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.

Starfleet is headquartered in the oh so “progressive” San Francisco, while the actual establishment is centered in London.  This is important for geo-politics, as the City of London, like D.C., is its own citystate, and the headquarters for the Anglo-American establishment.  The villain Khan bribes a Starfleet officer with a sick daughter to bomb Section 31, a secret underground base in London used for weapons manufacturing.  Khan’s blood, it turns out, is genetically engineered super blood that has regenerative properties.  Khan, we learn, was part of a 300 year old project to produce the ubermensch, a supersoldier, and was cryogenically frozen with 72 other supersoldiers.  Admiral Marcus,  the Starfleet Obama Neo-con, it is revealed, has unfrozen the supersoldiers and used their superior abilities to create a huge, secretive military industrial complex intent upon transforming the Federation into a war machine to annihilate the opposition in the coming war with the Klingons.  Genetically engineered supersoldiers are real, by the way.

It is worth mentioning that Kirk’s mentor is Admiral Pike, which immediately brings to mind Albert Pike, the Masonic civil war general that provided an esoteric blueprint for the Anglo-American establishment’s ventures in geo-political stratagems.  Albert Pike’s strategy was to eliminate the traditional religions and bring in an eventual esoteric, rationalistic scientism – precisely the view of The Federation.  The truth is, the military industrial complex of the West has armed and funded its adversaries for a hundred years to bring about a clash of civilizations that results in chaos, from which springs the establishment’s new order.  Order out of chaos was Pike’s own dictum.   This is why Admiral Marcus fools Kirk and Spock into thinking Khan had “defected” to the Klingons (the East/Russia), ordering Kirk and Spock to go on a special ops mission to fire torpedoes into the neutral zone.  This act, Admiral Marcus knows, will provoke a war with the Klingons in order to annihilate them.

On an esoteric level, Abrams is very familiar with Kabbalah and biblical theology (Genesis 10), and it should be mentioned that the 70 (or 72 in the LXX) nations of the earth are believed to be ruled by angelic princes that fell with Satan.  In the Zohar and Book of Jubilees, this is given more speculative treatment, with the 70 angelic rulers being given more treatment.  The Jewish Encyclopedia states:

“According to the Rabbis, each of the seventy nations is placed under the protection of a special angel, except Israel, whose protector is God Himself (Gen. R. xxxvii.). On the Feast of Tabernacles, it is said in a haggadah, seventy sacrifices were offered, one for each nation. “Wo to the nations!” says R. Johanan; “they had suffered a great loss without realizing what they had lost. While the Temple existed the altar [the sacrifices] atoned for them; but now who will atone for them?” (Suk. 55a; Pesiḳ. 193b, 195b). There was a discussion between R. Eleazar and R. Johanan with regard to the languages spoken before the Dispersion. According to the former, each nation had its own language, though it understood all the others; while the latter held that only Hebrew was spoken (Gen. R. xi. 1).”

In this sense, the 72 are led by Khan, a kind of genetic hybrid being that is intent on the destruction of all other beings to protect his race.  Here we can make a connection to the Genesis 6 story of the Nephilim that were the product of the angels (the sons of God) and human females.  The Book of Enoch gives a more elaborate detail of this account, with the sons of God being detained for their transgression of wanting to be god.  For Arbams and Lindelof, both of these themes are being used to create a sci fi story that operates on two levels: the geo-political and esoteric/mythological.  While this may be speculative, the use of false flag terrorism is not, and Osama bin Khan’s revenge amounts to crashing the USS Revenge into San Francisco, following his terror attacks on the Anglo-establishment.

Abrams, it turns out, is an advocate for 9/11 victims, so we can speculate that he is possibly aware of the false flag that was 9/11.  Indeed, the plot of Into Darkness includes the military industrial complex engineering a catastrophic false flag by which a global clash of civilizations must take place to “preserve our way of life.”  That is exactly what has happened in the last twelve years: could the USS Revenge’s attack on San Francisco be a harbinger of a coming false flag the likes of which we’ve never seen?  Jay’s Analysis and Peter Parker have detailed in the past the elite pre-signification of San Francisco as a large scale terror target here.  The mad rush to attain the technology of the gods by the military industrial complex has resulted in a great game of epic proportions that is guaranteed to give audiences a show like none other.