of the globe.  99% of the populace still cannot figure out that their whole spectrum of existence has been weaponized to rid them from the face of the earth.  Even the TED talk pseudo elites are unable to figure out the British model of divide and conquer eugenics that still runs the world.  I have tried and tried and tried to hammer this home to friends and readers, yet few have caught on and prefer the Matrix.

The corporations the speaker mentions are actually the source of the modern Green Movement, originally an “anti-capitalist” strand of communism that descends from Marx and Engels who were the first to write about the supposed “alienation” of man from nature through technology and private ownership of property.  A connection can also be made here to Darwin, since Marxism was based partly on partly Darwinism, yet minus the Anglo racial superiority.  The “alienation” of man from a state of pure nature and equalitarianism was supposed to be reconciled through the proletarian revolution, leading to the stage of universal state communism prior to libertarian freedom through the withering away of the state (in classical Marxism).  However, in our day all of this has morphed into the monstrosity we see today: corporate socialism, or fascism.  There are no longer any nation sates, only subsidiaries of the Tyrell Corporation and the Umbrella Corporation. Continue reading

Romanian Writer Ninel Ganea Interviews Jay’s Analysis, Pt 3

The centralized control grid of monopoly capitalism.

The centralized control grid of monopoly capitalism.

Romanian writer, philosopher, and member of the Von Mises Institute, Ninel Ganea interviewed me concerning my own thoughts surrounding a variety of issues.  Ninel runs  and is posting the interview in 3 installments.  Below is part 3.

Part 1 here

Part 2 here

What is the philosophical/economical/esoteric argument for reduction of the population? We see all the powers that be (Club of Rome, for example) obsessed with this issue.

For those who adhere to the “left-hand path” as they term it, it is the natural order of things. In that perspective, at least for those that are high level occultists, the goal of esoterism is godhood, and the path to godhood necessarily involves the destruction of those that are in opposition. It is all viewed in alchemical terms, so the forces of chaos, disorder and destruction are viewed as a kind of technology that leads to progress. One can see this in the revolutionary notion of necessary evil where something like the French Revolution was a good, since the bloodshed and chaos led to the outbreak of other revolutions and “progress.”

Alchemically, the idea is that the Great Work had progressed through destruction, and the Great Work is the deification of man through the long process of history. In this view, technology and transhumanism are the means to that godhood that will be the purification of base metals into gold: immortality through Promethean, rationalist means instead of through God. On another level, some of those occultists would see the death of the masses as a fulfillment of the Crowleyan dictum, “the slaves shall serve.” Or, the slaves shall die, actually. The masses, in this view, are sacrificed because they are precisely what holds back progress. Their sacrifice must be accomplished so that the elite may leap forward. Darwin, Marx and Mao all had the same idea that destruction is a form of creation. Incidentally, this is what Graham Greene says in The Destroyers, as quoted by Donnie in Donnie Darko.

Do you see any fracture between traditional monarchies and the modern political regimes? How do you rate Prince Charles conservative tendencies in this context?

The revolutions from 1789 onwards effectively wiped out the outward face of the monarchs, with the British monarchy retaining its somewhat public power, and without a doubt the Queen of England and her house retain a lot of power, despite many people mistakenly thinking they are mere figureheads. I think the revolutions of the 18th and 19th centuries were a mixed bag: are we really better off going into a technocratic slave state than having monarchies? I also suspect that the royal houses are still very powerful, but from behind the scenes.

Queen Beatrix and Bilderberg is a good example, but a lot of people are unaware that the European black nobility are powerful and do have elite meetings in Malta, for example, though I don’t want to really delve into the generally goofy Jesuit/Malta conspiracies. If one is interested, histories of MI6 sometimes discuss Malta and its use in this regard. As to what degree the monarchs, royal families and black nobility intersect with modern republics and political regimes, I am probably not well educated enough on the topic to speak knowledgeably. Much of what Fritz Springmeier has written in Bloodlines of the Illuminati does tend to be verified. Continue reading

JaysAnalysis Interviews Game of Thrones’ Tommy Patterson

Jay’s Analysis brings you a new interview with The New York Times’ #1 Best Selling Game of Thrones graphic novel artist, Tommy Patterson.  Tommy Patterson is a rising star in the comic world, with a wealth of work under his belt already, from the Jim Henson Company’s Farscape to George R.R. Martin’s Game of Thrones, now an Emmy-winning HBO series. In this interview we discuss Tommy’s upbringing, life in a small town, high school hijinks, university nonsense and breaking into the industry.  From there, we discuss philosophy and the subject matter of the new world order and the Illuminati.  From conspiracy theories to the trivium and quadrivium, Tommy gives us some silliness on hair metal, some insight into his worldview and the relationship of the individual’s psychological progression and its relation to the work the artist produces as an aesthetician.  Take note – Tommy’s star is on the ascendant!

Game of Thrones reached #1 on the New York Times' Best Seller list.

Game of Thrones reached #1 on the New York Times’ Best Seller list.

To contact or follow Tommy, harass him on his Twitter here

To Download the Interview,

Right Click and “Save As”

Approaching 500k Views: Help Support Jay’s Analysis

Walk away from so-called "mainstream media."  Support Jay's Analysis.

Walk away from so-called “mainstream media.” Support Jay’s Analysis.

As Jay’s Analysis continues to expand, it’s time to ask for your support.  Independent media and research is an almost full-time job, with little to no support from those that operate inside the “system,” which is still a majority of the population.  The so-called mainstream media takes your money through forced bailouts and gives a hefty portion to propaganda outlets like MSNBC that then feed you lies and deception.  Instead of supporting the system that seeks your own enslavement, consider supporting unique, independent media sites like Jay’s Analysis that include satire, geo-politics, news, pop culture and literary analysis.

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Iron Man 3: The 9/11 Meme Comes Full Circle

Marvel Promo Poster.

Marvel Promo Poster.

By: Peter Parker

Sometime ago this writer made a discovery that was featured here on Jay’s Analysis concerning an episode of the 1990’s Iron Man animated series.  As is the case with numerous films and television shows, this episode contained scenes that seemed to eerily prefigure certain aspects of the 9-11 tragedy.  Interestingly, this particular episode featured not one, but two major parallels to the events of that fateful day, yet surprisingly, at the time, I had never seen this episode featured in any of the internet’s exhaustive lists of ‘9-11 predictive programming.’  I am not suggesting that its absence was due to any conspiracy within a conspiracy, presumably this was merely indicative of the extreme unpopularity of the 90s Iron Man cartoon.  However, its absence from most lists is still in some ways surprising, given how closely it resembled the September 11th terror attacks. Arguably, of all the examples of ‘9-11 semiotic programming,’ perhaps only the infamous Lone Gunmen pilot came as close to mirroring the real life event.

The episode, which originally aired in 1994, was entitled “The Grim Reaper Wears a Teflon Coat.”  It opens with a control room of NORAD operatives panicking as the new experimental plane, the Grim Reaper, slips by their defenses and begins raining a volley of missiles on New York City.  Amongst the buildings hit in the attack are the Twin Towers.  Moments later it is revealed that this attack was nothing more than a video simulation being shown to high-ranking military officials, illustrating what might happen should the Grim Reaper, the military’s newest super weapon, fall into the wrong hands.  Unfortunately, fall into the wrong hands it does when the Mandarin, a shadowy super-villain who operates out of a secret base in the mountains of Tibet, has his agents steal the plane.  Viewers are treated to yet another simulated attack when the Mandarin shows his followers exactly how he plans to use the Grim Reaper; he will fly it into the Pentagon, destroying the heart of American military power!  Needless to say, the bad guy’s plans are foiled by Iron Man by the episode’s end.

Promo picture with Robert Downey, Jr. posing with the terrists

Promo picture with Robert Downey, Jr. posing with the terrists

The 9-11 parallels are obviously quite strong; a plane is used to attack both the Twin Towers and the Pentagon and, linking up with ‘conspiracy theorist’ views of the event, both attacks are nothing more than simulations. However, since the episode’s release and indeed since the events of 9-11 itself, the Iron Man films have actually reinforced these resemblances.  This began with the first Iron Man movie in 2008, in which the hero battles a terrorist organization called The Ten Rings, which operates throughout Central Asia.  Continue reading