E.T. The Extra-Terrestrial – Esoteric Analysis

Original film poster where the "alien" takes the place of DaVinci's God and Adam, touching man.

Original film poster where the “alien” takes the place of Michaelangelo’s God and Adam, touching man.

By: Jay

Working my way through the Spielberg canon, I couldn’t pass up an esoteric analysis of E.T.  While I think Close Encounters is loaded with esoteric and conspiratorial clues and messages, E.T. also has its unique emphasis, providing America with a new approach to the issue of so-called aliens.  If you’ve watched Spielberg films (who hasn’t?), you know he was instrumental in altering public opinion on the idea of the existence of otherworldly extra-terrestrials.  Recent polls claim half of Americans now believe there likely exists life on other planets.  I wasn’t able to turn up any analyses of the shifting trend of belief in aliens over time, which would have been interesting from a psy ops perspective, but my confident assumption is that following upon the 1940s and 50s and the fabled Roswell and Area 51 incidents, people were becoming more and more accepting of the notion.  From my research, the alien mythos is a completely manufactured psy op phenomena, used for several purposes, including as a cover for drug running, secret technology, and in the long run as a possible scenario for mass manipulation.  The “MJ 12″ scientists were precisely the ones who concocted the new alien mythos, so its important to place the Orson Welles War of the Worlds broadcast/social engineering psy op, the explosion of Hollywood alien scenarios, and the continued modern obsession in these contexts.

Thus Hollywood has contributed immensely to the “Overton Window” manipulation of public opinion, particularly on big metaphysical issues of this nature.  If the new mythos of “aliens” could be injected into the mass consciousness on a large-scale, an entirely new narrative for civilizations could be erected.  As opposed to more traditional western beliefs, the new alien origins mythos is supposedly amenable to “science,” which is why scientific gurus like Dawkins, Sagan and Hawking all promote the “alien” mythos.  Why, given these mens’ supposed commitments to “rationalism” and atheism, would they often advance and promote the ridiculous, never-proven alien theories?  They do it precisely because they are con men.  Somehow theism is irrational, but alien origins are rational?  On the contrary, they are promoted by the establishment to fulfill a role as “scientific gatekeepers,” not rational men of “science,” just as Arthur C. Clarke played a role for the elite in a similar vein, as we shall see.

Hadley Cantril's work on the psy ops of mass panic from the Orson Welles radio fiasco.

Hadley Cantril’s work on the psy ops of mass panic from the Orson Welles radio fiasco.

The thinking behind this from a psychological warfare perspective is as follows: As new generations grow tired of traditional, collapsing forms of Catholicism, Protestantism and evangelicalism, the tide could be turned towards a new faith – one of galactic space brothers possessing highly advanced technology through secret science.  However, all of this is pure bologna, but as we’ve seen and studied at length at Jay’sAnalysis, the ability to program mass populations to believe entirely false ideologies is the very nature of all historic statecraft.  In reality, the alien psy op is actually a cleverly crafted intelligence program that functions as a cover.  Just like other forms of propaganda and social engineering, the “alien mythos” has also had billions of dollars in funding intended on propping up this cover that functions mainly as a distraction for less intelligent mass audiences.  As you can see, contrary to many claims of skeptics, the Welles fiasco was a Rockefeller-funded psychological operation through Princeton. Continue reading

Cloud Atlas (2012) – Esoteric Analysis

Film poster. “Everything is Connected.”

The Gospel of Illuminism

By: Jay

Cloud Atlas (2012) was an interesting film on several levels. Fans of both the Wachowskis and Tom Tykwer will quickly recognize the fingerprints of all three, especially philosophical elements of the Matrix trilogy.  From the perspective of moral assessment, there is much in the film that I object to, but artistically speaking, I think it was excellent.  On a deeper, symbolic level, the film also has a wealth of beautiful imagery that alone made it worth watching, while on an even deeper, esoteric level, it is clear as to its meaning: metempsychosis and gnostic deification.  The history of western esoterism has long been obsessed with the notion of reclaiming lost knowledge and technology, all the way back to Plato’s Timaeus, and its legends of Atlantis.

Though I have not read the novel, I can divine its meaning from the film.  While audiences the land over appear to be bewildered, the knotted yarn can easily be untangled.  Early on, we are clued into a reference to Nietzsche’s “eternal recurrence,”  a shooting star birthmark that recurs in characters over different generations, and a highly significant musical piece being written, known as the “Cloud Atlas.”  In total, six different time periods with a handful of reincarnated persons all interconnect, leading from 1846 to 2346.  The other element that stands out is that each of these periods includes some system of oppression.  The first, 1846, involves slavery and human trafficking, with a good Christian man helping save the life of a good-hearted slave.  In the next, a Cambridge University gay couple battles the system of post-Victorian era “sexual oppression,” which leads to one of the two writing the “Cloud Atlas” musical piece.

From there, a hot 1970s journalist Halle Berry interacts with one of the gay lovers who has documentation to expose a large nuclear facility that is planning on a false flag event to make nuclear power look bad, for the benefit of big oil.  Next, we are introduced to a publisher in 2012 London who engineers an escape from an old folks’ home, and from there, we move to a dystopian Korean future where a one world government known as “Unanimity” rules with technocratic iron fist.  In this timeline, Sonmi-451 is a genetically engineered clone that works as an acolyte in the religion of the future: Fast Food.  From there, we move to a post-apocalyptic unknown continent that has been destroyed by what appears to be a nuclear disaster or war of some kind, in which the future future Tom Hanks must guide a future future Halle Berry to the location of a Sonmi “temple,” which is actually the technology to go offworld.

Without getting bogged down in the details of the non-linear narrative, and exactly how they connect, the viewer should understand that the story is told in a non-linear fashion to associate the viewer with the idea of eternal return.  The narratives are non-linear like the philosophy: each character is thus reincarnated into different roles and forms, based upon the decisions and roles made in the last life.  Death, as Sonmi-451 (the film’s prophet-philosopher), explains, is just a doorway to the next life.  The decisions you make in this life, determine the birth in the next, she explains.  This is metempsychosis, and the ancient transmigration of souls taught by Plato and the Eastern mystery religions.  The wheel of birth and death can only be transcended by enlightenment and right living, the general philosophy goes, which will lead to the recovery of the lost gnosis, or in this case, and in some of western esoterism, lost technology. Continue reading

Exclusive: 1994 Iron Man Cartoon Shows 9/11 – Towers & Pentagon Hit

Sometime contributor, Ross H., has made a stunning discovery – the 1994 Iron Man cartoon episode “The Grim Reaper Wears a Teflon Coat” shows the two towers being taken down by a rogue plane, as well as the Pentagon:


Hijacked Plane Takes Down the Towers


Part 2 of the same episode shows the Pentagon being hit by a plane, as well.


Plane Hits Pentagon

Paranormal Activity 2: Poltergeists, Panoptic Propaganda and Neo-Gnostic Nudgings

Film poster

By: Peter Parker

So, I got dragged by a friend to go and see the film Paranormal Activity 2, despite the fact that I never saw the first Paranormal Activity. In the long run, I don’t think my missing the first one mattered all that much. Without giving away too much, the plot centers around a family whose house is being haunted. Initially they mistake the haunting for a home invasion and respond by purchasing a high-tech security system with cameras and microphones in every room, recording their activity 24 hours a day. The film purports to be real footage of real events, edited together from the security camera recordings. As I understand it, this is basically the same premiss as the original Paranormal Activity.

In presenting itself  as being composed of real footage, PA2 is also similar to such pseudo-documentaries as the original Blair Witch Project, Cloverfield, District 9, and the The Fourth Kind. On the one hand, this recent attempt by Hollywood to blur the line between fiction and reality, can simply be taken as a way of giving a movie a creepier atmosphere. Even viewers who enter the theater with the understanding that they are watching a fictional story, might find themselves being drawn into the film’s pretense of reality. Our minds have been culturally conditioned to receive documentary style narratives as something more than a mere fantasy concocted for our entertainment. Thus, even if it is only on a semi-conscious level, the story presented by a “pseudo-doc” is often able to fly under the radar of our suspension of disbelief. The more believable a film is, the greater the emotional response from the audience or so the theory goes anyway.

Of course that’s just the superficial examination of the pseudo-doc’s ostensible purpose. Readers might be familiar with the methods of deeper textual and pre-textual analysis applied to various Hollywood films elsewhere on this site. These readings operate under the assumption that mass cultural itself is often used as a covert tool to inculcate the public into some form of elite agenda or philosophy. If we consider both the first and the second Paranormal Activity in this light, we see a film series which normalizes the idea of the so-called panoptic state. The very nature of the pseudo-doc acclimatizes the audience to a voyeuristic mind-set (a necessary ingredient for any functioning panoptic state) but Paranormal Activity 2 goes a step beyond this. In presenting 24 hour video surveillance as the only natural recourse to a supposed home invasion, PA2, lowers the bar where our standard of personal privacy is concerned. Seriously, not one member of the family even bats an eye over the idea that they’re all going to be recorded at all times from now on. Frankly, they should be more scared of that prospect than any (SPOILER WARNING) first-born son stealing, invisible demon thing. PA2 is not the only recent film psychologically preparing us for a surveillance state, the incredibly popular 2008 film The Dark Knight, has Batman (a character who is the very symbol of moral justice itself) converting all of Gotham city’s cellphones into an omnipresent sonar network. Continue reading