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By: Jay Dyer
Someone said they thought I had gone insane when they read my Goonies analysis, so I thought I would try to top them here. What to say about Back to the Future…well, it’s already found its way into the conspiracy realm through the potential associations with 9/11 and predictive programming (if that’s new to you, we will look at that below).  I think it is possible that the film and its sequel are referring to 9/11 (and the sequel certainly looks to be Trump as president), but there is a lot more going on that should be explored.  Like my Goonies analysis, it wasn’t until recently viewing the trilogy the more esoteric aspects fell into place, as we shall see.
The first curiosity that stuck out to me was Doc’s garage lair demonstrating another Rube Goldberg Machine (as we saw throughout the plot of Goonies in my analysis).  Likewise, the series of events set in motion by the Fratellis escape from prison setting the teen tard team into action is much like the initial sequence of events that spark Marty McFly’s flight into both the past and future.  Doc’s psycience lair (which has a giant guitar amp) is where Marty apparently hangs out (why is Doc hanging out with high school teens in his creepy garage, by the way?) is also littered with clocks and time-keeping devices as an obvious foreshadowing device.
Clocks are machines whose parts work together in tandem to alter the regulatory hands, and are thus a little Rube Goldberg Machine – giving the distinct impression Spielberg and company see the world of creation itself as a kind of programmed Golem.  In a mechanistic, determined, causal chain of events measured as “time,” we see so many world religions seeking to solve the dilemma of man through some form of escapism from time, viewed as a temporal prison.
Indeed, Spielberg and company’s cabalistic milieu would have time to be a relativistic paradox from which the rise of techne and mechanistic endeavor can offer salvation.  The “wheel of time,” the endless chain of fractured selves and “mirrored worlds” manifest as Marty accidentally returns to the era of his parents, as a kind of recapitulatory presentation of the gnostic myths, where man’s “fall” is recast as a cosmic accident resulting in his fall from some prior divine existence into the gross, profane existence of the material world, the “prison of the body” and whatever other fables are posited in the platonic, far eastern and cabalistic systems.   Indeed, Marty becomes the source of his own past and future traumas through defiantly wishing his life were other than it is.

Despite having a hot babe of a girlfriend, Marty resents his parents and upbringing, his middle class mundane suburban existence, Marty’s all-American persona greedily wants more – a bigger 4×4, a wealthier family, a nicer house, etc.  A kind of dark hero, Marty’s pubescent urges kick in and in full Freudian fantasy, force Marty to conceive of the accidental and inexplicable mode by which he was conceived (given his omega male father and chunky, hag of a mother).   Preparing for his own first sexual encounter, Marty is perplexed by the juxtaposition of Hill Valley’s simplistic, puritanical facade, which simultaneously includes a giant XXX theater playing “Orgy American Style” as well as an adult bookstore.  The contradictions of puritanical Americanism and consumerism are contrasted with the equally bizarre promotion of over-indulgence and plastic commodity fetishism (a theme consistently found in Spielberg films – especially in Gremlins – which will relate to Back the Future 2, as we will see).

And, I might add, the symbol we see lurking in the background of this rather shitty existence Marty would like to alter is the All-Seeing Eye.  I do think it is significant this is the clock tower scene, as the bid to “save the tower” would correlate to both the Tarot imagery of the tower being struck, as well as the twin towers of 9/11.  It is odd, to say the least, that the Twin Pines Mall where the “terror attack” from the radical Jihadis on the Doc is later renamed Lone Pine Mall when Marty returns to the future in the altered time line. And, it does read 9:11, if read upside down. Lest anyone skeptically retort the sign isn’t meant to be read upside down, remember that in part 2, Marty’s life is “turned upside down,” as he must float around in a special back brace upside down.  Indeed, it is in this scene Marty sees two pines on his flat screen, which briefly switches to the twin towers coming down – meaning it was intended to be viewed upside down.

While I obviously don’t think 9/11 initiated any alternate timeline, it did turn American living upside down.   Everything changed after 9/11 and if one accepts the thesis numerology and ritual planning went into the events of 9/11 (as I do), we can see how predictive programming through Zemeckis and Spielberg is possible.  And if one is still skeptical, keep in mind the ridiculous Gremlins 2 also involves a New York tower under “terror attack” (from the demonic!).  In fact, Gremlins 2 intentionally parodied Trump (!) through the comical character who owns the tower, “Daniel Clamp” of Clamp Industries.

Thew New York Post explains:

“John Glover receives third billing as “Daniel Clamp,” a wacky, publicity-loving real estate developer and best-selling author who wants to level part of downtown New York to create the “Clamp Chinatown Center, where business gets oriented.”

Much of the action takes place at the mogul’s brand-new “Clamp Premier Regency Trade Center” in Midtown — obviously modeled on the Trump Tower on Fifth Avenue, which opened in 1983 — where the logo outside shows the world held in a vise.

“It was pretty obvious from the name who we were talking about,” says Dante, “though Clamp is also part Ted Turner, since he runs a cable empire as well. Clamp was originally supposed to be the megalomaniac villain of the piece, but he was so oddly endearing, he ended up becoming a semi-heroic figure.”

While Gremlins 2 is utterly abysmal as a film, it contains some unbelievable predictive programming – and not just related to 9/11.  As the “new batch” festers, we learn some of these “Gremlins” are the product of genetic modification.  An entire wing of Clamp Industries is devoted solely to the genetic modification of foods for nefarious purposes, all run by the reportedly British Intelligence man himself, Christopher Lee, playing the mad scientist.  Following the release of these new “demons” upon mankind, we see a new type of Gremlin emerge at the end of the film – the transgender Gremlin! (I shit you not).   So, in a vastly transformed America where towers come under attack, mad scientists unleash the demonic – resulting in the acceptance of transgenderism, as the final scene of the film includes a man marrying a trans Gremlin.  I am not joking.

In the next installment, we will look at Marty’s role as “Atomic Boy” and how the oddities of 50s culture, sexual repression, Freudian Oedipal theories and the gnostic pleroma coalesce to produce an alternate timeline where Donald Trump, I mean Biff Tannen, I mean Donald Trump, becomes president.