By: Jay Dyer
Signs is the best place to start with M. Night Shyamalan films. Upon first glance, Shyamalan films represent typical mass consumption Hitchcock-meets-Spielberg homage, but the films at times display much more at work. Signs appears to be a film about alien arrival and disclosure. Since the 1940s and 50s Hollywood and the military industrial complex have worked endlessly to prop up the notion alien invaders are inevitable – meanwhile the Christian and biblical account of creation is dead. In fact, for centuries the West has mandated dogmatically metaphysics isn’t even possible given the dominance of reductionist materialism.
Now, we are to accept a new religious mythology that blends seamlessly with scientism (and not science), the alien mythology. In fact, a Brookings Institute Report on the proposed effects of NASA “discovering” alien life is even outlined as having a potentially devastating effect on religion in general, and in particular Christian theology, given the Incarnation. The Report reads:
“The Christian religion would be particularly compromised by the discovery of extraterrestrial life since it makes so much of the Incarnation as a historical event and of the knowledge of the good news of Jesus Christ’s passion, ascension and atonement as the sine qua non of salvation…a fact surely irreconcilable with Divine Providence.” (The Lure of the Edge: Scientific Passions, Religious Beliefs and the Pursuit of UFOs, Denzler, pg. 149)
Signs is a film that deals with precisely this question. Mel Gibson plays Fr. Graham Hess, an ex -Anglican priest who, given his wife’s death, has lost his faith as a result of his wife’s gruesome death in a car accident. As the film opens, we see crop circles setting an ominous tone that will continue for the rest of the film. Crop circles are most often human creations and hoaxes, although some cases do seem extremely elaborate. In my estimation, they are an orchestrated “sign” or psychological operation manufactured by some form of advanced drone technology of the deep state to promote the alien mythos. Perhaps this explains the mysterious white ball phenomenon many appear to have caught on camera.
As for Shyamalamadingdong’s Signs, the “signs” throughout the film point to dark synchronicity and divine providence. Both appear to be present throughout, and our plane of existence the battlefield. In the first act, the crop circle and the family dog turning from faithful protector to Cujo signifies a loss of protection and trauma as Morgan (Rory Caulkin) is forced to kill him to protect Bo. Interpreting the signs thus becomes difficult, as Fr. Hess opted for atheism. Explaining to Bo he speaks to his dead wife but she never answers, atheism is clearly implied, yet it is here the first sighting of an entity atop the roof occurs. The entities appear to have superhuman abilities, leaping atop the roof and vanishing.
Bo, interestingly, refuses every glass of water as “contaminated,” suggesting there is something wrong with the water supply. This theme also emerges in Shyamalan’s The Happening, where nature itself attacks mankind for its misuse of creation. Is Shyamalan hinting the water might be contaminated by the “aliens”? In other words, the so-called elites are literally contaminating our water with fluoride and countless other drugs and additives.
Indeed, this angle is often missed when analysts look at Signs in much the same way the Used Bookstore owner interprets the signs in a highly limited fashion. When the news begins to broadcast stories of crop circles, the typical gray-haired liberal bookstore owner is convinced the entire conspiracy is about product placement and money. More educated than the average townsfolk, he’s convinced his angle is the explanation – the entire world revolves around capitalism and money. There could be no other possible reason or deeper angle he presumes, and certainly nothing metaphysical, yet ironically Morgan moves closer to the truth by requesting metaphysics and UFO books.
As Graham orders medicine, a man on the radio theorizes the events are all copycats, and nothing more. Similarly, Graham’s loss of faith is symbolic for the entire town being lost, as people still call him “father” and seek spiritual advice. Thus, the town is American in a microcosm, lacking spiritual direction and seeking endless answers and explanations for events and phenomena that do not fit rational explication. In such an atmosphere, the masses are ripe for deception on the part of the establishment and a new alien mythos due to no mother or father archetypes.
In this vacuum another theorist arises: the military recruiter who tells Meryl the “terrorists” are behind the strange events, using unconventional warfare. Signs appeared right after 9/11 in 2002, which adds another angle of intrigue – America is under attack, but is it merely its own deep state, or is something darker afoot? The recruiter also appears to have a fairly high rank (which is odd for a recruiter in the middle of nowhere) and hints the purpose of the entities is reconnaissance for an “invasion.” Is this military man privy to deep state plans that involve “aliens”?
As Morgan decides to try to communicate with the secret signals the entities use, we have a real reference to the deep state in a coded fashion. Merrill explains it’s all nerds who study cryptography and Greek Mythology to create ciphers to decode and form secret societies. Merrill’s comment is a reference to signals intelligence and numbers stations, which are very real and form the basis of the NSA. The deep state here is thus the military, Pentagon, CIA and NSA complex that has for decades used codes and secret society cryptography for communications. I wrote previously:
“The need for secret means of conveying messages led to the development of mysterious “Numbers Stations,” and throughout the Cold War (and even today), Number Stations continue to operate as a means of relaying messages interlaced in with steady clips of nonsense. These mysterious artifacts of the spy world have appeared in recent films such as John Cusack’s The Numbers Station, as well as the more conspiratorial examples of The Signal and Banshee Chapter, yet despite the exaggeration of these films, it is the world of SIGINT that gave rise to the Internet.
Arising from the decades-old Pentagon black projects known as ARPANET and DARPANET, the Internet as a public release was from less than benevolent motives on the part of the establishment. While convenience and tech wizardy are certainly noble endeavors, it does not follow that artifacts of the spy world are expedient for mass populations. Regardless, it is too late for all that now, as the surveillance net is cast across the globe. In previous installments, we covered examples of Information Warfare in our day and their combinatory and exponential potency with strategies such as chemical, electromagnetic/frequency and DNA/RNA/biological forms of covert warfare. Behind this attack pattern, we have posited an open plan of reengineering both the inner world of man’s psyche, as well as the exterior realm of the biosphere.”
Like Graham’s family, the American family has been under perpetual assault by the invasion of the deep state’s toxic operations that include food, water, land and air. “Disclosure” occurs when the traditional family has been sufficiently weakened and destroyed, when the mass consciousness is ready to accept a new “gospel,” this time completely controlled and tweaked by the establishment’s decades of social engineering, Hollywood propaganda, science fiction tales and video games. As Graham explains to Merrill, is it possible that there are signs and providence and miracles? Is it the end of days?
It is worth noting that the government has long been involved in both apocalyptic cults and evangelical “end times” gobbledygook from Tim Lahaye to John Hagee. Such apocalypticism and phony “prophecy” interpretation serves American foreign policy on many levels, but what is interesting about Signs is the possibility there could be an actual fulfillment of those events to come. What is initially thought to be a sign from God, the alien appearances turn dark and are revealed to indeed be “signs and wonders,” though not from a benevolent Deity. They are lying signs and wonders that relate to a vast deception prior to invasion. While I am not saying there is a literal alien invasion scenario, nor that we are in the “last days,” it is true there will be a final fulfillment of certain eschatological events, such as a final Antichrist, etc: See my article here.
Like Clarke’s Childhood’s End, Signs presents the sudden appearance of alien motherships over earth’s major cities as a deception engineered by the Overlords. In the esoteric parlance of Clarke and his deep state and occult cronies, these Overlords are the nefarious operatives of the crytpocracy’s controllers. As we saw, Merrill hinted at this when he mentioned the source of the signal being members of “secret societies” who devise codes based on Greek Mythology. Clarke’s mythology is a coded reference to the deep state, but on a metaphysical level, the forces we are speaking about operate on the infernal, demonic plane. They are not extra terrestrial space beings, but spiritual, inter dimensional forces countless saints, fathers, patriarchs, apostles and theologians have written about, from Moses to Samuel to Daniel to Jesus to Paul:
Deuteronomy 32:16-18 reads:
“They provoked him to jealousy with strange gods, with abominations provoked they him to anger. They sacrificed unto devils, not to God; to gods whom they knew not, to new gods that came newly up, whom your fathers feared not. Of the Rock that begat thee thou art unmindful, and hast forgotten God that formed thee.”
And St. Paul writes in Ephesians 6:12:
“For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.”
As the family blockades themselves in the basement, Merrill learns from the radio the aliens are not here for the planet, but to feed on humans. They are said to poison the air with gasses and drag the people away, which could suggest they also poisoned the water. Again, we see the “aliens” are interested in “harvesting” humans in an almost spiritual way, while the entities’ underlings on a physical level serve their Overlords on a physical level by poisoning our land, sea and air. In fact, this is revealed in a subtle way when the television newscast the next day states a primitive method “out of the Middle East was discovered” to defeat them. In other words, the traditional biblical theology that first outlined the hierarchies of demons and the holy water that repels them (baptism). Father Graham’s anger at his heavenly Father is mirrored by Morgan’s hatred for his father (Graham), and the intense scenes and events that occur demonstrate an overcoming of the problems that arise precisely from humanity’s defiant hatred of God.
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JaysAnalysis has grown to become one of the premier film and philosophy sites on the net, showcasing the talents of Jay Dyer, whose graduate work focused on the interplay of film, geopolitics, espionage and psychological warfare. Jay is a public speaker, lecturer, comedian and author of the popular title Esoteric Hollywood: Sex, Cults and Symbols in Film, which made it to Amazon’s No. 1 spot in its first month of release in the Film and Hollywood Category:
Known for his in-depth commentary, satire and celebrity impressions, Jay is the host of the JaysAnalysis Podcast and Esoteric Hollywood. He is also a regular contributor to 21stCenturyWire, Soul of the East and the Espionage History Archive, as well as appearing on numerous nationally syndicated radio shows, such as Ground Zero and Coast to Coast AM, as well as TV shows like Buzzsaw with Sean Stone.
Broaching subjects as wide as satire, metaphysics, film analysis, theology, geopolitics, literature and history, as well as interviewing numerous prominent figures, Jay is academically published in peer review and has authored hundreds of articles already read by millions in just the past few years. Jay Dyer has also co-created, written, and co-starred with Jay Weidner in a new television series titled Hollywood Decoded for Gaia based on his unique approach to film.