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

Introduction to Hidden Metaphysics, Part 1 – Jays Analysis

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

See these articles for referece:

“Aether Returns to Oust Dark Matter”

“Unified Field Theory”

“Energetic Aether Metaphysics”

“Numbers Prove God”

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

Jays Analysis on Stefan and/or Joe Rogan?

Libertarian Stefan Molyneux.

Libertarian Stefan Molyneux.

Several readers have suggested a debate with Stefan Molyneux on theism and/or a discussion with Joe Rogan on some such topic. Shows that have large audiences will not generally invite a guest on without significant interest. So, if you would like to see this, send Stefan and/or Joe Rogan a tweet or message. Thanks!

Twitter: @JoeRogan @freedomainradio

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

Jay’sAnalysis Interview: The Collins Bros. “Invoking the Beyond”


Download a higher quality mp3 here.

Right click, save as


In this interview, I quiz the Collins brothers on their claim that the alien mythos is manufactured by the power elite for the purpose of social engineering. Instead of “little green men” or benevolent space brothers, the UFO phenomenon operates as a mask of the beyond, in Kantian terminology. Their forthcoming book “Invoking the Beyond” will make the case that the UFO/alien narrative may have a darker, terrestrial origin. We discuss everything from Roswell to Enlightenment despotism – it’s a great interview, full of priceless information.

Note: I mentioned Dr. Ewen Cameron, and I meant Dr. George Estabrooks.

JaysAnalysis Interviews Author James Kelley

James is the author of Anatomyzing Divinity, published by Trine Day.

James is the author of Anatomyzing Divinity, published by Trine Day.

In this interview I was privileged to speak with author and researcher James Kelley.  James has published Anatomyzing Divinity and Realism of Glory to date, and has expertise in numerous subjects, from philosophy of science to literature to theology.  James explains his thesis on western esoterism and alchemy as a result of the Augustino-platonic tradition and absolute divine simplicity.  From there, we explore the nature of the papal system and church history, to Anglo-mystical imperialism with Elizabeth and 007 John Dee, as well as various ideas about the association of espionage and hermeticism.  Get Kelley’s Anatomyzing Divinity here.

To download the MP3,

Right Click and ‘Save As’

For JaysAnalysis’ other interviews go here!

Casino Royale (2006) – 9/11 Connections and Esoteric Analysis

Lesser known Casino Royale poster.

Lesser known Casino Royale poster.

By: Jay

The reboot of Bond with Casino Royale in 2006 marked a new era for the now second biggest film legacy in history (now surpassed by Harry Potter).  Bond was revamped in a new, slick way, beginning with the first of Ian Fleming’s stories, Casino Royale.  The film differs slightly from the novel, but only in details.  However, the esoteric associations and “conspiratorial” elements have changed, coming more into line with an overall archetypal narrative that is evident in the three newest Bonds.  Casino Royale, Quantum of Solace, and Skyfall, are replete with alchemical and death-burial-resurrection motifs.  This differs from the novels, which are more simplistic, although the novel Casino Royale does mention Manichaean dualism.

Casino Royale is about Bond’s transformation from a standard agent into a heartless killer.  The film begins with a flashback to Bond attaining “00″ status, meaning he has killed twice.  In a way, the entrance into Bond’s full-fledged assassin status functions as his initiation.  Indeed, the three films function as a process of Bond’s own psyche being alchemically “purified” to let go of all his attachments, attaining what might be called in the Greek ascetic tradition, apatheia.  The dross of Bond’s desire for a woman to complete him is his weakness in Casino Royale.  Bond has killed twice and made “00,” but he still desires emotional fulfillment in the opposite sex.  But in M’s mind, Bond must learn a crucial lesson: he cannot trust anyone, not even her.

Thus, Bond’s “00″ status was attained through the ritual sacrifice of two criminals, leading to the confrontation of Bond’s own internal weakness: his shade, embodied in LeChiffre, and ultimately in Vesper Lynd.  In this way, we see yet another link between the world of secret intelligence work and the religio-mystical-esoteric as has often been mentioned in my essays: Not only do both traffic in hermetic information, both are structured hierarchically to include grades and degrees that one ascends after various tests, trials, and sacrifices.  Just as a hierophant was once a neophyte, so too must Bond ascend from the role of agent to “00,” reporting to his “Mum,” the enigmatic and matronly M, played by Dame Judi Dench.  If anyone doubts this, recall that Ian Fleming was steeped in esoterism and comparative religion, as well as running numerous intelligence operati0ns for the British Naval Psy Op division.  Ian MacIntyre in For Your Eyes Only and Philip Gardiner in The Bond Code delve into these issue in more depth for those interested.

Following the introductory montage of Bond and a lot of playing cards, LeChiffre is shown funding “freedom fighters” in Uganda.  Presumably these are communistic freedom fighters, as the history of such movements in Africa and Latin America were associated with Soviet support.  This does fit with the novel’s picture of LeChiffre, since LeChiffre worked for SMERSH, the Soviet anti-spy agency.  I wrote concerning LeChiffre in my Casino Royale novel analysis:

Mads Mikkelsen plays LeChiffre, with the bleeding left eye.

Mads Mikkelsen plays LeChiffre, with the bleeding left eye.

“In the beginning, however, Bond is not after SMERSH, but a wealthy, disfigured rogue who stuck out on his own and created a “fifth column” from SMERSH, named LeChiffre.  LeChiffre translates as “the cypher,” letting us know more is at work here.  LeChiffre, according to Bond writer Ian MacIntyre, was based on British Satanist/occultist Aleister Crowley. Continue reading