[If the subject of mind control interests you then be sure to check out my book, ‘Chasing Phantoms.’ Available as either a free PDF download or hardcopy for purchase.]
NOTE: This write up has been updated as of April, 2008. And here’s why. Recently I’ve been receiving a huge spate of hits to this particular page, thanks to people posting it around the ‘net on multiple websites, blogs and message boards. usually because they find it interesting, weird, or downright crazy. ;) I realize now, two years after originally writing this section, that I didn’t place enough emphasis on what mind control researcher/author Fritz Springmeier has written about the subject, since he is where I originally learned all of this from after all. I talked about him, but I didn’t include relevant excerpts. Back then, part of me didn’t really believe that people would even be reading my site, and then I mistakenly assumed that whoever was reading it would already have knowledge and background on the subject and know what I was talking about. WRONG! Not only is my website read by people, but this one page alone has received thousands of hits and been passed around like mad on the ‘net……..by people who often times have never heard of anything about mind control, let alone the work of Fritz, and who are only skimming through this, not fully reading it, so they come away from it all thinking I’m a nut job. And that’s partly my fault. I should have made more of an effort to include excerpts from Fritz’s book to better prove my points, instead of assuming that people would just get what I was talking about by a mere several paragraph summary of trauma-based mind control at the beginning. So I’ve tried to remedy this by revamping my intro. summary, and including relevant Fritz quotes when applicable to better prove my points. And more will be coming soon as I comb through his book. Admittedly I have a tough time reading Fritz’s book because it’s very disturbing to me, this is another major reason why I didn’t make the effort to comb through for quotes the way I should have. But, I’m doing it now, and hopefully people with no background on the subject will no longer come away thinking I’m a “whack job” as I’ve been called, thinking that I’m just pulling connections out of my butt like a crazy person who wanders the streets talking to themselves and waving their fist at the air. ;)
A brief overview so that the reader can better understand what I’m talking about with the “mind control symbolism” movies in this particular section. This information was originally gleaned from my research into government-based mind control, (several sources are mentioned at the end as places for further research) so if somebody has no background in this subject then everything I’m going to talk about here is going to seem a little strange.
The premise of government-sponsored trauma-based mind control is to compartmentalize the brain, and then use techniques to access the different sections of the brain while the subject is hypnotized. Entire systems can be embedded into a person’s mind, each with its own theme, access codes and trigger words. Some of the most common and popular symbolisms and themes in use are Alice in Wonderland, Peter Pan and The Wizard of Oz, mirrors, porcelain/harlequin masks, the phoenix/phoenix rising, rainbows, butterflies, owls, keys, carousels, puppets/marionettes, willow trees, tornadoes, spirals/helixes, castles, rings, hallways and doors, elevators and stairs. (The halls, doors, elevators and stairs represent accessing compartments in the mind.) Numbers, colors and music are also heavily used for additional programming and accessing specific compartments of the brain, and are just as important. In some of the movies I look at in this section, we’ll find ample use of several of the above-mentioned symbolisms/themes…for whatever reason.
Programming centers around the concept of inverted reality and illusion, where nothing is at it appears to be, where up is down, yes is no, pain is pleasure, and reality and dreams are blurred. Not being able to determine what’s real and what’s illusion/dream/fake is a big theme used in mind control to get targets to give up on reality and succumb to alter-ego programming. Word play and puns also factor in heavily, as they engage areas of the brain that are used during programming.
A mind splitting into alternate personas usually occurs when the victim is subjected to repetitive abuse and horrors it can’t cope with. The mind fractures into compartments designed to “house” the traumas that the main personality can’t handle. These alternate personas can be brought to the forefront of the mind when needed to take on whatever trauma is happening. The abuse can happen to a person (usually child) in the every day real world, (usually at the hands of abusive parents and caretakers).
However there are certain “Powers That Be” who have perfected the technique of artificially splitting and programming people’s minds through the use of technology, drugs, hypnosis, electroshock and trauma. In this case, the targets are said to military personnel (usually Intelligence) and their immediate family used for experimentation, and the closely intertwined MILABS (military abductees); society’s throw away kids, teens and young adults who were plucked from detention centers, the streets or sold into programs by their own parents; entertainment industry performers, etc., among the various people and groups used. The artificially split mind is run exactly like a computer program, complete with its own theme and trigger codes and access words. It can be turned on and off like a switch, and the programmer/handler has complete control over what the system themes and trigger words will be. The alternate persona won’t emerge unless the trigger word/song/phrase is given. The victim is fully functional in society and won’t even know they have this aspect of themselves buried within their subconscious.
In these artificially created/black ops mind control cases, victims are used for various purposes. Sexual slaves, assassins, “agent provocateurs,” controlled performers for $$$ making, being a tool for the agenda of “the powers that be,” (PTB) and so on. It’s been said that many, many of the actors/actresses and pop singers that you see strutting about in Hollyweird are actually programmed multiple victims with controlling handlers, being those tools out there in the world helping to promote whatever agenda the PTB want, through their music, movies, etc. After I learned this I started paying closer attention to the behavior of the celebs and singers that are paraded in front of us, which often times consists of their openly acknowledged multiple personalities/personas. And damn if it didn’t seem to be true…once you know what to look for.
After I read the mind control research of author Fritz Springmeier back in 2002 I began noticing that many of the same themes/symbolisms/triggers that he noted as being used in trauma-based mind control victims also happen to be running rampant in movies, music, video games, etc. I don’t understand the why’s behind it, and how it all works, or what the intended reason is, I’m just passing along what I noticed for others to consider. Make of it what you will. Maybe you’ll come to a different conclusion than I have, but at least it’ll get you thinking and noticing things more closely. :) That’s always a good thing.
So, with that in mind…Being that there are scores of movies that seem to involve mind control themes and symbolisms, I’ll just cover the big ones that I know of. Using this as a guide, along with the additional research materials I recommend afterwards, it should be enough so that the reader can begin deciphering other movies on their own.
Labyrinth — 1986. David Bowie, Jennifer Connelly.
I love this movie, I truly do, despite the fact that it’s one giant symbolic MK Ultra/Illuminati mind control trip from start to finish. Sarah (Connelly) is a bratty, spoiled teen lost in a child’s fantasy world of make believe, day dreaming her time away with her dolls and puppets and fairytales. While stuck babysitting once again for her little brother Toby, she impulsively wishes for the Goblin King (Bowie) to come and take him away. And much to her shock, he appears…and obliges, despite her change of heart and pleading protests. Now she must navigate her way through the mysterious Labyrinth, where nothing is at it seems to be, and get to the Goblin City to rescue Toby before time runs out.
The plot itself is another version of The Wizard of Oz — young girl sets out on an adventure to get to a particular destination (Goblin City = Emerald City) via the Labyrinth = Yellow Brick Road. And with the help of her ragtag group of misfit friends that she picks up along the way, she gets into adventures, navigates obstacles in her path, and learns important lessons about herself. And all the while, as the entire adventure is just a dream…or is it? On the DVD insert, it says, “Is it all a dream, like Alice’s Adventures in Wonderland, or Dorothy’s in The Wizard of Oz? In my own mind it is. But it’s all rather ambiguous — dream or reality? Fantasy or fact?” Alice in Wonderland and The Wizard of Oz are two of the biggest mind control themes in use, interestingly enough, due to all their ready-made symbolisms, use of “inverted reality”, reality vs. dream and illusion, and word play. So I find it no coincidence that this movie cites both as being influences.
Key Elements
The White Owl — Known as Moloch in the Illuminati occult circles. Moloch is worshipped as a deity, and ritual sacrifices are done in its honor. In ancient times, Moloch was the Fire God…to whom children were burned. In Labyrinth what of all things steals the baby away but…the white owl/Goblin King. Owls are also linked to alien activity, symbolically representing the Grays. Many abductees will report having “dreams” with owls, which are actually screen memories of something else.
The snake. At one point Jerreth offers Sarah the ball in exchange for Toby, and when she refuses, it turns into a snake which he tosses at her. Snake – the Reptilians, the Brotherhood of the Snake/Illuminati.
The glass ball. On a side note, a near identical image of Jerreth with the glass ball in his hands can be found in a picture drawn by Credo Mutwa, leader of the Zulu Nation. The picture depicts the Nordic alien “Gods” who supposedly visited the Zulu tribe eons ago; they were tall, blond, and blue eyed…and wielded a ball in their hands that was linked to them being able to appear and disappear…exactly as Bowie is depicted in the movie. There’s also another mention of something near-identical in the Dolores Cannon book, “The Legend of Starcrash” and the blond/silver haired, violet eyed aliens with their techno-gadget ball that manipulated reality.
Taking Toby — Not overlooking the obvious, the plot centers around the baby being stolen by the Illuminati-esque controller / white owl; could be representative of the baby/child victims who go missing every year via the supposed “illuminati” abductions” to be used for a host of nefarious purposes, as well as childhood alien abductions.
Control over time — Jerreth is able to change the clock and control time in the Labyrinth, having the upper hand with Sara, as mind control handlers do with their real life victims. Hyperdimensional/alien controllers also have control of time, being that time doesn’t exist outside of 3rd density.
The Labyrinth — The labyrinth itself, with all its trickery and illusion, where everything keeps changing and nothing is at it appears to be, resembles the screwball world of the mind control victim’s mind, which has been split and shattered into multiple personalities and compartments.
The masquerade ball — 
Masks/masquerade imagery, in organized mind control, have to do with masking the multiple personas/alter egos from each other, and sometimes is used in conjunction with Camelot/Shakespeare programming. In this case, Sarah eats the poisoned peach and is momentarily sidetracked into a dream world masquerade ball. And as noted, she’s also lost in her own Camelot/fairytale world. (On a side note, while at the masquerade ball Sarah dances with Jerreth as a love song plays, sung by Bowie, implying a “romantic entanglement” with her controller – not unlike how things often go with real mind control victims and their handlers. In this case it’s kind of weird considering she’s an immature 16 year old school girl who still plays with dolls and throws fits, and Jerreth/Bowie is old enough to be her father. [Bowie is twenty three years older than Connelly in real life.] That “inappropriateness” is another aspect of mind control victims and their handlers though.)
The MC Escher stairs — 
at the end of the movie, Sarah is trying in vain to get to Toby via the stairs that go every which way, straight out of an MC Escher drawing. MC Escher imagery is classic in mind control programming due to its heavy use of illusion.
Mirrors — at the end of the movie, Hoggle and the rest of the creatures from the Labyrinth appear to Sarah in her bedroom mirror, then manifest for real in her room – Alice through the Looking Glass, the dream world that can be accessed through the mirror. During the masquerade ball, Sarah breaks the mirrored walls to get out and wake up. (A symbolism we’ll later find in “V For Vendetta” when V breaks his mirror with his mask.) One purpose of mirrors in mind control has to do with seeing the reflection as an actual alter ego. They’re also used in occultic/esoteric practices to act as portals into other realms.
[Thanks to the writing of Fritz Springmeier for supplying some of the symbolisms in Labyrinth noted here. He mentioned this movie specifically in his book, referenced at the end of this piece.]
“The Manchurian Candidate” — 2004. Denzel Washington, Liev Schreiber, Meryl Streep, Kimberly Elise, Jon Voight
After giving a speech about his experiences in the Gulf War, military veteran Captain Ben Marco (Washington) is approached by a member of his former unit, Al Melvin, whom he hasn’t seen in years. Melvin asks him about his memories of the night that their unit was ambushed in Kuwait (during “Gulf War I”) and the three days they went missing. It turns out that Melvin has been having dreams that starkly contrast the mainstream version of events. He tries to share this with Ben, producing his notebook full of scribblings and disturbing drawings and images that show he’s just hanging on by a thread psychologically. Capt. Marco rejects him and advises him to seek help, but Capt. Marco hasn’t been doing too well himself – living alone, eating Raman soup every night, on meds and seeking psychological treatment from the military hospital. And it turns out that for years he’s been having the dreams too, even though he didn’t want to admit it to Melvin at the time. The only one from their former unit that seems to be doing well is Sergeant Raymond Shaw, now a Congressman, who has just been nominated as the VP running mate in the upcoming Presidential election. As Capt. Marco watches the election events unfold on t.v. mouthing word for word the same exact mantra about Raymond Shaw that his former unit members have to say: “Raymond Shaw is the kindest, bravest, warmest, most selfless man I’ve ever met…” we the audience know something is amiss. It turns out Raymond Shaw, Capt. Marco and the fellow soldiers in their unit were taken and mind controlled for three days, programmed to believe a version of events that didn’t actually happen, later chipped with implants, and set loose back into the world, all to fulfill the long range plans of getting Raymond into the White House so he could be the first corporate owned sleeper agent, property of Manchurian Global.
Key Elements
Alternate Personas and Trigger words — “Sergeant Shaw…Sergeant Raymond Shaw…Raymond Prentiss Shaw…” is the specific trigger to snap Raymond into his alter programmed persona. Mind control victims will have various triggers to snap them into their alternate personas, all of which are unknown to the conscious mind, which remembers nothing. Capt. Marco actually uses the mind control term “sleeper” to describe what Raymond is in terms of his role as the programmed pawn of Manchurian Global.
Implants — 
In the 2004 version, they blatantly feature Raymond Shaw being triggered into his alternate persona, then receiving an implant device in his brain, used for the purpose of controlling/monitoring him. Capt. Marco finds an implant embedded in his left shoulder blade area, and finds one in Raymond’s back as well. Yes, implants are a very real part of mind controlled victim’s lives, and not something you normally see featured so prominently in a mainstream movie.
The hall of mirrors – I found a picture online that shows an image from that aforementioned scene where Raymond Shaw is triggered into his alternate persona, showing him walking into the mirrored hallway of his clothes closet to get through the secret door at the end, where he receives a new implant in his brain. In the movie though this imagery isn’t so clear, so I’m not sure what the discrepancy is in terms of the online pic versus the DVD version I have. But hallways and doors are part of mind control symbolism, and programmed targets will often have dreams with that symbolism as it represents accessing the various compartmentalized areas of the mind. And in this image, supposedly taken from the movie, we have mirrored doors on top of it. Mirrors are often used in conjunction with drugs and hypnotic programming to create the illusion of a second alternate persona within the mind of the target. Because the target is drugged up and dazed, they can be convinced to view their reflection as an actual secondary persona.
The Lone Gunman — Raymond’s mother, Senator Eleanor Shaw, calmly explains to Raymond the assassination plot which will allow him to take over once the newly elected President is removed from the picture. The gunman will be none other than the programmed and triggered Capt. Marco. When Raymond curiously asks about Marco’s fate, his mother lovingly explains that he will be killed, because “it’s necessary for the national healing.” A nice wake up call for those out there who still believe that the lone gunmen are regular guys gone crazy, rather than the programmed pawns acting for somebody else’s agenda that they really are.
Switching out the security footage. At the end of the movie after Marco turns the tables and assassinates the newly elected VP Shaw and his mother instead of the Prez, Marco’s “powers that be” friends erase his image from the security footage and replace it with another man’s, covering his butt. Somebody else goes down for the assassination instead of Marco, complete with fabricated story and all, and the public never has a clue. This may seem like nothing to many people who watch it, going over their heads as they forget about it in 30 seconds, but really, how hard would it be to swing something like that in real life? And not just for something big like an assassination, but for anything? When practically everybody has a computer nowadays and the term “photoshopping’ is a new verb in our vocabulary, how hard would it be for the Big Boys to fake visual imagery – about anything – when even the average person has the technological capability to do it on a minor scale? It’s a rhetorical question. Nothing about this reality is what we’re told it is, least of all what we’re shown in the media.
Three days. I only just made a connection regarding this, but it seems that “three days” is another one of those key elements, for whatever reason. It’s used in the movie “Stay” as well, reviewed later in this section. In both movies, distorted reality/illusion/mind control stuff has happened or is currently happening during a particular three day time period. I wonder how many other movies make use of the “three days of strangeness” element, (reminds me of a song that I liked in the 90’s called “Three Strange Days”, by School of Fish: “For three strange days, I had no obligations/ my mind was a blur, I did not know what to do […..] oh I’ve got to make it through/no matter what it takes/I’ve got to make it through/these strange days…”)
This movie is better than the original in the sense that it’s darker, more realistic and packs a bigger dramatic punch. It’s actually quite sad and depressing. But it’s still flawed in some areas too, in my opinion. Scenes and segueways are too choppy, the “relationship” between Rosie and Capt. Marco is rushed and makes no real sense, there seems to be a couple of plot holes, and there’s a theme of disjointed noise and chaos throughout, although I get the impression this was done on purpose for whatever reason. But the acting is superb, and both versions have their pros and cons, so it’s a matter of personal subjective preference.
Not related to “mind control” per se, but having to do with the “real” world’s fakey fake manipulation and lies when it comes to politics, I don’t know how anybody who’s seen this movie could stomach any presidential campaign trail speeches that we’re seeing now for 2008. The movie really nailed how it goes with the upbeat and peppy theme song that’s chosen, the canned one liner slogans, the manipulative heart string tugging speeches and hollow promises, patriotism and flag waving. When I watch “real world” prez campaigning I can only keep coming back to this movie. (And on a side note – I can’t listen to interviews or speeches with Hillary Clinton on the campaign trail without thinking of Meryl Streep’s performance in this movie. Meryl channeled Hillary in many scenes, down to the hair and power suits and way of speaking. ;) )
Fight Club — 1999. Brad Pitt, Edward Norton, Helena Bonham Carter. Based on the novel by Chuck Palahniuk.
Edward Norton’s character, only indirectly referenced as being named “Jack,” is a passive, weak, white-collar, office drone insomniac addicted to support groups who harbors suicidal desires. He’s met his match with Marla Singer (Bonham Carter) another suicidal wayward soul who’s alone in life and has a home in the same support groups. Jack’s upteenth soul sucking business trip takes a turn for the interesting when his airplane seat mate turns out to be Tyler Durden, (Pitt) the cavalier soap salesman with the anarchist, nihilist attitude. After Jack’s condo blows up under mysterious circumstances, he soon pairs with Tyler, moving into a run down abandoned house on Paper Street. Together they form Fight Club, the underground secretive group comprised of everyday schmoes who want to test their manhood by beating the crap out of each other on a weekly basis. Fight Club grows rapidly, taking on a life of its own of epic proportions beyond Jack’s control, spawning Project Mayhem – the anarchist group bent on seeing the destruction of modern society.
Fight Club is a ready-made dream for any mind control programmer when their intended victims are going to be used for “agent provocateur” dirty work, as I will explain below. I don’t really think that Chuck Pahlaniuk deliberately wrote the book to be used as such, (hell, he probably didn’t even think it was going to be made into a movie) but I think that some “powers that be” certainly recognized the potential with the book/movie once it came out. It was a ready-made dream.
Key Elements
Split personality/alternate persona. Edward Norton’s “Jack” and Pitt’s Tyler Durden turn out to be the same person in the big surprise twist moment at the end when it’s revealed that Norton is a split personality (translation = compartmentalized multiple). He’s been running around leading two lives for much of the movie without realizing it, complete with black out periods, doing things he later has no recollection of. This is classic split personality/compartmentalized multiple mind control victim behavior where the pawn is triggered into their alternate, then runs around doing bidding that they later have no knowledge of.
Agent provocateur programming. 
The entire movie reinforces the idea of destructive anarchy, via Project Mayhem, with the goal being the dismantling of society. The name “Project Mayhem” itself is reminiscent of all the government black ops/mind control experimentation “Project This” and “Project That.” The last scene of the movie shows skyscraper after skyscraper blowing up and collapsing, Las Vegas hotel TNT style, as Jack and Marla Singer stand hand in hand, watching it all through the window, and the Pixies song “Where is my mind?” plays. Blow up the credit card companies, set everything back to zero, total chaos, is the intended plan. All of this is mucho bueno for programming pawns that will be used for agent provocateur work, or even “deltas”, used for assassinations and such.
Self Destruct Programming. At the end of the movie, Jack puts a gun in his mouth and attempts to kill himself. Self destruct suicide programming is a MAJOR factor in most agent provocateurs/“Deltas” after they are done being used and abused. See “The Manchurian Candidate” review earlier in this section for more on this.
“My eyes are open.” — I didn’t catch this until I recently re-watched it from my current perspective with what I know now. But at the end of the movie when Jack is facing off with his alternate persona Tyler Durden, he tells Tyler “My eyes are open…” then puts a gun in his mouth and pulls the trigger. Over the past few years I came to figure out that the phrase “Open your eyes” is a trigger phrase (mentioned several times throughout this write up). When you really listen to the dialogue that’s spoken before this line, you’ll see that the line doesn’t really fit. It’s just something tacked on at the end, the phrase preluding the suicide attempt. I don’t even think it’s in the original book. It seems to be the programmed multiple responding back to the subliminally planted command/trigger phrase of “Open your eyes…” with “My eyes are open…” and obediently following through with the programmed command to off himself. [And on a side note – in the 1993 movie “True Romance,” Clarence Worley (Christian Slater) screams “OPEN YOUR EYES!” at Drexel (Gary Oldman) several times before shooting him in the face. Just thought that was interesting in light of Fight Club’s “My eyes are open” and then Jack sticking a gun in his mouth and pulling the trigger to blow off his head.]
Phoenix Rising – There’s a scene where Jack narrates to the audience, “Every evening I died…and every evening I was born again.” Dying and being born again, besides relating to the more benign “Jesus” concept, also directly ties in to the Phoenix Rising. The Phoenix is a common “Brotherhood/Illuminati” symbolism, and within mind control relates to the old self dying with the new programmed alternate persona/overwrite personality rising up and taking over.
And on a minor note….
Insomnia/sleep deprivation. It’s almost like stating the obvious, but sleep deprivation is a known technique within mind control as it makes the mind delirious and pliable. Those being held in physical captivity will be denied sleep, kept up for days straight at a time or else only allowed to fall into brief moments of sleep before being jolted awake again, deprived of the much needed REM state. For remote mind control influencing, targets can be “plugged into” so to speak via their implants or microwave beaming and prevented from falling into anything beyond an alpha level light sleep…completely unknown to them. Then while being kept at only an alpha level, programming can be instilled in them while they sleep. Jack is of course an insomniac who never seems to sleep, a repeating theme also found in “The Machinist,” mentioned at the end of this write up, with the main character Trevor Reznik. Both Jack and Trevor become walking zombies, hallucinating and losing all sense of what’s real and what isn’t….and even who is real, and who isn’t. Seems to be very reminiscent of what goes on in real mind control.
141. I held off on mentioning this for a long time, because it sounded crazy, even to me. And that says a lot. :D But here goes. In my Number Sightings section I talk about the number 141 being a number that followed my (mind controlled, MILAB pawn) brother around before transferring over to me. My brother was running around doing all sorts of “agent provocateur” crap in life, and was highly mind controlled and no longer in control of himself it seemed by the end. I get into details in that particular write up for anybody who’s interested. It didn’t take long for me to figure out that 141 had negative connotations, however, it wasn’t until re-watching this movie in 2005 that I finally had some sort of confirmation that 141 is actually one of those numbers used in mind control programming.
In the scene towards the end where Jack is being interrogated at the police station after turning himself in for all the “project mayhem” agent provocateur nonsense, he’s being interrogated in what of all room numbers but……………………141. It says it right on the door. When I saw that I was like, “WHAT! WOW.” For fun, I then decided to take a look at what was happening at exactly 1 hour, 41 minutes into the movie. And it turns out to be the scene where the Tyler Durden personality breaks away from Jack and leaves…which leads to Jack finally “waking up.” So, the end of the mind split. And for fun, I then began looking at other movies to see what, if any films also featured a related sort of theme. In “Eternal Sunshine…..” it’s the point in the movie where Joel and Clementine come face to face with each other, each having listened to their respective Lacuna tapes, and realizing/remembering that they used to know each other and had a life together. So, the end of their mind split/being asleep/forgetting/alternate persona, and waking up and remembering. In Donnie Darko, it’s the point where the jet engine smashes through the roof again, killing Donnie….and thus closing the time loop of his alternate existence/alternate self. In Mulholland Drive it’s the scene where “Betty” and “Rita,” the two fictional alternate personas, hook up. Or, as one person on a message board forum I participate in noted, it symbolically represents the two alternate personas joining together….because immediately after that the movie takes a turn, leading Betty/Diane to finally wake up and come to terms with reality. So, there seems to be something to this, no doubt. Four movies off the top of my head that have alternate personas/realities coming to an end at exactly 1:41 in the movie, with the characters “waking up.” (although sometimes waking up to their own death, as in Mulholland and Donnie Darko.)
The opening scene. There’s the opening scene where the credits are rolling and a NIN song is playing — it’s textbook trance induction technique. The camera is moving backwards very rapidly, winding its way around this way and that through some microscopic world as the music pounds. Many movies feature this trance induction technique through movement and music during the opening credits — winding along, spinning, falling, fast panning, gliding over water – when you start to pay attention you’ll wonder why you never noticed it before. It’s to get you in a slightly hypnotic state.
A side note: (This is a good place to insert some commentary I wanted to add to this write up.) “Fight Club” remains a hugely popular favorite among many 20-30 somethings (mainly guys) almost ten years after its release, and from what I’ve read in people’s personal blogs and My Space’s and even an email from one guy, it conjures an almost fanatical devotion from its fans. Young guys really resonated with the message of the movie, which on the surface is about rebelling against a society that has emasculated males, turning them (and everybody for that matter) into useless zombified TV watching consumer drones. It’s all about finding your balls again and throwing away a meaningless life full of useless “things” and being free. I can understand that mentality, considering the kind of life I led in my 20’s. ;) But I do think there’s a lot more to it than that. For instance: The 80s created a slew of movies that were light hearted and so far out into unbelievable left field in their farcical take on life and people that they come across as cartoonish. Big heroes saving the day and everybody tossing out witty one liners at every turn, always with the snappy come back, everybody impossibly cool with ridiculous clothes and hair, and lots of comical good times. And that was a purposeful agenda, in my opinion. “Life is good, nothing to worry about, go to the movies to get away from it all, don’t think too much.” Then the 90s came around. Kicked off with apathetic flannel wearing grunge music, and a new breed of gritty, violent, nihilistic movies (including “Fight Club”) where the hero often fails – or where the hero is actually the psychopathic anti-hero and so the audience is actually rooting for the bad guy – and in the process, everybody gets the shit kicked out of them or shot up and very shocking things happening to the various characters, including innocent kids and animals; nasty things that appear on the screen suddenly that you had no warning for and which can’t be erased from your brain once you see it. This was also an agenda. Traumatization, leave people feeling shocked, raw, create a feeling of numbed hopelessness, as well as desensitizing the masses and breeding a generation of pseudo-psychopaths. The flip doesn’t just switch from one thing to another out of nowhere. Everything in Hollyweird is planned, and serves a very knowing agenda. Always remember that.
I came across an interesting write up regarding ‘Fight Club’ on Conspiracy Planet.com if you’re interested in what other people have to say about this movie. An excerpt:
“According to recovered survivors of mind control, Fight Club is the story of someone who discovers he has so-called Janus-End Times Programming. The Ed Norton character is a “sleeper,” or programmed mind control victim, triggered to perform certain activities of chaos, disruption and murder, AKA Project Mayhem in the film. “Rule Number One,” says the Brad Pitt character in the movie. “Nobody talks about Fight Club.” The subtext is simple – nobody talks about mind control — especially as a causative agent of “random violence” in America today. The Brad Pitt role itself is the raging “alter,” one of the split-off personalities, which characterizes MPD, renamed DID, or Dissociative Identity Disorder. According to DSM IV, the psychiatrists’ guide to mental disease, DID is characterized by “the presence of two or more distinct personality states that recurrently take control of behavior. There is an inability to recall important personal information, the extent of which is too great to be explained by ordinary forgetfulness. The disturbance is not due to the direct physiological effects of substance or a general medical condition.”(p.484)…..” – Conspiracy Planet
Eyes Wide Shut — 1999. Tom Cruise, Nicole Kidman, Sydney Pollack, Todd Field.
Dr. Bill Harford (Cruise) and his wife Alice, (Kidman), are well-to-dos who live in New York City. The crux of the movie centers on Alice revealing to Bill one night that she’d had the desire to cheat on him a year before with a Naval officer, and would have, if given half the chance. This revelation comes as a shocker to Bill, who just assumed that everything was hunky dory and moving along smoothly in his relationship. It also ruins the image he’d had of his wife as being innocent and blissful. Alice’s revelation sends Bill wandering around the city at night, trying to sort out his thoughts and his anger/confusion. His walkabout results in him crossing paths with unusual people and circumstances, all of which culminates in him winding up at an orgy of the elite at a Gothic mansion that turns out to be more than he bargained for.
Stanley Kubrick basically made a movie about the soulless, empty, rich elite and their occult ritual double lives (usually Satanic) using their programmed multiple personality slaves – and then mysteriously died right after submitting the final cut of the movie to the studio. This means that the version of the movie the public has been given is most likely not the same version he created. It’s true that Kubrick was getting up there in years, but it does seem like an odd coincidence.
“Eyes Wide Shut” was meticulously arranged and filmed in a hypnotic and engaging way, with color playing a heavy role in each and every scene. There are several layers happening: The first two, same as the novel it was based on, involves fidelity and sexual relations, and dream vs. reality. And it’s in my personal opinion that Stanley Kubrick saw the opportunity to use the “dream vs. reality” theme to create the third layer – concerning the lives of the rich elite, and their sexually exploited, (read: programmed/mind controlled?) disposable pawns. I haven’t read the original book that this was based on, but from what I’ve gathered the plot elements were changed around in order to work that in.
And as explained in the intro to this section, dream/illusion versus reality is a HUGE factor in programming mind controlled victims, whether they’re used as assassins/agent provocateurs, or sex kittens. What’s real? What’s illusion/dream? They don’t know, because they’re compartmentalized multiples with alternate personas, living multiple lives…just like what we find in this movie. I really can’t emphasize enough that the work of Fritz Springmeier would be highly helpful to people to understand fully what I’m talking about in this particular movie review. If you’ve read his book “The Illuminati Formula for Creating a Totally Undetectable Mind Control Slave” then this movie just becomes so incredibly obvious in its references to mind control programming and sex slaves, and their use in satanic/illuminati sex rituals. Probably one of the most flagrant ones ever made. For those who’ve never even heard of the subject and have no idea it even exists, let alone read his material, then none of what I’m going to talk about here will even make a bit of sense.
Key Elements
Alice. The famous shot of the movie, and a variation of which appears on the movie box cover is of Alice (Nicole Kidman) gazing at her reflection in a mirror as Tom Cruise kisses her neck. This seems to be representative of Alice Through the Looking Glass, one of the most prominent mind control themes in use, as previously mentioned.
“Over the Rainbow.” From Fritz’s book: “Some alters live “over the rainbow” and some do not. Both types will use the term “over the rainbow”, but with different meanings attached. For those who live “over the rainbow,” they serve their masters in such a deep hypnotic trance that they perceive reality like it’s a dream….Deeper alters who live “over the rainbow” experience memories/life in the following fashion: faces and porn cameras are airbrushed out of their memory, distinctive marks in the perpetrators such as scars and wrinkles are airbrushed out, colors and lights are very bright due to the total dilation of the pupils while in deep trance, and there is no sense of time for these alters.”
Following are the instances where we see prominent mention of the rainbow in this movie:
1. During the ball at the beginning, Bill is being spirited away from the party by two women (models) who have obvious plans to seduce him. When he asks “Ladies, where exactly are we going…exactly?” One replies,
“Where the rainbow ends.”
“Where the rainbow ends?” he replies.
“Don’t you want to go where the rainbow ends? “ the other one says.
“Well, now that depends where that is…”
(I used to include a link here to a pic of Mariah Carey, supposedly a mind controlled industry performer, complete with her alternate moniker “Mimi,” and who had a mental breakdown at age 30, the significance of which we’ll get to in a moment. But in the picture Mariah was lying seductively on a bed in short shorts and heels with a lollipop…with a large neon rainbow sign on the wall behind her, perfectly illustrating what I mean by “over the rainbow sex kitten programming.” But I’ve since removed the link only because I suddenly started getting hundreds of hit a week to this particular page based on that image. But as noted in my Logan’s Run write up, the Logan’s movie box cover features a prominent rainbow, and is about a hedonistic/sexual society where everybody is killed at age 30 – supposedly as Illuminati sex slaves are – in a ritual known as Carousel. Keep all this in mind, because it’s going to come up in this movie as well and I’ll get into it more in a short bit.)
2. Later on in the movie when Bill needs to get a costume to go to the private masquerade party (masks/masquerade, more mind control symbolisms) he goes to a costume shop called… Under the Rainbow Fashions. The owner’s underage daughter, played by Leelee Sobieski, is caught cavorting with two very older Japanese men in her underwear, then flirtaceously wraps her arms around Tom Cruise, whispers something in his ear, then sashays off with her hands on her hip and eyes locked on him, advertising her underwear clad goods. More sex kitten programming.
3. Rainbow Christmas lights – I know the movie takes place at Christmas, but Stanley Kubrick, being who he is, sets up every scene of his movie in a meticulous way. Things are there in a shot because he wants them to be. And nearly every place Bill goes throughout his evening has rainbow Christmas lights strung up everywhere. No other Christmas movie that I’ve watched features this many rainbow lights. Why is this? Several possible reasons: A) Considering the other very obvious references to rainbows, I believe this was for a reason. If anything, making the movie take place at Christmas assures that there’s an excuse to have rainbow lights in nearly every shot. ;) Color and rainbows are heavily used in mind control programming. B) Over on YouTube, I found a video presentation about the Illuminati symbolism in Eyes Wide Shut by “MovieInsider,” which mentions the extensive use of Christmas trees with lights. His/her theory was that it had to do with the triangle shape of the tree itself. Triangles/pyramid, more Brotherhood symbolism. This is certainly a possibility and worth mentioning; and C) Illum- inating Christmas lights….Illuminati. This idea was brought to my attention by a reader who emailed me. Think also of George Bush’s New World Order speech way back when, and his reference to the “thousand points of light.” So with that in mind, from Kubrick’s shooting script we see this:
“Illuminations creating a ‘curtain of light’ hang from the wall…”
“The walls are draped with the ‘curtain of light’ illuminations…”
And that’s just for one particular scene. These “illuminations of light” and curtains of Christmas lights are everywhere in the movie, in every mansion, house and apartment, on the streets and in the shops.
“Open Your Eyes.” At Ziegler’s party, Bill is whisked away upstairs where he finds Ziegler, the host of the party, putting his pants back on next to an unconscious nude woman who has supposedly overdosed on a speedball. Bill tries to wake her up with, among other things, “…Can you open your eyes for me?…let me see you open your eyes …” See the reviews for “Fight Club” and “Vanilla Sky” for more on the trigger phrase “open your eyes.” Even the title, “Eyes Wide Shut” relates to open your eyes.
The occult ritual orgy. Everything leads up to this moment. 
Bill finds himself crashing what he thinks will be just a regular old swanky party, only to find himself at a ritual occult orgy at a gated Gothic mansion on Long Island. The interior is decked out in red and black, the music is supposed to be Romanian played in reverse, Nick Nightingale plays the keyboard blindfolded, as the ritual leader swings a bowl of incense counterclockwise, surrounded by 12 nearly nude models, (12 around 1, 13 total); Each woman “kisses” the one next to her, also moving counterclockwise around the circle.
As Bill explores the mansion he finds people sitting around completely still, gazing off blankly at nothing, or moving about in a bored, slow, mechanical way amidst the couples having sex. As far as the sex goes, it’s just guys mechanically pounding away at females who may as well be blow up dolls, or girl-on-girl with the girls groping each other in a slo-mo, trance-like state. There’s no life, personality or soul going on anywhere with anyone, which is exactly the point. There’s even a room where mostly-nude couples are lifelessly dancing with their masks on to the muzak version of “Strangers in the Night.” I don’t think that scene was supposed to be funny, but to me it was. !
1. The masks. Everybody walking about the mansion is wearing masks. As noted in the work of Fritz Springmeier, one mind control programming technique involves “Porcelain mask programming.”
2. Chokers. Every single female at the mansion orgy is wearing a choker necklace. Recently in some mind control book or article I came across a mention of how sex kitten slaves will have a penchant for wearing choker necklaces and collars, and they’re encouraged to do so as it represents the same thing as it does for animals – being the personal property under the control of handlers. Wish I could remember the source that mentioned this, I’ll have to do some digging around and see if I can track it down.
3. The occult ritual with the center circle and the red and black hooded robes is reminiscent of “Carousel” in “Logan’s Run” (reviewed in the “Egyptian Symbolism” section) and the masquerade ball ties into “Labyrinth” which used the same symbolism…although in a much more innocent way. ;) So many movies tie into other movies, it’s just a matter of putting all the pieces together and seeing the bigger picture.
Speaking of “Logan’s Run,” as mentioned earlier, the Illuminati sex slaves are supposedly killed off by the age of 30. So with that that in mind, during this occult ritual scene Bill the “party crasher” gets discovered and is shamed in front of an entire roomful of masked people and told to remove his clothes. Something very bad is about to happen to him…until one of the masked women offers herself up in his place, saying, “Take me instead.” She’s led away by somebody, Bill is allowed to leave, and that’s the last we know of her. We don’t know who she is, but her identity is later discovered as being Mandy, the nude woman unconscious from a speedball at Ziegler’s party at the beginning of the movie. And after offering herself up in Bill’s place at the ritual, Mandy “coincidentally” turns up dead the next morning in her hotel room, supposedly of an overdose. The New York Post article that Bill is reading at the coffeehouse notes Mandy’s age as being what of all ages but……30. Also on the front cover of the New York Post it says in big bold letters, “LUCKY TO BE ALIVE.” Bill had told Mandy at the beginning of the movie after reviving her, “You’re lucky to be alive.” Now she’s dead after offering herself up in his place…but he’s still alive. This sort of “mirroring” is used throughout the movie, including with the dialogue, which I’ll get to in a moment.
3. Dual lives/alternate personas. The participants at the occult orgy are leading double lives, and nobody out in the “real world” would ever imagine differently. Later on Ziegler reveals that he was also at the ritual and lets Bill in on the super elite nature of the people that were there, saying Bill would be stunned if he only knew who some of them were.
Domino. The prostitute that Bill meets as he roams about the city at night is named Domino. There is coincidentally what’s known as “domino programming” in mind control slaves. At the very end of one scene, Domino says to Bill, “Don’t worry…I don’t keep track of the time.” Being that this is the last sentence of the scene means that the director wanted this to be emphasized. For what reason? Well interestingly enough, several authors on the subject of mind control (including Fritz Springmeier and Cathy O’Brien) have noted that a mind controlled subject in their triggered alternate personas will often have no sense of time. (See the “Over the Rainbow” section above where the no sense of time thing is mentioned.) And once inside Domino’s room, we see that she has rainbow Christmas lights strung up everywhere, tribal masks on the wall, a mirror over her dresser, and on the dresser, under the mirror is a book named “Shadows of the Mirror.” We’ll find these same symbols repeated later in “V For Vendetta,” coming up next, since most of these movies have overlapping symbols and themes going on.
At the end of the movie, Bill returns home where his wife Alice awakens from a “bad dream” and tearfully relays that in the dream, she was at a party, having sex with many man, so many that she lost count, while he watched.
This is the clincher of the movie….although it leaves unanswered questions and “plot holes.” Alice is describing to a T the scene where Bill just was, but yet, she wasn’t there, and she couldn’t have known…right? Well, not unless she has been there…possibly in the past? Again, unanswered questions and plot holes, possibly something that was included in the original version of the movie but which was later cut out after Kubrick died, I don’t know. But my theory is that her “dream” is possibly a past memory. Combine this, with her name Alice — through the looking glass — and the whole split personality, compartmentalized multiple, mind control sex slave sub-theme of the movie, and maybe it all makes sense. Maybe. I don’t know. !
Minor Points of Interest:
“Not a soul.” At the party at the beginning of the movie, as Bill and Alice dance together, she asks him if he knows anybody there. His response: “Not a soul….” A double entendre implying that everybody there is soulless. Later when Bill has to make a house call to somebody whose father has died, he tells Alice “I have to go over there and show my face.” That was interesting in light of the masquerade orgy later on in the movie where the key was everybody’s hidden faces and the way he is shamed and forced to remove his mask in front of everybody. (Which also doubles as more of that “mirroring” thing I mentioned.)
And relating to the idea of specific word choices is the repeating dialogue. There’s so much dialogue that consists of somebody saying something, and then the other person parroting – mirroring – it back, word for word. Bill/Tom Cruise does this A LOT, and has the way of speaking that involves looking the other characters directly in their eyes in this mesmerizing way while gently commanding them and manipulating them, and parroting back everything they say to him, and/or repeating himself in this methodical way. As tedious as it is, I don’t think I even noticed it the first few times I watched this movie! And that’s what’s so interesting about it. So I’m wondering what the purpose was – is it to get the viewer in a hypnotic trance? Speaking in such a methodical way, with the camera focused in on Tom Cruise locking his eyes like that and parroting lines may serve to get people in a light trance state as they’re watching. It could also represent “mirroring,” maybe relating to mirror programming. If anybody has any other theories though I’d be curious to hear. The possible answer: A reader emailed me with his additional take and insights into this movie, and something he pointed out is that in his opinion, Bill is a handler. Bill doesn’t know it during his conscious waking life, but in his alternate persona state, he’s a handler, and it explains why he talks the way he does. I tend to agree, because of the fact that Bill expertly “handles” everybody he comes into contact with in the movie and gets exactly what he wants. He’s very much a man in control. Considering Alice’s dream of being at an orgy, it totally fits – both of them have alternate lives. She’s one of the sex kitten slaves, and he’s a handler. The reader also was thinking that Bill was one of Mandy’s handlers as well, and it’s why Ziegler called Bill in particular to come revive her…..with the hypnotic and commanding trigger “Open your eyes…” and it’s why she committed herself to dying for him at the end. Who knows though….just a theory. So much is left out of this movie, so many plot holes and loose ends……
Romanian/Hungarian. On a side note, I had previously wondered what the significance was to the Hungarian art dealer named Szandor at Ziegler’s party who was trying to seduce Alice. For starters, a reader emailed me and pointed out that Szandor is also the name of Anton Szandor LaVay, founder of the Church of Satan. A possible reference to the Satanic Illuminati. So, one possibility. So then why Hungarian, of all nationalities? Then I realized……the music at the ritual orgy is reverse Romanian. The stranger is Hungarian. When you do the research, this area of eastern Europe with “Transylvania” etc. is mentioned as being an important area for “elite bloodlines,” including Vlad the Impaler, aka, “Dracula” of all people, whom George W. and family are supposed to be descendents of. At first glance this theory may seem silly, but at the moment I really can’t think of a better reason for why Romania and Hungary, a spawning ground for elite bloodlines, would have both been featured in a movie about the occultic rich elite.
Fidelio. Bill needs a code word to gain access to the occult party, (trigger code word, access closed off areas of the mind). Fidelio is that word, a play on the word fidelity, which is also one of the themes of the movie. This reminded me of the movie Mulholland Drive with “Silencia.”
“Eyes Wide Shut” has so many layers to it I don’t think I’ll ever be finished trying to decode it. I keep noticing new things every time I watch it, which is amazing because this movie really does play out in such a methodical and almost seemingly boring way. And yet it packs so much in there. You just have to open your eyes. ;)
“V For Vendetta” – 2005. Hugo Weaving, Natalie Portman, Steven Rea, John Hurt, Stephen Fry, Tim Piggott-Smith, Roger Allam.
After a devastating virus wipes out over 100,000 people, with the chaos and mayhem that ensues, the population of England reacts with fear and elects a fascist government regime to restore order. Order comes with a price though — the loss of liberty. A mysterious man named V, (Weaving) decked out in a Guy Fawkes mask and wig, and some amazing abilities with knives, bombs and martial arts, sets about on a mission to single handedly overthrow the Nazi-like regime and spur the population into a revolution. He has the help of an every day working girl named Evie Hammond (Portman) who inadvertently winds up as his partner in crime when he saves her life one night in a dark alley. A weary but tireless inspector (Rea) is on V’s case, but as events unfold and a long list of people with connections to something called the Larkhill Detention Center begin turning up dead, it soon becomes apparent that there’s more going on than just overthrowing the government. How are the events at Larkhill connected to the virus that killed over 100,000 people, and the fascist government that was spawned as a result?
“V For Vendetta,” based on the graphic novel by Alan Moore, is brought to us courtesy of the Wachowski brothers who have producers credits on this film. Even though they didn’t direct it, “V” still has the look and feel of the original Matrix movie in many ways, from V’s head to toe black get up, trenchcoat and boots, loaded down with weapons and some serious fighting skillzz ;) to the color quality, the hypnotic and engaging way it’s filmed, and even the score that plays throughout. (Take note of the scene when V steps off the elevator in the BTN studio, about to kick some ass…it’s straight out of the first Matrix, even down to the sound effects. Also, the theme of “revolution” calls to mind Matrix Revolutions.)
The story of “V For Vendetta” is multi-layered, which makes it interesting. The most obvious surface layer involves revolting against a fascist government regime and overthrowing the corruption. A second layer involves the theme of “coincidence” and “connection.” Connective coincidences appear throughout the movie, along with references to them by various characters. Everything is connected, as realized by Inspector Finch at the end of the movie in his big moment of realization. The third layer involves mind control symbolism, with its symbols and themes woven throughout the movie. It reminds me of a multiple image hologram. Turn it one way, see one thing. Turn it another, and a different picture emerges. I’m curious as to what Alan Moore, the original author, had/has going on in his life that he was able to come up with these things for his graphic novel.
The mind control symbolism
V is a character who is broken and transformed during his time spent at the Larkhill Detention Center for undesirables, where victims are brutalized and experimented on like meat. Most of the victims die. But V not only lives, a genetic anomaly with unusual blood properties, he also develops unusual mental and physical abilities and lightning fast reflexes, becoming a new person who “could no longer remember who he was or where he was from,” as Doctor Delia Surridge from the Center notes in her journal. All of this brings to mind the government sponsored MK Ultra/mind control black ops projects and satanic ritual abuse where children of certain bloodlines are brutalized and traumatized until they form alternate split off personas and new identities, sent back out into the world with their new programming, used as pawns in somebody else’s agenda. Speaking from personal knowledge and research, I can also add that many targets of government mind control projects will have higher than average intellectual capabilities and develop unusual…“abilities” such as photographic memory, lightning fast reflexes, psychic powers and so on. So this definitely seems to parallel.
V later engages in a similar torture/reconditioning treatment on Evie, taking her against her will and imprisoning her in a cell — all for her own good, mind you ;) – so that she can learn to overcome her fear. When Evie first emerges from her cell and realizes that V was behind it all, she has an emotional breakdown. But she not only gets over it, becoming the fearless warrior, but she later returns to V to help him, and even falls in love with him. I thought that was a bit twisted in some ways, and reminded me of the “romantic entanglement” between victim and handler mentioned in my “Labyrinth” write up.
V’s new, alternate persona is the “agent provocateur.” It’s all another variation of what we find in “Fight Club.” After years of training and waiting for the right time, he begins his methodical plan of killing everybody who was connected to Larkhill, and setting into motion events that will eventually dismantle the current fascist, corrupt government. His free time is single mindedly devoted to fight training — knives, swords, and martial arts – and putting his plans into action. That is his only admitted purpose for living.
So with that established, let’s review some of the mind control symbolisms I noticed in the movie:
The mask and mirror. We are introduced to V while he puts his mask on in front of his mirror, getting ready to head out. Later on in the movie, V takes his mask off and throws it against the mirror, shattering the glass. 
As noted previously in this section, masks and mirrors are major mind control symbolisms. See “Labyrinth” and “Eyes Wide Shut” for two examples in this section. As Gordon Dietrich says in the movie, “You wear a mask for so long you begin to forget who you were beneath it.” Mask symbolism, as used in mind control, refers to the masking of the various split off alternate personas from each other. Mirrors are often used in conjunction with drugs and hypnotic programming to create the illusion of a second alternate persona within the mind of the target. Because the target is drugged up and dazed, they can be convinced to view their reflection as an actual secondary persona.
The Key. Just as Dr. McCabe refers to David as being “the key” in “Vanilla Sky” (coming up in a short bit) Dr. Delia Surridge also refers to V as being “the key.” She says “…whoever he was, he is the key…” So many of these movies either feature physical keys or make mention of somebody being the key….
Phoenix Rising. Just like in “Fight Club,” our main hero V experiences a transformation in personality that’s likened to the phoenix. His old self dies, and a new persona is born, rising from the fire — quite literally. V emerges from a huge explosion and fire at Larkill, walking through the flames letting out a primal yell of rage. And just like “Fight Club” this transformation results in a persona hellbent on destroying the society he sees around him. In mind control programming, the phoenix rising symbolism is quite popular as it refers to the rising up of the new, alternate persona taking over the mind of the victim.
So, keeping in mind in V’s masked visage, with his emergence from Larkhill – the abuse, torture center – in a huge fire with a new personality that could no longer remember who and what he used to be, here’s an excerpt from Fritz Springmeier’s “The Illuminati Formula to Create a Totally Undetectable Mind Control Slave” which says:
“Fire/burning torture is used in the porcelain face programming….The memories of abuse are then hypnotically hid behind the masks…..This means that these alters have via torture and hypnosis lost their own faces!”
Project Mayhem “space monkey” army look. On this note, Evie is also transformed from an every day working girl who lives in fear, to a fearless warrior with a shaved head, doing her part to dismantle society. Very reminiscent of the Project Mayhem “space monkey” army with their shaved heads in “Fight Club.”
Agent Provocateur programming. As mentioned earlier, V has the agent provocateur attitude as found in Fight Club, stealing, killing, blowing things up, and instigating disobedience, wanting to destroy the corrupt society he sees around him through violence and force.
Suicide/Self Destruct Programming. And like in “Fight Club” and “The Manchurian Candidate” the hero/pawn must die via “self destruct programming” after being used to fulfill the agenda. While the lead characters in the other two movies attempt to kill themselves but don’t succeed, V knowingly goes up against Creedy and his men who all have guns, and sacrifices his own life in order to take out them in the process using only his knives, martial arts, and lightning fast reflexes. Relating to this we have……….
The dominoes. There’s a (red and black colored) domino knock down scene forming a large “V” towards the end of the movie, just before V heads out to blow up Parliament and face his inevitable death/suicide. Turn the hologram image one way and it represents the connectedness of all things, one of the sub-themes of the movie. Turned another way, with the knowledge that dominoes are used in mind control, and it has another meaning. Again, quoting from Fritz Springmeier:
“The dominoes were used for coding, but they also had the programming feature of being able to tie alters together so that if the system is tampered with out of sequence, a domino effect would take place This domino effect is for one program to set off another program to set off another program. Soon the Monarch slave’s mind is trying to deal with dozens of suicide programs running simultaneously…”
Shadows. A minor one, but V calls his home “The Shadow Gallery.” An interesting choice of words. It’s indeed gallery-like, for its collection of banned art, books, music, trinkets and do-dads, but what does shadow refer to? Shadow also appeared in “Eyes Wide Shut,” with the book entitled “Shadows of the Mirror” on Domino’s desk. In mind control, possibly refers to the shadow self, or alternate persona.
Other Interesting symbolism
11:00. The time on the clock at the beginning of the movie when Evie is ready to head out the door into the night, where she will eventually cross paths with V, changing the course of her life. 11 is a master number, representing “the initiate,” and is amply fitting for Evie as she is the fearful, naive initiate at the beginning of the movie, about to have her world turned upside down to the point of eventually becoming a different person.
3:30. (or rather, 33) the time left on the bomb clock when the camera first pans on it. 33 is another master number, important in Freemasonry. Think of the 33rd degree in the Scottish rite of Freemasonry, the highest level one can attain. I’m thinking it could be a marker of sorts slipped in to indicate who was behind the making of this movie, or, it actually refers to Jesus himself, who (supposedly) died at 33. Christians believe that Jesus died for the sins of mankind, sacrificing himself for the benefit of all – as V does in a way at the end of the movie.
The “V” symbol. “Coincidentally,” the red V logo is strikingly similar to the Baphomet goat head’s pentagram used in occult practices. All that’s missing are the ears, which form the other two triangles of the pentagram. It’s also reminiscent of the red spray painted V in the 1983-84 TV miniseries “V,” about reptilian aliens that come to earth and the resulting Nazi-like mentality that begins taking over the population who wear their red and black uniforms and fall in line with them. (See also the image of Frank the (Baphomet/V) Bunny from Donnie Darko.)
The Cross of Lorraine. The flag of the fascist government is a red and black version of the Cross of Lorraine. 
The Cross of Lorraine has a long and meaningful history and is considered one of the many “Brotherhood” symbolisms of those who run the planet. It has its origins in France, and Joan of Arc was known to carry a flag with this symbol on it in battle; In “V for Vendetta,” the government is always mindful to point out all the outside enemies and how “England Will Prevail!” so it’s fitting that they would then adopt this symbol to represent their battle mentality of prevailing. However….the way the meaning gets twisted around, with the enemy masquerading as the savior government pretending to be at battle with outside forces parallels the way the Nazis hoodwinked the German population and took the swastika, originally an eastern spiritual symbol with positive meanings, and twisted it all around into something with an evil meaning.
The roses. Another Brotherhood symbolism, calling to mind the Rosicrucians, or, the “order of the rose cross.”
Red, black and white. Common occult color scheme found in many meaningful movies with hidden agendas and secondary symbolic meanings.
“Ride the Long Black Train.” Song by Richard Hawley that plays on Inspector Finch’s alarm clock radio the morning of November 5th. I jotted down the lyrics and Googled them afterwards to see if they had any significant meaning and reason for why this song in particular was used in the movie. After reading the lyrics it’s all extremely fitting, especially the line “Take me home black train…” After V finally dies from the wounds sustained by Creedy’s men, Evie puts him on the bomb-laden train, places a rose on his chest, and pulls the lever to send the train off into Parliament to blow it up. Also the words “rose,” “shadows” “tolling bells” “the city” “deep of the night” and “clock tower” all appear in the song, tying into various things in the movie, which is interesting, considering the song came out several years before the movie.
Notable quotes:
“People should not be afraid of their governments. Governments should be afraid of their people.” – V.
“I want everyone to remember why they need us!” — Chancellor Sutler. Next scene is a montage of fear mongering news stories, lies, manipulation and spin to indeed, remind the public “why they need” the fascist government to keep them safe.
“Our job is to report the news, not fabricate it. That’s the government’s job.” BTN employee.
“Fear became the ultimate tool of this government.” — V.
“Mulholland Drive” — 2001. Naomi Watts, Laura Elena Harring, Justin Thieroux, Ann Miller.
Betty (Watts) is a wide-eyed, fresh faced newbie arrival to Los Angeles with acting aspirations reminiscent of the old Hollywood movie starlets, who happens upon a beautiful woman with amnesia named Rita, (Harring) another throwback to Old Hollywood. Betty makes it her personal mission to help Rita and get to the bottom of retrieving her memories and piecing together what happened to her. All they have to go on are a purse full of money, a mysterious blue key, and Rita’s sole memory that she was in an accident while en route to Mulholland Drive. Side plots interwoven throughout involve the personal woes of movie director Adam Kesher (Thieroux) and an assortment of David Lynch-esqe characters and their strange and mysterious happenings which don’t initially make sense…but which keep your attention sucked in to the end to find out what’s going on.
I found the movie to be the best David Lynch movie I’ve seen yet. Or as somebody on imdb.com put it, “David Lynch finally succeeded at making a David Lynch movie.” Whenever I feel the need to “visit” L.A. from where I currently live, I just pop in this movie. With its strange characters and their disjointed plots, moody music, and scenes that are filmed in an hypnotic and engaging way, it captures the empty, disconnected, lonely vibe of L.A. so well. Note: There will be several plot spoilers coming up.
Key Elements
The mysterious blue key. Keys are a major mind control symbolism, as they represent locked areas/compartments of the mind. All Rita has is her purse full of money and the mysterious blue key. So, what does the key open?
Amnesia. Rita has amnesia, and can’t remember who she is or what she was doing. Could be representative of the compartmentalized multiple’s life. Which leads to…
Alternate personas. Once again we have a major plot twist where it’s revealed that nothing is what it seemed to be and the lead characters are really somebody else. Who we thought we knew as Betty and Rita were just figments of an imagination…alternate personas in a dream world. In the same way that Edward Norton’s “Jack” was really Tyler Durden, “Betty” was really Diane Selwyn, and “Rita” was Camilla Rhodes.
Suicide/self destruct programming. At the end of the movie we learn that Diane Selwyn had killed herself.
On the surface, “Mulholland Drive” seems to be about Diane Selwyn’s fantasy delusion of the life she wish she would have had, the way she wishes things would have gone. But as with most of the movies I talk about on my website there are always more layers. On a message board forum I participate in, it was pointed out that “Mulholland Drive” is a depiction of the Illuminati’s control of Hollywood, (the behind-the-scenes plotting of mysterious men to get Camilla Rhodes cast in Adam Kesher’s movie; the way Adam’s bank account is closed out and his life shut down when he goes against their wishes, the mysterious blackmailing “Cowboy” figure, etc.) as well as the breakdown of a mind control slave’s programming and inner “alter” system. The movie centers around Hollyweird and the land of broken dreams, which is ripe ground for the exploited “MK Ultra”-type stars. Like “Eyes Wide Shut” it’s filmed in a hypnotic and engaging way. And again, the main character is living out a dream world in an alternate persona, trying to find what the key opens. David Lynch is an A-list power player in Hollywood who would be aware of such things, so it’s not far-fetched to imagine that he would incorporate his knowledge of what really goes on in Hollywood into this movie. Admittedly, the alter-egos/dual lives/reality vs. dream world theme has become his schtick you could say, as it’s been repeated in several of his other movies including “Lost Highway.” But while “Lost Highway” and others presented dream world confusion and mysterious alter personalities merely for the fun of it and to give his movies their trademark moody mysterious feel, “Mulholland Drive” is more pointed in its aim at Hollywood and its control over the starlets who work for it. Like “Eyes Wide Shut” I don’t think I’ll ever be done decoding this movie.
The Game – 1997. Michael Douglas, Deborah Kara Unger, Sean Penn.
Probably not coincidentally ;) we have a second David Fincher movie dripping in mind control symbolism.
For his 48th birthday present, the extremely wealthy and emotionally cold Nicholas Van Orton (Douglas) receives an enigmatic present from his wayward younger brother Conrad (Penn) – an invitation to contact Consumer Recreation Services, known as CRS. It’s to “play a game”, and promises to be the best thing that could ever happen to him. See, you don’t play the game. The game plays you. Initially dismissive, Van Orton later changes his mind. But what is the Game? Like “The Matrix” you can’t be told…you just have to see it for yourself. What’s the purpose of the Game? Like “eXistenZ” you have to play it to find out. Van Orton soon finds himself immersed in the biggest mind job he’s ever experienced, and it soon becomes apparent things may no longer be “just a game.”
Half the fun of this movie is not knowing what exactly is going on, and who’s really who, and what’s really what, so for that reason I won’t reveal any spoilers, not even with a “warning!” But I will point out the very obvious mind control symbolisms littered throughout the movie:
Is this real? Common repeating theme in nearly all of the movies reviewed in this section – nothing is what it seems to be. Mind games. So are the events of the movie real or fake? What’s real and what isn’t? As mentioned in the Total Recall write up, not being able to determine what’s real and what’s illusion/dream/fake is a big theme used in mind control to get targets to give up on reality and succumb to alter ego programming.
The Keys. Van Orton is told by CRS that a big part of the game involves “finding keys” along the way…that will unlock something. He won’t know what until he gets there. But be on the lookout for keys. True to their word, keys do figure prominently throughout the movie, with younger brother Conrad finding an entire glove compartment full of them at one point. So many of these movies feature characters “looking for the key,” it’s amazing. Soon after, in an upcoming scene we get…
White Rabbit/Alice in Wonderland. Jefferson Airplane’s classic Alice in Wonderland drug trip tune, “White Rabbit” plays about halfway through the movie, right when things are taking a dark turn. As noted, Alice in Wonderland, reality vs. illusion, etc. is classic in mind control.
In “Alice in Wonderland,” Alice begins her journey by following the white rabbit who’s not happy to have her there, and who’s in quite a hurry to get somewhere. They tumble down the rabbit hole, and so it all begins. In “The Game” we have an alternate version of this – the game officially begins when Van Orton inadvertently causes his waitress to quit. As she storms off, he’s handed a message by a mysterious stranger that simply says, “Don’t Let Her Get Away.” He gets up and runs after her – but she won’t stop. She’s pissed, and tells him to f*** off, so he has to follow along after her at a fast pace, whether she wants him there or not. And that’s the start of it all. From there they find themselves in a stuck elevator – elevators are one main mind control technique – and onto the rest of their adventure.
“Keep Your Eyes Open” and an alternate version of “Open Your Eyes.” When Van Orton tries to find out what the Game is from another wealthy fat cat who played it, he is told “Do you want to know what it is?” (Just like Morpheus in “The Matrix” – he even leans forward in his chair as he says it.) Then the bible is quoted: John 9:25. “Whereas once I was blind, now I can see.” That’s all he is told. The Game will “open your eyes,” indeed. (side note…Michael Douglas’ birthday happens to be 9/25…weird coincidence.)
Later, when he is receiving instruction about the keys and their purpose – via a hijacked financial program on his TV set – he is told “…so keep your eyes open.“ (See “Fight Club”, above, for more on this.) Open your eyes and look for the key. It’s just amazing how many “mind control” movies utilize this phrase, or versions of it, as well as the key symbolism.
On imdb.com, it’s mentioned that one of David Fincher’s trademarks is the use of suicide – either an actual suicide, or an attempt. Suicide figures prominently in this movie as well, and many mind control victims are instilled with suicide programming.
Another thing I noticed with “The Game” – there was a high emphasis on “the eternal question,” and “what it is” – exactly the same as The Matrix, a word for word quote. There was an emphasis on keeping your eyes open and “looking for the key.” So many of these movies emphasize “open eyes” and “looking for the key.” It could be a programming reinforcer, it could refer to higher level esoteric-type concepts. The key – The Grail, the hero’s quest, journey; the soulless man, played by Michael Douglas, who learns how to connect with people again.
Stay – 2005. Ewan McGregor, Naomi Watts, Ryan Gossling, Bob Hoskins
Psychiatrist Sam Foster (McGregor) finds himself taking over the case of a patient named Henry Letham (Gossling) when his colleague, Dr. Beth Levy, takes a leave of absence. Henry is a suicidal enigma who has suffered through a mysterious trauma, with plans to kill himself in three days. This leaves Sam no choice but to try to stop him…and get to the bottom of the mystery of what happened to Henry. But as he embarks on his journey, his reality begins dismantling.
Stay’s tagline is “Between the worlds of the living and the dead there is a place you’re not supposed to stay.” …so you know going into this movie that somebody’s dead here, it’s just a matter of figuring out who it is, and what exactly is going on. And being that this movie is mentioned here means it’s saturated with mind control symbolisms/triggers/themes. Of course! This one just packed them all in, it was a bit surprising. Without giving away spoilers, here are the highlights:
Reality vs. Illusion. The characters no longer know what’s real and what’s a dream, which again, is a mind control technique. In fact, the idea of reality being a dream and “illusion” is really emphasized at the tail end. 
Open Your Eyes/Blind man seeing. Yes, more people directly saying “open your eyes” multiple times, and a blind man who can see again. Just like in “The Game” – “Whereas once I was blind, now I can see.”
Spiral stairs. Scene involving trippy looking spiral stairs that Sam stumbles down as his reality begins unraveling around him. Spirals/helixes are one of those mind control themes mentioned at the start of this section, and considering that Sam is falling down the spiral stairs as his reality begins unraveling into a dream state is quite symbolic.
11:33. When Sam asks Leon the blind man, (Hoskins) when he was able to see again, Leon smiles and cheerfully responds “11:33!” This one made my head whip back in the theater, like, Wow! 11 and 33 are both important numbers in numerology – 11 is the initiate, while 33 is the master. (Think of the 33rd degree in the Scottish rite of Freemasonry, Jesus dying at the age of 33, etc.)
Three days. Mentioned in the “Manchurian Candidate” section, it’s interesting to note that in both movies distorted reality/illusion/mind control stuff has happened or is currently happening during a particular three day time period. Reminds me of a song that I liked in the 90’s called “Three Strange Days”, by School of Fish: “For three strange days, I had no obligations/ my mind was a blur, I did not know what to do…And I think I lost myself/when I lost my motivation/and now I’m walkin’ ‘round the city/ just waiting to come to / for three strange….“ And in “Stay,” Sam is trying to chase Henry – who’s apparently lost his motivation and wants to kill himself – around the city for……three strange days. ;)
The bridge. heavily emphasized in the movie, it’s where Henry plans to commit suicide; symbolizes the bridge between two worlds, whether it be life/death, or reality/illusion.
Suicide. And like “The Game” and “Fight Club”, we have suicide and more suicide. In this case, it’s Henry sticking a gun in his mouth to off himself, (exactly as Tyler Durden does…) following the scenes with open eyes and a blind man seeing again, (same as Tyler Durden, saying “My eyes are open…) Also, Sam’s girlfriend Lila, (Watts) has survived her own suicide attempt, a focal point of the relationship between her and Sam. At the end of the movie, Sam describes Lila’s wrist wounds to Henry, emphasizing that it was three 4-inch cuts, and how she lost five pints of blood. (3, 4, 5?) If it’s emphasized, it means something. ;)
It’s in my opinion that this movie, like “The Game,” has that meaningful esoteric symbolism intertwined around mind control symbolism and triggers.
Total Recall – 1990. Arnold Schwarzenegger, Sharon Stone, Michael Ironside, Rachel Ticotin, Ronny Cox
“How would you know if someone stole your mind?”
Yes, I’m a little behind with this one. ;) I saw this way back when as a teen, but hadn’t re-watched it until last night (8/9/07). After seeing it again I realize that this movie’s influence can be found in a few movies that came after, including Cipher, (not reviewed here) Vanilla Sky, The Matrix, and more. It also seems to be a biggie in terms of its triggering effects and symbols for those with programming.
Set in the near future where Earth has colonies on Mars, Douglas Quaid (Schwarzenegger) is an every day construction worker on Earth who dreams of something more exciting in his life. He wants to travel to Mars, and even has recurring dreams where he and a mystery brunette woman are standing on the surface of the red planet in space suits, but his wife Lori (Stone) discourages his Mars travel ideas and tries to distract him. A compromise seems possible though with a company called Recall, who are in the business of implanting the brain with false memories of vacations and adventures for a far cheaper price than the real deal. Despite one of Doug’s coworkers giving him a warning to stay away from Recall he goes anyway, and soon he’s sitting in the offices of Recall listening to his various implant memory options. Interestingly, the lead sales rep for Recall, Bob McClane, tries to discourage Doug from doing a Mars implant, and tries to sell him on Saturn one instead. Doug stands firm and settles on an implant trip to Mars that includes an “alternate identity” spy action sub-story where he gets to fight the bad guys, get the girl, and save the entire planet.
After picking his implant story, Doug is then strapped down in a chair and drugged by the people in white coats, about to drift off to sleep when something seems to go wrong. Or does it? Doug experiences what the white coats at Recall refer to as a “schizoid embelism” as he thrashes about violently in his chair, screaming that he’s not Douglas Quaid, he’s really somebody named “Hauser.” This is the point when the movie splits. From here on out, the viewer is left to try to figure out whether the events that follow are still taking place in the real world, or if Doug is already asleep and this is his mind’s fantasy delusion mixed with the implanted sub-story.
Key elements
Reality vs. Illusion. Not being able to determine what’s real and what’s illusion/dream/fake is a big theme used in mind control to get targets to give up on reality and succumb to alter ego programming. Something interesting I recently came across with reference to how this is used in the government’s mind control programming is from the book “Unshackled” by Kathleen Sullivan. A victim of government sponsored mind control programs, Kathleen mentions what’s known as “Otherworld programming,” which is when the target is convinced that the reality they’re occupying isn’t real, so therefore, they’re free to do all the criminal mayhem they want. “In ‘Otherworld’ nothing was real…I had zero fear of carrying out instructions on black ops…didn’t fear being hurt or killed […] no fear of being arrested – after all, the crime had never happened!”
The (monarch) butterfly. At the 9:33 minutes into the movie, Doug is standing on a train watching an advert on the TV monitors for Recall. At the end of the ad the jingle sings “For the memory of a lifetime….recall, recall, recall…” as a monarch butterfly flits around the screen. There’s absolutely no reason for a butterfly to be there……so why is it there? Butterflies are one of the symbols used in programming, noted at the beginning of this piece, so this seems to be a nod to the infamous Monarch government mind control programs. The procedure done at Recall is after all, a mind control procedure. (And on a side note, the command “recall, recall, recall” seems to tie into the command “I remember everything” noted at the end of this piece in the “Programming triggers in trailers/movie posters” section. Having “total recall” is “remembering everything.”)
The people in the white coats. Not to state the obvious, but Doug is strapped down to a chair, given an injection and is told by a woman in a white coat, Dr. Lull (you to sleep), “Ready for dreamland?” in a procedure that involves implanting false memories and creating an alternate identity…otherwise known as “mind control.” ;) What’s odd is I have my own flash of a memory (mentioned in my book) involving a woman in a white coat, with glasses and her hair pulled back, very similar to the woman featured in this movie. Many mind controlled subjects report being strapped down and forcibly experimented on, injected, molested and messed with by medical sorts in white coats.
Alternate identity. Doug isn’t just receiving false memories of a trip he hasn’t really taken, he’s also receiving an alternate identity. Again, this is the core foundation of mind control programming, to create alternate personalities in the mind. Or as the tag line on the movie poster says, “How would you know if someone stole your mind?” I thought that was interesting…it was almost a taunt, a clue to the not-so-subtle secondary symbolic layers of this movie.
Pyramid mines/Pyramid mountain. On Mars, the main mine for tribinium ore is “Pyramid mine,” located in the huge pyramid mountain (created by aliens), as seen on the movie poster. Why go out of their way to make the mountain a pyramid? So that there will be something cool to put on the movie poster? ;) I think not. There’s a reason for everything in these movies after all, and the pyramid is classic “Illuminati/Brotherhood” symbolism, possibly a marker of who’s behind this movie and one part of what it’s in reference to. Also, the whole “pyramid created by aliens on Mars/humans colonizing Mars” were two inter-related themes that Goro Adachi was tracking over on his website, so it could also tie into the ongoing campaign to link Egypt with Mars.
Either the events in the movie are really happening to Doug, or they’re just a figment of his imagination, and there’s telltale indicators to prove either theory. It seems it was kept ambiguous on purpose. So if you were to believe that it’s real, then apparently Doug was a secret operative working on Mars who had his memory erased and a new life story implanted into his brain; then he was put back on Earth, given a cover job as a construction worker and assigned a “wife” (Stone) who’s really a secret operative herself, the sex kitten girlfriend of one of the boss men with some serious fighting skillzz. While he lived out his new life obliviously, the various “handlers” situated around him, his wife, his construction coworker buddy, etc. kept their eyes on him to make sure he didn’t “wake up” and begin remembering anything. It would also explain why Bob McClane tried to discourage Doug from doing a Mars trip. Following along with the “it’s real” theory, Doug was having dreams of Mars and the mystery brunette because he was actually remembering bits and pieces of his other existence, and while strapped in to the chair at Recall, he prematurely woke up to his Hauser alternate identity…before their memory implant story had been given to him. Dr. Lull even says that he had memory erasing done on him before, and that he really had been to Mars and was remembering things. So now Doug’s handlers are tipped off to the fact that he’s waking up and so start coming after him, trying to kill him, meanwhile as he follows clues that were left for him by his alternate self, Hauser. But then again, there are just as many reasons why you could argue that it was all a dream. ;)
I’ll say this – the movie definitely left me in a really strange state afterwards. Moreso than any movie I’ve watched in awhile. I think if you have the programming it’ll affect you in a weird way. If not, it’ll just be a sci-fi action adventure.
Vanilla Sky – 2001. Tom Cruise, Penelope Cruz, Cameron Diaz, Jason Lee, Kurt Russell. Remake of the 1997 Spanish film “Abre los Ojos” ( Open Your Eyes. )
We’re introduced to David Ames (Cruise) as he recounts his life from behind a prosthetic face mask to a psychiatrist named Dr. McCabe (Russell). David is being accused of murdering his girlfriend, of which he denies adamantly, and with the help of Dr. McCabe he needs to piece together what really happened before his trial. The story is told in flashback memories, and we see that David used to be a spoiled rich kid who had inherited the fortune of his deceased publishing tycoon father. He cavalierly breezed through life without a care in the world and took everything for granted – his money, his good looks, the endless beautiful women he could have, the company he owned 51% of. At his 33rd birthday party he found himself hitting it off with Sophia, (Cruz) who just so happened to be the date of his best friend Brian, and starting to actually fall in love for the first time in his life. Unfortunately his jilted lover Julie Gianni, (Diaz) whom he’d treated carelessly, convinced him to go for a ride with her the morning after the party…only to commit suicide by driving the car off a bridge. David lived, but now had a horribly disfigured face and a jaw broken in four places requiring multiple reconstructive surgeries. Hence the face mask. In constant pain and on meds, with a personality that was changed as much as his looks, his life was never the same again. Sophia eventually shunned him and his friendship with Brian suffered. However, mid-movie we find that his life seems to have done a rapid 180, with everything miraculously improving and working out in his favor overnight…until disintegrating again into mind bending craziness. Reality seems to have become not only a dream, but a nightmare that David can’t wake up from. So what’s really going on?
A literal remake of 1997’s “Abre los Ojos,” and even using the same co-star from that movie, Penelope Cruz, “Vanilla Sky” is another surreal, reality bending movie with a twist ending. I recently re-watched it and noticed a few more noteworthy symbolisms, which I’ll talk about here:
Open your eyes. For starters, the phrase open your eyes. It’s the name of the original Spanish movie from which this adaptation was taken, and it’s the first and last lines of the movie, said repeatedly. As noted in the “Fight Club,” “Stay” and “Eyes Wide Shut” write ups, I’ve come to discover that this indeed seems to be one of those “trigger phrases” used to snap someone into or out of their programming. So since this is the fourth movie I’ve come across now in which either this phrase, or a related variation of it, is used (with all four movies involving mind bending dream vs. reality themes…) then it definitely means something. These movies possibly trigger or reinforce people’s latent programming.
“33.” It’s no coincidence that the crux of the movie starts right on David’s 33rd birthday. As explained elsewhere in this section, 33 is a master number, linked to Freemasonry, (think the 33rd level in the Scottish rite of Freemasonry). And so of all the ages they could have chosen, David just so happened to be 33. ;) Of course.
Also, there’s parallels to “Jesus” with this. David’s life takes a turn starting at 33, eventually resulting in his death, and Jesus (supposedly…) died at 33. The connection is emphasized at the beginning of the movie when David finds himself in a strange dream, where the streets of NYC and Times Square are deserted. He gets out of his car, runs around, then stops, raises his arms with his body thrown back, and affects a Jesus crucifixion pose while screaming. Why, I have no idea, but it’s there. ;)
The mask. Not to state the obvious, but David is featured for a chunk of the movie with a mask on his face. As mentioned in the “Labyrinth,” “V for Vendetta” and “Eyes Wide Shut” analyses, mask symbology is heavily used in mind control as it represents the compartmentalized/masked off areas of a person’s mind.
Reality vs. dream. Again, not to state the obvious, but the entire movie centers on a reality that disintegrates into a dream-like madness, much like “Stay,” “Mulholland Drive” and “Fight Club,” or “Jacob’s Ladder” and “The Machinist,” (the latter two not reviewed here). What’s real and what isn’t? Are you alive or dead? Asleep or awake? This is a key theme that compartmentalized mind control supposedly relies on, to disorient and confuse the target and get them to give up on reality and succumb to alter ego programming.
“You’re the key…” Dr. McCabe states several times that David is the “the key” to figuring out what’s really going on here. Exactly the way Dr. Surridge says about V in “V For Vendetta.” We don’t see an actual key, such as in “Labyrinth,” “The Game” or “Mulholland Drive,” but it is mentioned, and more than once, which makes it meaningful. Unlocking a person’s programming requires “the key” — trigger word, phrase, gesture, etc.
Something else I noted was the similarity that Vanilla Sky shared with The Forgotten and “Stay” in the sense that all three movies involve the main character being questioned by a psych doc assigned to their case as they try to figure out what’s really going on in their reality. There’s even a line in “The Forgotten” spoken by Dr. Munse (Gary Sinise) that’s nearly verbatim something Dr. McCabe says in this movie…and with Kurt Russell’s voice being uncannily similar to Gary Sinise’s as well. When I get home from work later I’ll retrieve the two quotes to compare.
The Butterfly Effect — 2004. Another movie with mind control symbolisms/references would be “The Butterfly Effect”, from 2004, starring Ashton Kutcher. This movie is a bit on the heavy side, which surprised people who weren’t expecting a movie like this from someone like Ashton Kutcher, and it’s definitely worth mentioning for its possible double meaning mind-control themes. The title alone, with butterfly in it, has two meanings: On the surface, it’s about the chaos theory; the secondary meaning could be representative of “the effects of Monarch mind control programming,“ supposedly a subdivision of the MK-Ultra program. “The Butterfly Effect” seems to be a representation of the traumas supposedly inflicted on real life children who’ve undergone trauma-based Monarch mind control programming – being molested/used in porn films, watching people being killed right in front of them (in this case the dad, as well as an innocent baby) having their pets killed, etc., as well as the after effects of all this — alternate personas, (in this case, each time Evan, played by Ashton Kutcher, “goes back” and changes the past it results in a new version of everybody involved) black out periods/suppressed memories, no sense of time, turning to prostitution and drugs, suicide, etc. Things that happen to real life victims of that kind of programming. Sure, on the surface the “chaos theory” applies in the sense that every time Evan goes back and makes one small change it completely changes everything in a huge way. But on the other hand……why make the movie about such incredibly dark material? A movie about “going back and changing the past” could easily have been made without the references to kiddie porn, child abuse, pet killing, people killing, suicide, etc. etc. So, that’s why I don’t buy the surface explanation for this movie and feel that it’s subversive symbolism.
(There’s also a possible third, non-mind control related layer going on with this movie, an idea proposed to me by an email acquaintence. His personal theory about this movie’s plot was mentioned in relation to something we were discussing in our email exchange. And even though it doesn’t have to do with mind control I still want to put it out there because it’s really interesting. But we were discussing timeline manipulation, parallel timelines, probable futures, etc. and he mentioned the idea of mentally reaching out to your past troubled self to lend help, and gain the upper hand against negative interference that’s occurred in one’s life, the same way our higher selves are reaching “back” to help us in the “now.” It’s something I figured out on my own last year, and even talk about in the new “Afterward” section of the appendix for my book. And his own personal experiences doing this, and others’ as well, have proven that it’s actually a very good thing to do. He went on to point out that you’ll notice in movies how the concept of time travel is always presented as if it’s a very negative thing, and that trying to change anything will only screw everything up. So in his opinion when he saw this movie, which btw had “a really nasty vibe” to him, he had the impression that someone intended it to put anyone off from thinking along similar lines and persuing that topic. “Don’t try this at home! Don’t connect up with your past self and try to help yourself or fix anything because it’ll only screw everything all up! Nothing to see here folks, move it along!” He said it seems like a big ol’ scare tactic. Anyway, it was an interesting enough idea that I thought it was worth mentioning. Now back to our regularly scheduled program about mind control……..!
The Matrix — 1999. Keanu Reeves, Lawrence Fishborne, Carrie Ann Moss.
Click here to download Matrix Trilogy write up (PDF format)
Last but not least I want to mention the 2004 movie Eternal Sunshine of the Spotless Mind, starring Jim Carrey, Kate Winslet, Tom Wilkinson, Kirsten Dunst and Elijah Wood, with a screenplay by Charlie Kaufman. Joel (Carrey) and Clementine (Winslet) have just ended their tumultuous relationship, and Clementine impulsively decides to have the entire debacle erased from her memory, courtesy of the memory erasing company, “Lacuna.” Joel signs up to have the same procedure done, but as the memories begin to get wiped out, he realizes that he still loves her…and fights to keep his memories. 
The reason I mention this movie in the mind control category is because of one simple line, which made me sit up and take notice. “Meet me at Montauk.” Montauk Point, on Long Island, is notorious for its mind control experimentation and government black ops projects that have gone on at its now defunct military base. In doing the research you’ll uncover books and articles written by those who claim to have been involved, (“the Montauk boys” as they’re called) or who have at least dug around and investigated it. “Eternal Sunshine” revolves around a mind altering procedure designed to wipe out memories and create new lives – and in Clementine’s case, even a new “identity”, as she changes her name to Tangerine. (In fact, it seems “Clementine” isn’t even her real original name either.) The technicians from Lacuna arrive in a van at night, following Joel as he walks back to his apartment; they park across the street, watching and waiting until he goes to sleep so they can enter his apartment and do the mind erase. When he wakes up the following morning he seems to feel like crap and has no recollection of any of what happened. The whole thing is so reminiscent of MILABS/abductions. The vans with people following and staking somebody out, entering into their residence while they sleep and then doing their thing to them, the target waking up the next morning feeling crappy with no memories, it’s all components of MILABS and mind control when you read people’s experiences.
As Joel’s memories are being erased one by one, his last words to Clementine is the whispered “Meet me at Montauk….” And they do meet up at Montauk, with Joel abandoning his plans to go to work on an impulse in order to catch a train out to the Point, not knowing why he’s doing that. Reminds me of a subconscious mind control command put into place that gives the target a maddening urge to do something that makes no sense. Clementine and Joel cross paths, and even though they no longer consciously remember each other, they’re oddly drawn to each other once again. This also reminds me of mind control targets who’ve been programmed and let loose out into the world, crossing paths with other targets that they know as their “alternate selves”, feeling a strange draw to them, but with no conscious recollection of anything on the surface.
Other movies that are relevant for this category include 1990’s “Jacob’s Ladder” starring Tim Robbins, Elizabeth Pena and Danny Aiello, and 2004’s “The Machinist,” starring Christian Bale and Jennifer Jason Leigh. “Jacob’s Ladder” features the Vietnam-era Army experimenting on its own personnel with hallucinogenic drugs in order to fashion them into aggressive killing machines. The lead character Jacob Singer, (Robbins) finds himself between life and death, bouncing between two separate realities leaving him unsure of what’s real and what isn’t, until his world rapidly disintegrates into madness. In “The Machinist,” Bale plays Trevor Reznik, a depressed insomniac who may or may not have killed somebody. He finds his reality crumbling and can no longer tell what’s real and what isn’t.
Trigger Phrases in Movie Posters/Trailer Clips
This has become a recent interest of mine lately too – the idea of trigger codes and phrases used as the descriptive slogans on movie posters, and highlighted in the trailers. I’m thinking that a “programming trigger” would most likely use known mind control names and symbols; pertain to concepts such as illusion vs. reality, and “waking up” (triggering a compartmentalized alter) alternate personalities, rebelling against authority/anarchy/societal uprising, (“agent provocateur” triggers) etc; as well as just being a highly suggestive command in general that’s recognizable in the context of known mind control techniques for triggering.
1. Resident Evil 2. The first time I really thought about all of this was for the movie Resident Evil 2. The movie’s tagline was “My name is Alice…and I remember everything.“ The second I heard that I perked right up. As we’re all WELL aware by this point in the write up ;) Alice in Wonderland is one of the most prominent mind control symbolisms in use. So here we have the lead character of RE2 named Alice, which at first doesn’t seem like much…until you factor in the tagline. “I remember everything.” Time to wake up, mind controlled kiddies. Time to remember your programming. May also pertain to the way that some mind controlled subjects/MILABS develop photographic memory.
2. The Bourne Ultimatum. Matt Damon plays amnesiac black ops delta assassin Jason Bourne, and the last line of the trailer has the same phrase as RE2. “Listen very carefully to what I’m about to tell you. I remember. I remember everything.” Hello!
3. Hard Candy. At the very end of the trailer, the lead character, a 14 year old girl, says matter-of-factly, “Play time is over. Now it’s time to wake up.” It didn’t necessarily fit with whatever had come before it, and stood on its own as a very suggestive command. This whole thing with “waking up” is a big one with triggers. Wake up from the dream, the illusion; waking up the alternate compartmentalized persona which normally lies dormant until needed.
4. The Brave One, the new Jodie Foster movie about a woman and her boyfriend who are attacked in a random act of violence. The boyfriend dies from being beaten to death. She survives, buys a gun, and inadvertently becomes a vigalante when she’s not afraid to use her gun in future life-threatening situations. Several lines from the trailer really stood out for me however with regards to the idea of compartmentalized alter egos:
“How could you pull it back together after what happened to you?”
“You become someone else.”
“It is astonishing to find that inside you there is a stranger. This stranger is all you are now. There’s no going back.”
And the trailer’s tagline:
“This fall the person you thought you were can vanish in the blink of an eye.”
5. I Know Who Killed Me, the new Lindsay Lohan movie about a girl named Aubrey Flemming who’s abducted and tortured by some maniac but turns up alive in a ditch two weeks later with no memory of who she is. She denies being Aubrey and instead, claims to be a girl named Dakota Moss, possibly Aubrey’s twin sister.
“She knew how to turn her life into a movie and watch things happen. Not to her, but to a girl who looked just like her….”
“Sometimes people create alter egos to relay information that their primary personalities would never reveal.”
“She’s living inside a world she made up.”
Those are five candidates that I can think of at the moment. As I encounter more, I will add to this list. But if this is a subject that interests you, start paying closer attention to movie taglines on posters, advertising sound bite slogans, and those particular phrases that may stand out above others in the trailers. Not to sound like a paranoid schizophrenic, but when you realize how many people out there in the world are programmed, then you have to realize that they’re using media as a way to slip in programming cues. It’s perfect, only because most of us do watch movies and partake in entertainment to some degree. Use mass media programming to trigger the masses who may be programmed. ;) Something to keep in mind.
Closing Note
Recently I began having doubts about whether I was nuts to think that I was seeing all these symbols and trigger phrases, as originally pointed out by Fritz Springmeier, within all of our “entertainment,” from books to movies to music. I mean, just because it’s there doesn’t mean it was put in there with that intention, right?? Then I received an email from an aquaintence that I’ve known for several years now via a message board we both participate in, and he was telling me about the new computer game “BioShock.” He did a write up about it for his own website back when he first started to play the game, noting the symbolisms I’ve talked about here – the Alice in Wonderland reality vs. illusion theme, the masks, and so on, and even included a link to this page for people to