Update 1/5/09 – “Egyptian Symbolism” section merged with this section……
Taken – 2002. Starring Dakota Fanning…and too many other people to list here.
“Taken” was the ten day television miniseries produced by Steven Spielberg regarding multi-generational alien abductions and the government’s involvement…and cover up…of the alien presence. Conspiracy buffs will recognize with delight all the obvious and subtle references to mainstream alien conspiracy lore, while people with a bit more insight will laugh and roll their eyes, or get downright frustrated, at all the disinformation to be found in the series. “Taken’ was quite popular with many alien/UFO researchers, abductees and conspiracy theorists who loved the idea that this sort of material was being featured and actually promoted in the mainstream world. But things are definitely not what they seem to be, so don’t hold your breath waiting for the truth about these matters to emerge in the mainstream arena. That’s my motivation for compiling this write up in fact, to show how some major disinformation is being put out there under the guise of “revelatory” material.
“Taken” traces the paths of three families over four generations. (The number three repeats throughout the series, as we’ll see.) The Keys and Clarkes, both targets of either abductions or the hybrid breeding program, and the Crawfords, working in military intelligence. For the Keys, (“the key” to the whole alien hybrid experiment) it starts when WWII bomber pilot Russell Keys and his crew of nine men are shot down over Germany. A flock of “foo fighter” UFOs surround the planes in mid air, so we know that whatever happened to Russell and his men involves aliens. They mysteriously go missing for three days, and turn up in France with no recollection of what happened to them in that time. All nine of Russell’s men later die soon after the war…except for him. He’s plagued by abductions for years by very persistent aliens who seem to want to understand not only why he lived, but also how he was the only one who was able to fight back during abductions and kick some ass. That obsessive attention later moves on to Russell’s son Jesse, and grandson Charlie. All the Keys men display warrior fighter abilities as well as noble hearts. This is of great interest to the aliens.
For the Clarkes it starts in 1947 with the Roswell crash, when the lonely and beautiful (and married mother of two) Sally Clarke of west Texas, near the New Mexico border, takes in a mysterious wounded stranger she finds hiding out in her barn one night. The stranger looks like a man, but he’s a wounded Roswell crash site alien masquerading as such. Sally’s emotionally distant and uncaring salesman husband has left to go on the road for three weeks for sales related purposes. So with the uncaring husband away, the lonely Sally and the good looking mysterious stranger will play. ;) Their brief union yields Sally’s third child, the alien human hybrid Jacob, a boy who’s extremely intelligent, emotionally flat, and possesses amazing psychic abilities….and who will later be hunted down by Major Owen Crawford of Army Intelligence, who works for Groom Lake Nevada, aka, Area 51.
From there the series takes off, tracing the interconnected web of the three families over fifty years. The military career baton is passed from the sociopathic Owen, who will do absolutely anything to get what he wants; to his son Eric, who’s not completely good, but definitely not evil; to Eric’s completely batty and sociopathic daughter Mary, (guess the “crazy gene” skipped a generation). We learn that a plan is shaping up by the aliens, involving the offspring of the noble warrior fighter Keys, and the alien hybrid Clarkes. And the military wants to be there when it all goes down…..whatever “it” is.
“Taken” was described by my boyfriend as being like a box of donuts. You know it’s bad, but you can’t stop eating them. ;) That’s how watching this series felt. Really cheesy, but we couldn’t stop watching, and kept running back to Blockbuster to rent the next disc in the series. The overall ideas being conveyed in the series are very interesting, disinformation notwithstanding, it was just the sappy music, the sometimes amateur acting and bad dialogue by several of the actors, and annoying voice-over philosophizing by Allie, the “alien hybrid super child messiah savior” character which got in the way. The first half of the series starts out strong and packed full of plot, but it drags in the second half. Starting in the third disc there’s a whole side episode that takes place in Alaska regarding mysterious outcast hybrid twins, which has nothing to do with the main plot and could totally have been chopped out. Almost one entire episode is devoted to a pointless hostage situation. And the latter episodes involving Allie the hybrid being used as bait by the military to lure in the aliens drags out ten times longer than it should have. It was as if the creators felt that they needed to make this a full two week miniseries on TV, but didn’t have enough material for the full two weeks. Also, and this is another personal opinion, but it wore me out to have to watch so many sociopaths in action. Owen and then his later granddaughter Mary are some of the craziest psychos masquerading as regular people that I’ve ever seen in a movie. These two will use up, spit out, and even kill whomever they have to kill, including their own family members, spouses and lovers, (and in Owen’s case, with absolutely zero remorse) and will lie, cheat, schmooze and steal their way into whatever they need to. With so much screen time devoted to Owen at the beginning, and with Mary at the end, it just kind of wore me down after a bit.
I watched the special sixth disc in the series, which is the behind-the-scenes interviews with the people involved in making “Taken,” namely, screenwriter Leslie Bohem, and producer Steven Spielberg. Both men do point out that they decided to just go with all the mainstream aspects of alien lore in order to appeal to the general public who would want to see what they’re already familiar with. But what happens when many aspects of mainstream alien lore, of which the series got its material from, is major disinformation? Maybe Spielberg and Bohem are unaware that a lot of the material being promoted out there is…questionable, at best. Maybe they weren’t really concerned about dishing out something accurate, and really just wanted to give the public what it wanted and expected. But considering who Spielberg is, I find it hard to believe. ;) (On a side note, and again, this is my own personal opinion, but Steven Spielberg’s declaration that he believes in aliens but has no idea what’s going on with it all came across as lying. While saying this, he stared fixedly at the camera with an unwavering, blank expression and even-keeled voice tone — too even – possibly so as not give anything away. Plus, I’ve heard “through the grapevine” from a privvy source that he does indeed know a few things. But, Spielberg is still my favorite movie maker, and I digress.)
What was also eyebrow raising to me was the way the narrator of Disc 6 and scriptwriter Leslie Bohem both talk about “Taken” being an “alternative version of history.” You know….what if a UFO really did crash at Roswell? (what if? Come on now…;) ) and what if the government really knows about aliens and was involved in some way? (again…what if the government knows about the alien presence?! Come on now.)
It was at that point, for me anyway, where I kind of knew for certain that the people involved in writing and making “Taken” were deliberately and knowingly putting out disinformation. “Just following orders, sir. Just writing what they tell me to write.” So, we’ll start with that aspect of things for this write up.
Agenda-oriented Disinformation
Stereotypical same old, same old. In the world of “Taken,” the aliens are the stereotypical spindly, insectoid Grays with their large black eyes and psychic super powers. Again, Bohem and Spielberg admit to using this image because it’s what the public is comfortable with. These Grays are their own bosses, not working for or with anybody else. They fly around and abduct people into typical Steven Spielberg-style colorful lighted disks, jam implants up people’s noses into their brains, and are creating alien human hybrids.
Many people are impressed and blown away to see material like this being so openly covered in a mainstream, highly publicized and promoted production. 
It has to be a good thing…right? Actually, no. This is all the same, tired, status quo material that we’ve been hearing about for years in mainstream alien lore, courtesy of Budd Hopkins, Whitley Streiber and all the rest, and it doesn’t even seem to be entirely accurate. Keep in mind that material does not make it into big budget, highly publicized productions if it’s going to be mostly truthful. Only that which is going to lead people astray or is outright lying gets promoted. (The irony is that the series itself aptly deals with the concept of purposeful disinformation.) There are many elements to abductions not featured in this series, with an emphasis on stuff that everybody is already familiar and “comfortable” with, under the guise of “giving the public what they want to see.”
When you look at the alternative voices in alien research, the ones who by the way, don’t get all the attention that the gurus do, it seems that whatever the “Grays” really are, they’re not positively oriented, sovereign and sentient beings at the top of the hierarchy. It seems they’re actually cybergenetic organisms — flesh robots, if you will — working for other, much higher up stuff. And often times Grays are screen memories for humans who are up to no good. But we’ll get back to this point, which is actually addressed in the series, in a short bit.
On an interesting side note, something featured in “Taken” which I’ve never heard about in alien lore is the way the aliens can shapeshift, taking on any form they want to. And in the series they’re quite fond of assuming the human male form in order to mate with females. This occurs three times in the series. In fact it was kind of disturbing to watch Sally Clarke passionately making out with what was supposed to be an alien disguised as a dude! :D I’ve never heard of such a thing, even in the alternative research, and I’m guessing that it was a “quick fix” way to get the aliens to be able to mate with the women for hybrids, versus having to film time consuming abduction scenes involving test tube procedures.
Subtly discrediting/undermining the subject. One of the biggest features about “Taken” is the over-the-top, cartoonish way in which it all plays out, coming across like something straight out of a comic book. (And funny enough, one of the aliens even takes his human likeness from a comic book that the Clarkes have on hand.) The comic book element is something I’ve also noted in the book “MILABS” by Dr. Helmut and Marion Lammer, with its cartoon illustrations that serve to send a mixed message to the reader’s subconscious, discrediting the (very important) subject matter. With “Taken’s” far fetched plot, extreme to the point of being completely unbelievable sociopathic villains, cheesy music, dialogue and narration, it all combines together to create a movie that works to undermine the entire subject throughout. Rarely at any point in the movie can you take things seriously because of the way everything is done. And that was the entire point, in my opinion. That’s the only way material like this can be allowed out there. Spielberg’s 1977 classic, “Close Encounters of the Third Kind” actually had a more realistic feel to it (disinformation aside ;) ) with sincere and believable characters, and packed a greater dramatic punch.
The hybrid breeding program. Abductions are shown as being uncomfortable and even traumatizing for some people, (such as the Keys men) but ultimately good, as the end result of all that multi-generational terror is Allie, the white, blonde, blue eyed (OF course) savior hybrid, here to usher mankind into a new era. (In fact, upon Allie’s birth in Seattle, all the UFOs within Earth’s vicinity congregate over Seattle…much like the Star of Bethlehem appearing over Jesus’ birth.)
For starters, let’s question the fact that the hybrid savior is the little white, blonde blue eyed girl. That in itself is a not-so-subtle message being conveyed. ;) “Nordic/Aryan is good and angelic. Nordic/Aryan can save the world.” In one scene, little Allie is shown at the age of three standing in front of the dolphin tank at the Seattle Aquarium. 
The camera shows her face, with her big blue eyes and wispy white blonde hair. Then three dolphins gather together before her in formation at the edge of the tank, as a ray of sunlight beams down through the water, creating an illuminated, angelic effect. Allie lifts her arms up (creating the “peace sign” image) the music swells, and all the adults look at each other, wide eyed with amazement. It’s the big moment when Allie’s mother, along with the viewing audience knows — this little girl is something special. It’s a cool scene, I admit it, but it is a bit manipulative. ;) The blondes/Nordic beings thing and dolphins are also two well known components of New age/alien lore.
I don’t doubt that there is a hybrid breeding program going on — I’ve met what I’m sure were both Gray and Reptilian-human hybrids in life who looked strikingly like their non-human counterparts, to the point of being a bit breathtaking. These people were in their 20’s by the year 2002, and for two of them — one Rep/Human, the other Gray/Human – they both admitted to either lifelong abductions and/or being implanted. So if it wasn’t for my personal experience with this I’d be a skeptic. But the purpose of this hybrid breeding program may not be for the “messiah savior” purposes as presented in “Taken.” I’d suggest countering material like “Taken” with the work of David Jacobs, author of The Threat. He devotes several chapters of his book to the alien-human hybrid breeding program, painting a very different view on the subject coming from every day people who’ve had a vastly different set of experiences with hybrids.
Either/Or false two choice dichotomy. In “Taken,” the resident skeptic debunker Tom Clarke believes that aliens and everything that goes with it are merely a fabrication of the U.S. military in order to cover up their own clandestine technology and mind control experimentation. (He believes this despite having Jacob, his half-alien half brother, because he refuses to believe that the Jacob situation really is what it seems to be.) So invent “aliens” and “UFOs” to blame everything on, this way, nobody bothers to look at the government. This is the classic either/or false two choice dichotomy — either it’s all lies and mind control, or it’s all aliens. But what about the hidden third option? Because in reality, both are happening in this world, sometimes side by side within the same abduction, so it’s not a case of either one or the other. The series of course doesn’t take things to that level. Keep it simplistic and skewed. The public in general is comfortable with black and white choices — good/evil, right/wrong, liberal/conservative, etc. – not additional options where things are blurred and blended.
On the outset, this skeptical questioning seems to be an intelligent add-in, as it again, seems to show “thinking” and “analyzing” going on. Some people don’t think or question at all, as they completely lack discernment capabilities. So unraveling something in this way appears to shows intelligence. Maybe which is exactly why it was put in there. Show some skeptical, analytical questioning. Make the series and its disinformation agenda conclusions seem that much more believable.
Misrepresenting the government, and the alien/government situation in general. In “Taken,” the government is portrayed as being completely out of the loop, haplessly chasing after the clever aliens who are forever giving them the slip. Bumbling and inept, the government only knows a bit more than the general public does, and is technologically on par with the rest of society. At best, we’re only shown ooooooh…“Area 51,” and just the surface parts at that. This “day late and a dollar short” bad luck of Major Owen Crawford and his crew forms the entire foundation of the series. Without their hapless chasing, there’d be no movie.
From my understanding, based on my own and others’ personal abduction experiences, the U.S. military (if you can even call it that at this point…is it “U.S.” when they no longer answer to what the herd of the mainstream surface world considers to be the U.S. government? But I digress….) is very much aware of the concept of “aliens,” or these non-human intelligences, wherever they’re actually from, and is in cahoots with them. They work alongside them in underground bases, as they have been for decades, and posses technology that’s years in advance of anything the rest of society is allowed to see: “Beam me up” technology, holographic projection technology, anti-gravity, microwave signal beaming, invisibility/cloaking capabilities, hyperdimensional/time manipulation, etc., among other abilities.
So the real situation is efficient, capable and cunning, and has formed its own society/reality outside of the masses trapped in the illusion. A far cry from Owen Crawford and the hapless military “intelligence” bumblers featured in “Taken.”
The implants. Implants within abductees are real, however…thought it was odd that in “Taken,” the alien implants are featured spontaneously falling out of people’s noses via a nosebleed when the aliens are through abducting them. I’ve never heard of that happening, but who knows. Also from what I’ve gotten, real alien implants and gadgetry are often times etheric in nature, versus the human military factions who utilize the actual physical implants on their MILABS targets. Real aliens that pass through walls also have the ability for something a little more advanced then metallic implants that clearly show up on X-rays and fall out of people’s noses, like in “Taken.” But you’ll never see that sort of information in a mainstream movie. ;)
Crop circles are a hoax. In “Taken,” crop circles are given only one explanation — as a man-made hoax. In fact they are the punch line to a scene where Major Crawford is bullying his people around, so sure that they’re on to some heavy duty alien happenings as they fly over a field of crop formations. Only to come upon one that is a big hippie peace sign. Waaamp waaaaaamp waaaaaaaaamp waaaaaaaaaaaaaaaaamp. The viewer snickers, while the characters on screen try to keep a straight face, and Major Crawford’s ego takes an embarrassing bruising and he looks the fool in front of the people he was just yelling at only moments earlier.
While crop circles can be created by people with the whole “boards and string” thing, and many have, it doesn’t mean they all are. I think the source behind the real crop circles — the ones where the stalks are bent but not broken, and emit intense energy with paranormal happenings within them – are done by either non-human intelligences, or military factions with the high end technology. The series never takes things to that level though. Keep it simple and surface-level, stick to only two polarized choices – black or white, yes or no, etc.
What seems to be correct
Abductions/aliens/implants/hybrid breeding program. As mentioned, I don’t doubt that there’s a such thing as aliens, abductions, implants and a hybrid breeding program, I just doubt that the reality of these subjects as presented in the series.
Multi-generational snagging. The whole foundation of “Taken” centers on multi-generational abductions. This definitely seems to be the case in real life as certain bloodlines are taken, monitored and experimented with, by both aliens and human military/black ops alike.
New Age disinfo. people on the touring circuit. This one I really enjoyed, but in Sally Clarke’s quest for knowledge about aliens (since she has a hybrid son and all ;) ) she attends UFO conferences full of fruit loopy New Agers purposely spouting their disinfo. agenda as fed to them by the government. One of the authors speaking at an engagement is Dr. Peter Corrington, author of “My Life Inside the Flyer Saucer,” concerning his Venusian space girlfriend. He stands before the audience at his podium telling them “This is the dawning of a new era of peace and understanding. That is truly what they want us to know. We belong to the light…These people are very gentle and their message is only one of kindness…they mean us no harm, they don’t want to hurt us. More than anything else they want us to know they come in peace…”
Afterwards at the book signing, Sally is eager to chat with Dr. Corrington, but his demeanor has changed from the warm salesman pitch of his speech to being detached, disinterested and evasive. It’s clinched later on in a scene where two of Major Crawford’s men are talking about Corrington, saying:
Howard: “He will say anything we tell him to say. Trips to Venus, space brothers…”
Marty: “I came up with that one, ‘space brothers’…”
New Age disinfo. is a huge component of the alien truth movement over the past fifty years, and the government/mind control black ops activities definitely seem to be behind a lot of the information the public has been fed.
Advanced technology existing decades before the public knows. In the opening of one particular scene, two Stealth bombers are doing a flyby over the base at Groom Lake, Nevada in broad daylight. In 1958. It’s explained that the Stealth was a result of picking apart the Roswell, New Mexico alien crash wreckage from 10 years before. Whether that’s the actual origins of the Stealth, I don’t know, but the idea of the military black ops being decades ahead of what the general public is allowed to know is definitely true.
The government tracking alien abductees. In one scene in the latter part of the series, Dr. Chet Wakeman demonstrates a computer screen with a map of the United States that has thousands of little dots all over the map. Each dot represents an implanted alien abductee, as Wakeman demonstrates to somebody, thus showing that the government has the capability to know who’s being snagged and to keep track of their whereabouts. While this is probably not the literal method for how it’s done, there is no doubt when you do the research that the government is definitely keeping tabs on abductees and has the ability to know who’s who.
Manmade technology vs. UFOs at Area 51. In “Taken,” it’s not UFOs whizzing around the skies over Area 51 that all the tourists are looking at, but rather, advanced secret military aircraft being tested. At one point the military even secretly moves their operations to Maine, but “allows” the tourists to continue camping outside the Nevada base perimeters, looking for space craft. I do tend to think this is true, and even had theorized years back that what people are seeing in the skies may often times be secret technology piloted by people. Not aliens. Back in ’99 when somebody I used to answer phones for was excitedly telling me about his big UFO sighting in Wyoming, I listened with analytical interest and thought to ask, “Did there happen to be any military bases nearby? Like within 50 to 100 miles radius?” He thought about it and realized…indeed there was a military base nearby, less than 50 miles away in fact. ;) Go figure.
Screen memories. The aliens disguise themselves behind images that will be appealing to their human targets, and/or cause the abductee to remember something different, such as Nazi doctors in the place of aliens. The idea of screen memories is real and accurate and used often. And because of that, nothing is what it seems to be when it comes to abduction memories.
Other interesting tidbits
There was an assortment of concepts to be found in “Taken,” some of which I’ve never seen anywhere else but which were interesting nonetheless and worth mentioning:
Hybrid powers/“All your memories and all your fears…” The hybrids featured in “Taken” have the ability to stare into a human’s eyes and terrorize them. We first see this when Jacob is a boy, being bullied while walking home from school. He tells his would-be attacker, “Look into my eyes…” and when the bully does, he recoils in terror, running off and collapsing into a writhing, screaming heap on the dirt road. Jacob also later does this to Major Crawford to get away from being kidnapped. Mary Crawford experiences this via Allie the hybrid, and Sam Crawford gets inadvertently killed when looking into the eyes of a kindly but deformed outcast hybrid hiding in the woods of Alaska. As Mary explains it, when they look at you like that, it’s “All your memories played back at once. All your memories and all your fears…”
Later on in the series, Allie is able to conjure up completely fake UFOs and holographic insert-type experiences for the military who have her held captive in an abandoned farm house in North Dakota. She’s also featured manipulating time at will, reading people’s minds, healing life threatening wounds, dematerializing people, and causing all the implanted abductees who have gathered to help her in Texas to lose their implants via nosebleeds, thus freeing them from their alien abductors. You know, like Jesus. ;) Turning water into wine and healing crowds of people. Allie’s abilities are very over-the-top in order to make for an interesting movie, but real hybrids and military abduction targets in general are known to have unusual psychic skills and intellectual capabilities, which is the basis for this.
Roswell crash piece. We’ve all heard of the Roswell crash wreckage, the strange metal with unusual properties and hieroglyph markings on them as it’s been described, and in “Taken” it’s taken a step further. Major Crawford has in his possession a prized piece of Roswell metal with the glyph markings that lies dormant for years. But in the proximity of Allie the hybrid, it becomes “activated,” the glyphs lighting up and rapidly scrolling across the metal. At that point it’s no longer just a piece of retrieved crash metal but actual alien technology.
****
The success of “Taken” lies with its character-driven plots. There are so many characters in this ten episode series with so many personal dramas and adventures, joys and sorrows, mystery and intrigue, people being kidnapped and running away on the lam, things blowing up, people being killed, huge epic dramatic UFO encounters and crazy little gray insectoid aliens, that’s it’s guaranteed to reel people in despite any flaws. However…this series begs for discernment, because disinformation works by wrapping itself tightly around known facts. Always look for emotional manipulation and the subtle spin within things. Just because material of this nature is being featured so prominently in the mainstream nowadays doesn’t automatically make it a good thing. If anything, it becomes more suspicious, because you have to ask yourself, WHY is this being allowed out there? What’s the “disinformation catch” ?
Monsters Inc – 2001. Voiced by John Goodman, Billy Crystal, Steve Buscemi, Jennifer Tilly, James Coburn, Mary Gibbs, etc.
From Disney’s Pixar, who created the “Toy Story” series and “A Bug’s Life” comes the computer animated feature “Monsters Inc.,” about a monster city called Monstropolis that relies on the screams and fear of children to generate their power.
I’ve heard Monsters Inc. mentioned here and there over the years by people who are into researching topics outside the mainstream norm, but never gave it much thought. Namely because I was getting it confused with some other movie that didn’t seem interesting, can’t remember the name now. I didn’t realize it was a Pixar flick until only recently. So after getting a free copy of the movie this week and watching it I can definitely see what the buzz was all about within the fringe research circles. Or to quote an email that I received from the person who sent me the movie: “Check that sucker out and tell me it wasn’t commissioned by some serious higher uppers who know what’s going ON in this world…”
Following is a rundown of the interesting highlights to be found in the movie:
Fear as power source. Anybody who’s researched into the inner workings of this reality will be aware of the fact that there are “behind-the-scenes” hyperdimensionals who feed on (negative) human emotions and sexual energy. These feeders fan the flames of discord in the world from the macro level wars, on down to the micro level interpersonal conflicts involving family, friends, significant others, neighbors, coworkers, etc. for their own ultimate feeding benefit. Author Robert Monroe termed this energy “loosh,” and many other authors and researchers also talk about the negative emotions/sexual energy harvesting of humans (often times coinciding with full and new moons, which act as portal keys you could say). The same way we feed on and use domesticated animals and their by-products, higher up hyperdimensionals in turn feed on us.
In the movie, there’s a factory called Monsters Inc. employing monsters of all sizes, shapes, colors and expertise of scariness. These monster employees are sent into children’s rooms around the world via their closets in order to scare them and collect the energy in containers. This captured energy powers up Monstropolis. This seems to represent both the astral entity feeders and the actual physical abductors, as we’ll see in a short bit.
Doors as portals. As mentioned, the monsters enter children’s rooms via their closets, which act as interdimensional portals between the rooms and the Monsters Inc. factory. Many scenes involve running in and out of these doors/portals, not only to access the children’s rooms but to travel around in general, or to give somebody the slip. In fact there’s one extended chase scene at the end of the movie involving a constant entering and exiting of doors/portals in between flowing along, on the run. It’s a bit hypnotic the way it’s done, just going and going and going, flowing along through the huge factory on the pullies, then darting through a door, popping up someplace else then back again, more flowing along, repeat, and also reminds me of the mind control symbolism technique of using hallways and doors, which represent compartmentalized areas of the victim’s mind.
Reptilian bad guy. The residential evil do-er in “Monster’s Inc.” is what of all things but….a reptile named Randall. ;) Of course. Those who’ve researched the fringe topics will be aware of the concept of Reptoids who supposedly reside in underground areas of the world as well as in deep underground military installations. Reptilians are supposedly to be of lower 4th density and feed on both physical flesh as well as loosh energy. And in “Monsters Inc.” Randall’s a lizard with a plan – he’s devised a contraption which he plans to hook human children up to in order to extract the maximum amount of terror and screams from them. Very telling.
The all seeing eye. An interesting repeating symbolism used in the movie is a large eye, both in the cyclops monsters Mike Wazowski and his girlfriend Celia, as well as on the movie poster in general. (see movie poster image above.) Being that the rest of the movie has meaning, I take this to relate to the Brotherhood/Illuminati “All Seeing Eye” and “Big Brother is Watching You” deal. More of the whole NWO ideas / symbolisms being integrated into children’s cartoons and movies, maybe a stamp of who’s behind these movies.
Parallels to abductions? The way in which the Monsters Inc. factory operates is reminiscent of the whole abduction scenario, be it by human elements or “other stuff” :
Waternoose: …She’s seen too much. You both have!
Sully: It doesn’t have to be this way!
Waternoose: I have no choice! Time’s have changed! Scaring isn’t enough anymore!
Sully: But kidnapping children?!
Waternoose: “I’ll kidnap a thousand children before I let this company die!…”
Seems to be a reference to the thousands of kids worldwide who are taken and/or go missing every year by various “stuff” and for various purposes.
I also found myself puzzling over the movie poster tagline, featured above, which says “We scare because we care.” Scare because we care…about what exactly? Being that the plot has a double layered meaning, recognized by those in the know, this line becomes interesting as it seems to be trying to paint these double layered scenarios in a positive and cute light.
On a funny closing note, one scene that made me laugh was when somebody at Monsters Inc. was explaining that kids today don’t scare easily, so you have to try harder…as it cuts to an image of a catatonic kid sitting at a table with a TV on in front of him. Then his face falls into his bowl of cereal. :D
The Day After Tomorrow – 2004. Dennis Quaid, Jake Gyllenhaal, Emmy Rossum, Arjay Smith, Austin Nichols, Sela Ward, Ian Holm, Dash Mihok, etc.
Based on the novel “The Coming Global Superstorm” by Art Bell and Whitley Streiber.
Global warming melts enough of the polar ice caps to desalinate the oceans to the point where the north Atlantic current ceases to function correctly, triggering several super cell storms that usher in an ice age. Climatologist Jack Hall (Quaid) witnesses a chunk of the Antarctic ice shelf the size of Rhode Island calve off during an expedition to obtain ice cores. Later his attempts to warn the world about the dangers of global warming fall on deaf ears, especially with the VP of the United States, played (not coincidentally) by a Dick Cheney lookalike who doesn’t take it seriously. 
Simultaneously, climate around the world begins going haywire – the largest hurricane (“Noelani”) and typhoons ever recorded for Hawaii and Australia respectively, snow and the coldest weather on record in New Delhi, India, hail the size of soft balls in Japan, and then a disaster of epic proportions in Los Angeles as the entire downtown is wiped out by a series of fluke tornadoes brought on by Noelani.
Running alongside the west coast tragedy is the fact that the ocean temps in the north Atlantic have rapidly dropped 13 degrees as massive super cells form in northern Canada, Europe and Siberia. The ocean rises 25 feet within seconds near Nova Scotia and torrential downpours in New York City lead to massive flooding….and then a storm surge tsunami arrives from the Atlantic to wipe NYC out, at the same time the UK is being buried in massive snows. Meanwhile, Jack’s teen son Sam (Gyllenhaal) is trapped in NYC in the middle of the mess when his school’s academic decathalon team is visiting for a competition. Intending to fulfill his promise that he will come for him, Jack sets out north towards New York City to get to Sam, in the middle of the super storm that’s plunging the world into the next ice age.
Welcome to a Roland Emmerich movie – huge on action and impressive special effects, lots of ridiculous situations, agendas serving the “powers that be,” and a major tin ear for dialogue. (save for Jake Gyllenhaal, who apparently refused to speak his lines as written and rewrote them all. ;) ) The implausibility aside, there’s a lot to say about this movie. At first I didn’t think it was big enough of a deal to be worth mentioning on my site, but in light of the huge global warming agenda being pushed on us in the past several years and how popular this movie is, I decided to do a write up after all. So, here we are. ;) I’ll just itemize the various things that I noted.
STS vs. STO. The mass deaths aside, many of the death scenes in this movie were very pointed. We the viewer are shown who exactly these people are in a nutshell, before they’re either killed off or allowed to live. And there is a clear line drawn in the sand for most of them. The negative/selfish/arrogant asshole STS’ers (service to self) die. The selfless STO (service to others) types who are willing to sacrifice themselves to save others will live. There are a few exceptions to this, but it is consistent enough throughout the movie that in my opinion, it was an intended message. The meteorologist and his girlfriend in L.A. didn’t have good attitudes. The Hispanic floor cleaner in their building was mellow and friendly. He lived. They didn’t. Dr. Lucy Hall, Sam’s mother, is caring and STO, and will stay behind in the hospital to be with Peter, the chemo patient boy who can only be evacuated in an ambulance. She lives. Sam repeatedly puts his own life on the line to help those around him. He lives. His friends who pitch in to help procure antibiotics for Laura, putting their lives on the line without a second thought….they live. The Japanese business guy named Taka…in the original scene that was later deleted and refilmed, he’s on his cell phone involved in an insider trading scheme with a guy in NYC, then gets pounded by hail balls. 
The curmudgeony bus driver and the cocky arrogant corporate rich guys who give him $200 to put the bus in service….they die. The one corporate rich guy in the bus scene (named Gary) is the same guy who was trying to coerce Taka in Japan into some insider stock trading in the deleted scene. In the deleted scene we also see Gary talking sarcastically to the homeless guy with the dog. Later Gary and a colleague are wading through the hip-deep flooded streets, and when Gary smashes into somebody he says, “Excuse me, your bad.” Not my bad, but your bad. His friend begins ranting and raving, “Goddamn fifteen hundred dollar waterproof raincoat!” to which Gary responds, “Lee, shut up man.” They get to a bus and try to push their way onboard as the driver barks that it’s not in service. Gary doesn’t even hesitate, just pushes the doors open anyway while waving money around to hustle a deal. He knows how it works, all you do is flash money to get your way. As he makes his way down the bus aisle he muses with dead pan enthusiasm, “Oh god, I love buses, this is just so much fun, it’s the bomb.” Soon the bus and everybody in it is wiped out. And that homeless guy Gary was rude to earlier, with the dog named Buddha? They live. The message is clear – schmucky people get wiped out. The Prez of the U.S. (an actor that was supposed to resemble Bush) and the Royal family – they die too. And we all know what they’re like in real life. The big exception is when one of Jack’s colleagues dies in an accident while they’re en route to New York (although…..he selflessly cuts his own line in order to make sure the others don’t die along with him….) and Professor Rapson of the Headlands Institute and his colleagues, holed up inside the Institute as the storm wages outside, closing in on them. Good people have to die, it’s an unspoken rule in order to pull your sympathy strings and create some tension when the other good guys are struggling for their own lives. But in general, the STO vs. STS theme was quite strong in this movie. Big disaster catastrophes bring out people’s true selves, after all. Will you be the sort to panic and trample on others doing whatever you have to do to survive, taking others down to save your own life? Or will you act in an STO way?
The flood. New York City is wiped out in a great flood and tsunami. Think of the biblical Great Flood, and Atlantis. All about wiping away corrupt humanity with water, and washing the slate clean. This is definitely a meaningful symbolism, as New York City is considered a modern Babylon. (there’s even a Babylon, NY.)
The Russian ship and the Wolves. What in the frickity frack is up with a Russian ship of all ships floating down the street and coming to a rest in front of the New York Public Library?? And then wolves of all animals on the loose later on, running amok through the ship trying to attack Sam, Brian and J.D.? 
It’s REALLY weird, and the funny thing is, I don’t think most people even noticed this. They just accepted it the way you would accept the weirdness that appears in one’s dreams. That’s the impression I got anyway when I mentioned this several years ago on a message board. People were like, Huh…yeah, that is pretty weird….but they hadn’t noticed til I brought it up. Besides being a convenient plot point to give Sam a place to find medicine to save his friend Laura who’s dying from blood poisoning, there is most likely some secondary symbolism going on with this. After all, they didn’t have to make it a Russian ship. In fact it would have made things easier and saved time and extra dialogue had it just been an American ship. So then, why make it Russian, and why have wolves on this ship in attack mode? As anybody who’s been reading my movie write ups will know by now, most things are deliberately placed into movies, or at least are meaningful ideas that the writers were tapping into without consciously realizing it. So predatory wolves (with whatever they symbolically represent) on a Russian ship, which appears after a catastrophe. Make of it what you will.
The library. On that note, another symbolism involves taking refuge in a library, a place of knowledge.
Lady liberty/“Where will you be?” The movie’s tagline is “Where Will You Be?” which is kind of odd when you think about it. (the title of the movie is also very odd – the day after tomorrow – you mean, two days from now? uh, okay….) Where will you be, two days from now.
!?!!? It’s silly – unless it has another meaning. Although admittedly I couldn’t even begin to try to decipher that one. Also, the statue of liberty figures prominently in the promotions for this movie, used in the various versions of the movie posters, and featured in the tsunami scene as well as at the end, buried in snow. There could be a few things going on with this – lady liberty represents freedom and the American way, so it being toppled over, or featured in scenes of destruction could be symbolically foretelling the destruction of America. Liberty is also a Brotherhood symbolism, tying into Queen Semiramis, of which David Icke has written extensively about in his books. Images of Semiramis and the Statue of Liberty are identical. It goes along with the whole “columb” from the French “columbe”, for “peace” thing, along with the lighted torch. Think of Columbia TriStar pictures with their robed woman icon holding up her torch. It’s all Brotherhood symbolism. However when The Powers That Be who run the world talk about peace and liberty they really mean the opposite. They use symbolisms that are supposed to represent one thing while doing the exact opposite. Again, I’d recommend reading the works of David Icke if the reader is unfamiliar with all of this. Also Goro Adachi mentioned a little bit about the use of the lady liberty symbolism in The Day After Tomorrow, in this article, on page three. He gets into the whole statue of liberty/lady justice symbolism within our reality in many of his blog postings and articles. Just use the search function in the top right side of his main page to find the references if you’re interested to read more about this.
3. Like the “Taken” miniseries, the number 3 is featured enough to take notice. There are three super cell storms. The three teammate friends – Sam, Laura and Brian. Brian notes that “It’s been raining like this for three days.” Three helicopters set out for Balmoral Castle to rescue the Royal family (and crash, freezing in mid air.) And three scientists set out north to get to Sam – Jack Hall and two of his colleagues. There might be more, but that’s just what I happened to notice.
666? On a side note, speaking of numbers, I read on the ‘net awhile back that the three spiral hurricane shaped super cell storms look like three 6’s when they’re shown on a satellite image of Earth. Could be, so, I’ll mention it.
The Disinformation
Now, concerning the global warming agenda. This movie was based on the book by Art Bell and Whitley Streiber, “The Coming Global Superstorm.” (which I’m currently in the middle of reading, as of january ’09…) While I don’t doubt that the earth’s climate is changing – I have an overstuffed binder full of articles that I’ve been collecting for years now detailing all sorts of climate and weather mayhem around the world – I do however question the source behind the change. And what we’re being pummeled with the past few years by Al Gore, and movies like “The Day After Tomorrow” and “Live Earth” concerts and all the rest is that humans have solely caused the climate change via our pollution and careless ways.
However, the real issue may involve the convergence of multiple factors, not just human pollution. (and on a side note, the “Global Superstorm” book does emphasize that humans will not be the sole cause for any possible upcoming superstorms, only that we’re helping to speed up a cyclical process that otherwise may not have happened quite so soon.) Namely – HAARP, and man-made weather manipulation, as well as the sun. People who pay attention to HAARP have noticed that it tends to be active during times when weather anomalies take place around the world. Amazing coincidence. ;) And if you’ve been following the news reports of the sun’s crazy behavior in the past few years as I have, then you’ll be well aware of the massive X-class solar flares that were being spewed back around 2003 during the last solar maximum….some of the largest flares ever recorded, going up to class X20. Each solar maximum is apparently getting stronger than the last, so who knows what’s going to happen when the sun peaks again around 2012. There’s so much to say about this subject, but things are NOT what they seem to be, and interestingly enough, in “The Day After Tomorrow” they actually go out of their way to say that the sun doesn’t have ANYthing to do with the global warming catastrophes that are occurring. In the scene where Jack Hall is trying to warn a roomful of scientists about global warming, one of the scientists points out,
“The only force strong enough to affect global weather is the sun.”
“What’s NASA have to say?” asks somebody else.
A NASA scientist answers, “We’ve already checked. Solar output is normal.”
According to the movie, the sun has nothing to do with the climate change and erratic weather and melting ice caps. “Nothing to see here folks, move it along…..” But in our reality, it may just have EVERYTHING to do with it, because apparently other planets in our solar system are also warming up. It’s not just Earth. If we are entirely to blame for global warming, then how can we explain Mars heating up, for instance? Obviously there’s a bigger force at work here, affecting everything in the region. And super massive X-class flares, along with a sun that seems to be glowing hotter and whiter than in the past says that something may be amiss with the sun. (In fact many people believe in the idea of a secondary sun that’s on a very long, elliptical orbit and whose affects on our sun as it swings near may account for our sun’s strange behavior.) To hear the global warming doomsdayers talk, the Earth’s natural state is the way we’ve known it in the 20th century, and it needs to stay that way forever, stagnant. X! That’s not how it works. (and again, I will give the “Global Superstorm” book points for trying to show the Bigger Picture of Earth’s climate history going back hundreds of millions of years and claiming that things have been screwed up on this planet climate-wise for about the last 3 million years; we just so happen to be existing during one of the longest warm, calm periods in recent memory sandwiched between the many periods of ice age upheavals.) In my opinion the powers that be have an agenda, and man-made global warming guilt trips and celeb sponsored concerts and Al Gore on the environmental campaign trail selling books and movies fit perfectly into that. However….just to clarify, this doesn’t mean that I condone polluting or believe that humans are innocent when it comes to the environment. We are destroying things on this planet, no doubt, but all I’m saying is don’t jump on the Al Gore bandwagon just yet. What he’s spouting isn’t entirely accurate. It’s the false two dichotomy diversion. As always. Give the public only two choices – either humans solely caused global warming, or there’s no global warming happening at all. So the skeptics fight with the “Inconvenient Truth” believers, and meanwhile, the third choice may involve something far more complex, such as the sun behaving strangely coupled with HAARP and various man-made weather manipulation, alongside our own hand in pollution.
The Great Global Warming Swindle
And here, at the Channel 4 website.
And a good piece by David Icke about it all.
Donnie Darko — 2001. Jake Gyllenhaal, Maggie Gyllenhaal, Mary McDonnell, Holmes Osborne, Jena Malone, Patrick Swayze, Beth Grant, Drew Barrymore, James Duval, Daveigh Chase, Noah Wyle
Lured from his bed in the middle of the night by a mysterious voice, highschooler Donnie Darko (Jake Gyllenhaal) narrowly escapes being killed by a jet engine that crashes through the roof and lands in his bedroom. The voice, who turns out to be somebody named Frank wearing a demonic looking bunny costume, tells him that in 28 days, 6 hours, 42 minutes and 12 seconds, the world is going to end. We soon discover that Frank is a hallucination that only Donnie can see, and meanwhile, the FAA has no idea where the jet engine came from. For the next 28 days, Donnie becomes entangled in a strange series of events and endless synchronicities, all of which culminate in a worm hole and a time loop.
Donnie Darko became one of those instant cult classics due to its unique weirdness. There’s really no other movie like it. How do you describe this movie to somebody when they look at the cover and see Drew Barrymore, a demonic bunny, and Patrick Swayze?? When a coworker was trying to convince me that I HAD to see this, I just looked back and forth between the DVD box cover and him, my brows furrowed, face scrunched up. Later it took me several viewings to wrap my mind fully around what had actually happened at the end and how it all worked. So if you haven’t seen it, and you dig unique movies that make you think, then it’s worth a view.
Some of the more interesting things that I noticed about the movie:
28 days. The world is “going to end” in 28 days, says Frank the bunny. Why 28 days? Well, one thing to note about 28 is that it’s the moon cycle. Which leads to…
“The Killing Moon.” The opening song of the movie is Echo and the Bunnyman’s “The Killing Moon.” Considering what happens at the end, this song fits perfectly and ties into why Donnie’s world will end in 28 days. (And speaking of songs, a Tears For Fears song plays in one scene, ending with the line, “Funny how time flies.” Time is what the movie was about, after all…)
In Donnie’s room he has a poster of a big eye next to his bed, as well as a bookshelf in the shape of an upside down pyramid. (Brotherhood symbolism, reminiscent of the all seeing eye of Ra…)
“Wake up…” Frank’s first words to Donnie are “Wake up…I’ve been watching you…” which ties into the eye poster on Donnie’s wall. This reminds me of the first time we see Neo in “The Matrix.” In “The Matrix” we first hear a phone conversation between Cipher and Trinity, where Cipher says “You like watching him, don’t you?” Right after that, we see Neo asleep, at his desk, and on his computer screen appear the words “Wake up, Neo.” The mysterious “voice” on the computer screen who’s been watching Neo tells him to “follow the white rabbit.” Neo is being watched, and needs to wake up and follow the white rabbit just as Donnie is being watched, and needs to wake up and follow Frank the Bunny out of the house to avoid getting smashed by the jet engine. Both actions result in the entire rest of each movie. Which leads to…
Alice in Wonderland. Like The Matrix’s heavy use of the Alice in Wonderland symbolism, due to the reality vs. dream/illusion theme, Donnie Darko has it as well. Wake up into a time loop dream reality and follow the rabbit; fall through the wormhole/rabbit hole. Later when Donnie’s class is being forced to watch the “Fear/Love” video starring Jim Cunningham (Swayze), a woman in the video talks about how she faced herself in the mirror…in fact, she went though the mirror. Alice Through the Looking Glass reference.
Frank’s Eye/“V” Ears. I haven’t fully figured out what this means, but I do recognize that it means something. ;) But notice Frank’s glowing right eye. Without his mask on, his eye is bloody and injured. With the mask on it’s a glowing light. It’s that one eye (of Ra?)/“Terminator” borg eye thing.
Also, in looking at the picture on the movie box, featured above, I couldn’t help but notice that Frank the Bunny has a bit o’ that “V For Vendetta” Baphomet Goat’s head thing going on, as noted in my V For Vendetta write up.
Mind control references? On a side note, because I tend to see references to mind control under every rock and around every corner ;) I couldn’t help but notice the possible parallels to compartmentalized multiples. 
Donnie is a sleep walker on psych meds who wakes up in strange places and does things in the night that he later doesn’t remember, including “delinquent” type stuff. He burns down the house of Jim Cunningham after his “Frank the Bunny” hallucination tells him to. He vandalizes his school during one of these nocturnal sleep walking adventures and then scrawls “They made me do it” next to the statue of the school’s mascot. Who’s “they”? It reminded me of Fight Club’s “Project Mayhem” and of mind controlled multiples who run around doing the bidding of their handlers in a zombie state. (see Mind Control Themes and Programming Triggers in Movies) And being that the Alice in Wonderland theme is heavily used in mind control programming and is a feature of this movie makes me wonder as well.
In fact, the more I thought about this movie, the more I realized there was that underlying layer involving the dark aspects of our world beyond just the surface level plot concerning the jet engine, the budding romance with Gretchen (Malone), synchronicity and timeloops. You have Donnie who’s on psych meds and being treated by a psychiatrist for “emotional problems” running around engaging in this delinquent/“agent provocateur” behavior. (Think of all the guys who’ve either been involved in school shootings or other such activities, all of whom were troubled and on psych meds, most likely programmed by higher up stuff to do what they did….) Meanwhile as the new motivational speaker in town, Jim Cunningham, turns out to be a pedophile with a “kiddie porn dungeon” who wears that mask of a smiling face and exterior of feigned goodness, and “Frank” knows this, which is exactly why he directs Donnie to burn down Jim’s mansion house in the first place. It’s after the mansion is burned that the hidden kiddie porn dungeon is revealed to the firefighters. Frank is a hallucination premonition of the alternate timeline’s future that ends with the death of Gretchen, but what might Frank represent besides that? He’s the one in the know, directing Donnie from behind the scenes to do what he does, playing the same role as “voices in the head” and government psychotronic warfare mind control experimentation, with Donnie acting as his pawn. And, he is “watching” Donnie, after all, ie, Donnie is already on the radar and being monitored, just like programmed mind controlled pawns are. And it’s funny how after Donnie fulfills his mission in burning down the mansion, revealing the insidious truth about Jim Cunningham, that the timeloop then closes and Donnie dies. A bit like “Manchurian Candidates,” mentioned in my “Mind Control Symbolism…..” write up, and how when a pawn is done with their programmed mission, directed by those behind the scenes controllers, they will usually be suicided or killed. The mansion house in itself, which we only glimpse in two scenes, is reminiscent of one of those Illuminati sorts of mansions that are known to have a whole lot of no good going on. (Recently I was reading about the Jon Benet Ramsey case, the six year old beauty queen murdered in her family’s Colorado mansion on Christmas Eve in a ritual, and whom it later turned out had physical signs on her body of having been molested/raped for months prior to her murder. Her family lived in one of those extravagant mansions that was apparently bigger than the Governor’s mansion, four stories tall with a complicated layout that ensured you would have to already know your way around in order to navigate it.) So, just some random thoughts about the other, darker layer to this movie.
I heard a great theory about this movie, which I thought I’d pass along, but it had to do with “Donnie Darko” being representative of what’s happening in our own reality, on a mass scale. Supposedly the mass timeline has been tinkered with and messed with to such an extent, creating parallel versions of events and time loops, which is why we have the mad version of the world that we do. (“Mad World” — song used at the end of the movie. ;) ) It’s apparently not how things originally were, and so reality and the forces that be are trying to get things “fixed” and back on track. And that’s possibly why pretty much most awake people will find that their lives are riddled with synchronicities, “glitches in the matrix” and other never ending anomalous weirdness. It could all very well be a symptom of reality trying to rearrange itself and fix the collective timeline that’s been tampered with.
They Live — 1988. Roddy Piper, Keith David, Meg Foster.
“They Live. We Sleep.”
A cult classic from John Carpenter about aliens who lull the public into docile submission through subliminal messages and mind control waves, which may be closer to the truth than many people realize.
80’s wrestling star Roddy Piper plays a drifter named Nada from Colorado who’s just arrived into Los Angeles. He wanders about on foot with a backpack, looking for work and scoping out the general feel and situation of the area. He settles temporarily in a “hobo camp” sort of deal next to a construction site, where he also manages to get some work and meets a buddy named Frank (Keith David). Nada’s “man of few words” observant nature enables him to notice things that would fly under the radar of most people. Through Nada’s perspective, we see the hobo camp residents sitting around watching a beat up TV set, as a pirate signal occasionally cuts into the programs, showing a man calmly and methodically reading from a piece of paper, trying to warn the listening audience about mysterious “they’s” and “them’s” who have taken over our world. According to the pirate signal announcer, these mysterious “Thems” are using mind control signals to lull the population into a trance-like sleep, and polluting our air to make our atmosphere compatible with them, among other things. We also hear the ever present gospel singing going on in a church next to the hobo camp…but with no evidence of an actual congregation. There’s only a couple of people who seem to be sneaking in and out of the church, loading things into a car. Nobody around Nada seems to take the pirate signal message seriously, and when he tries to question Frank about the strange doings at the church, he’s met with nervous resistance, the attitude of Don’t ask questions, just stick your nose to the grindstone and worry about trying to get money and keeping your head above water. The police later raid the church and the nearby hobo camp, using full riot gear and helicopters, bulldozing the encampment and beating up anybody who gets in their way….but why? What’s the big threat? What are the powers that be trying to hide?
Well, what Nada discovers when poking around and investigating the church is a box of sunglasses that do more than just shield the sun’s rays — they reveal that some people walking among us are not human. They also reveal the subliminal messages embedded all around us, as well as the aliens’ space ship probes that fly overhead, keeping track of things which would normally not be visible.
Goofy 80s style aside ;) this movie is absolutely awesome in my opinion, so spot on with its nods towards the ridiculous elements we’re surrounded by in our society. Some spot-on points from the movie:
(Another write up about “They Live” can be found in this blog posting from the Celtic Rebel, It dissects things scene by scene, analyzing many symbolisms not mentioned here, and de-mystifying some of the dialogue. He also has a companion video to go along with it.)
Brazil — 1985. Jonathan Pryce, Robert De Niro, Katherine Helmond, Ian Holm, Kim Greist.
If you love the novel “1984”, and enjoy wry British humor, then this is the movie for you. Brazil is from Terry Gilliam, who brought us “Time Bandits” “12 Monkeys”, and “Monty Python.” In the future, the Ministry of Truth controls everything, as terrorist bombings from the “ruthless minority” plague the public and allow for Problem-Reaction-Solution totalitarian control of society. Sam Lowry (Pryce) is a clerk with the Ministry who sets out to correct an administrative error after the wrong house is raided and an innocent man killed during a routine terrorist sweep. Through a series of escalating events, Lowry becomes an enemy of the state himself…and Harry Tuttle, (De Niro) illegal freelance “Heating Engineer” just might be the man to save the day!
This is an interesting movie, in the spirit of the unusual and witty “Time Bandits”, but what stood out for me were the messages which appear throughout the movie on posters in the background. In light of our current post-9/11, Patriot Act information gathering obsessed, terrorism paranoia, it’s all suddenly very fitting. So sit up and take notice, if you haven’t already. “Brazil” was a movie 20 years ahead of its time. A sampling of the best messages littered throughout the movie:
“Loose Talk is Noose Talk”
“Be Safe — BE SUSPICIOUS”
“Information — the key to Prosperity”
“Suspicion Breeds Confidence”
“Who Can You Trust?”
“Top Security Holiday Camps
“Luxury without fear
Fun without suspicion
Relax in a panic free atmosphere”
Another great scene worth mentioning is when Sam is having lunch with his mother (Helmond) and her friends at a swanky restaurant, and the food that the waiter brings them is green slop on a plate, along with a little picture card showing what the food is “supposed” to ideally be. And everybody just goes along with it, of course. And meanwhile, some ruthless minority terrorists show up and start bombing the place, while Mother and her friends continue with their conversations, frowning and raising their voices to be heard over the noise….then the waiter brings a privacy partition to shield their view of the bombings so they can continue obliviously with their conversation…which they do. British humor at its best. :D
Network — 1976. Faye Dunaway, William Holden, Peter Finch, Robert Duval, Ned Beatty.
UBS television anchor Howard Beale has been told that he’s being let go. With nothing to lose, he gets on air and announces that on his last day in two weeks he plans to kill himself. And for the next two weeks, his spontaneous nightly rantings and all around craziness generate the highest ratings the network has ever had. So they decide to keep him. Howard’s on air madman rantings and ravings, including the infamous I’m as mad as hell, and I’m not going to take this anymore! become a phenomenal success, and soon the network is exploiting Howard’s deranged persona for all it’s worth. Dubbed The Mad Prophet of the Air Waves, he’s given his own show where he can rant freely to America about how things really are, all of which results in a chain reaction of events affecting everybody around him.
“Network” is full of great speeches given by great actors, and an absolute must-see for all TV haters out there like myself. ;) I love how every time Howard is on stage giving another one of his Mad Prophet rantings he always passes out in mid-sentence and collapses on stage. Then the audience claps and cheers, and it’s off to commercial break. Too funny.
Three of the best speeches in the movie I’m including here:
Arthur Jensen: (Click Here to watch this scene on YouTube)
“You have meddled with the primal forces of nature, Mr. Beale, and I won’t have it!! Is that clear?! You think you’ve merely stopped a business deal. That is not the case. The Arabs have taken billions of dollars out of this country, and now they must put it back! It is ebb and flow, tidal gravity! It is ecological balance!
You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no third worlds. There is no West. There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multi-national dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, Reichmarks, rins, rubles, pounds, and shekels.
It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and subatomic and galactic structure of things today! And YOU have meddled with the primal forces of nature, and YOU WILL ATONE!
Am I getting through to you, Mr. Beale?
You get up on your little twenty-one inch screen and howl about America and democracy. There is no America. There is no democracy. There is only IBM and ITT and AT&T and DuPont, Dow, Union Carbide, and Exxon. Those are the nations of the world today.
What do you think the Russians talk about in their councils of state — Karl Marx? They get out their linear programming charts, statistical decision theories, minimax solutions, and compute the price-cost probabilities of their transactions and investments, just like we do.
We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale. It has been since man crawled out of the slime. And our children will live, Mr. Beale, to see that perfect world in which there’s no war or famine, oppression or brutality — one vast and ecumenical holding company, for whom all men will work to serve a common profit, in which all men will hold a share of stock, all necessities provided, all anxieties tranquilized, all boredom amused.
And I have chosen you, Mr. Beale, to preach this evangel.”
___
Howard Beale: I don’t have to tell you things are bad. Everybody knows things are bad. It’s a depression. Everybody’s out of work or scared of losing their job. The dollar buys a nickel’s worth; banks are going bust; shopkeepers keep a gun under the counter; punks are running wild in the street, and there’s nobody anywhere who seems to know what to do, and there’s no end to it. We know the air is unfit to breathe and our food is unfit to eat. And we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that’s the way it’s supposed to be! We all know things are bad — worse than bad — they’re crazy!
It’s like everything everywhere is going crazy, so we don’t go out any more. We sit in the house, and slowly the world we’re living in is getting smaller, and all we say is, “Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials, and I won’t say anything. Just leave us alone.”
Well, I’m not going to leave you alone.
I want you to get mad!
I don’t want you to protest. I don’t want you to riot. I don’t want you to write to your Congressman, because I wouldn’t know what to tell you to write. I don’t know what to do about the depression and the inflation and the Russians and the crime in the street.
All I know is that first, you’ve got to get mad.
You’ve gotta say, “I’m a human being, goddammit! My life has value!”
So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window, open it, and stick your head out and yell,
“I’m as mad as hell, and I’m not going to take this anymore!!…..”
____
Howard Beale: “So, a rich little man with white hair died. What does that got to do with the price of rice, right? And why is that woe to us? Because you people and 62 million other Americans are listening to me right now. Because less than 3 percent of you people read books. Because less than 15 percent of you read newspapers. Because the only truth you know is what you get over this tube. Right now, there is a whole, an entire generation that never knew anything that didn’t come out of this tube. This tube is the gospel, the ultimate revelation. This tube can make or break presidents, popes, prime ministers. This tube is the most awesome goddamn force in the whole godless world. And woe is us if it ever falls into the hands of the wrong people. And that’s why woe is us that Edward George Ruddy died. Because this company is now in the hands of CCA — the Communication Corporation of America. There’s a new Chairman of the Board, a man called Frank Hackett, sitting in Mr. Ruddy’s office on the 20th floor. And when the 12th largest company in the world controls the most awesome goddamn propaganda force in the whole godless world, who knows what shit will be peddled for truth on this network. So, you listen to me. Listen to me! Television is not the truth. Television’s a goddamn amusement park. Television is a circus, a carnival, a traveling troupe of acrobats, storytellers, dancers, singers, jugglers, sideshow freaks, lion tamers, and football players. We’re in the boredom-killing business. So if you want the truth, go to God. Go to your gurus. Go to yourselves, because that’s the only place you’re going to find any real truth. But, man, you’re never gonna get any truth from us. We’ll tell you anything you wanna hear. We lie like hell. We’ll tell you that Kojak always gets the killer and that nobody ever gets cancer at Archie Bunker’s house. And no matter how much trouble the hero is in, don’t worry. Just look at your watch. At the end of the hour, he’s gonna win. We’ll tell you any shit you want to hear. We deal in illusions, man. None of it is true! But you people sit there day after day, night after night, all ages, colors, creeds. We’re all you know. You’re beginning to believe the illusions we’re spinning here. You’re beginning to think that the tube is reality and that your own lives are unreal. You do whatever the tube tells you. You dress like the tube. You eat like the tube. You raise your children like the tube. You even think like the tube. This is mass madness you maniacs! In God’s name you people are the real thing, WE are the illusion!
“So turn off your television sets. Turn them off now. Turn them off right now. Turn them off and leave them off. Turn them off right in the middle of the sentence I am speaking to you now! Turn them off!!” (collapses on stage)
(Thanks to www.americanrhetoric.com for providing the public with transcripts of these speeches, saving me a LOT of time from having to transcribe them myself….)
The following movies incorporate an interesting amount of Egyptian symbolism into their plots – Pyramids, eyes (of Horus) obelisks, ankhs, suns (Ra) and so on are a few of the most common. (For those who may not know, Egyptian symbolism is heavily used in secret societies such as the Freemasons, and the “Illuminati” aka, the Brotherhood, since they supposedly can trace themselves back to Babylon and Egypt, according to the alternative history/conspiracy researchers. As a result of their origins, you’ll find this symbolism all over U.S. paper money and embedded within the architecture and street layouts of Washington, D.C.)
Logan’s Run — 1976. Michael York, Jenny Agutter, Richard Jordan, Peter Ustinov.
It’s the year 2274, and what’s left of humankind resides in a huge domed city controlled by computer servo-mechanisms. Life is all about the pursuit of hedonistic pleasure, and nobody lives past the age of 30 – because on your 30th birthday, everybody faces Carousel, the ritual sacrifice. Nobody minds though, because they’ve all been told that they’ll just reincarnate, and like everybody else, they just believe what they’re told. Logan 5 (York) is a “Sandman”, responsible for terminating “Runners” – those fleeing Carousel, trying to make it to the safe haven known as Sanctuary outside the city. Logan is given an assignment to flee Carousel as his 30th birthday approaches and make it to Sanctuary, with the intent of destroying it. But when he crosses paths with a girl named Jessica 6 and becomes entangled in her group’s plot to escape to Sanctuary, he finds himself going along for the ride — not because it’s his assignment, but because he’s fallen for her and has become a Runner himself.
Key Egyptian/Illuminati symbolism
The Ankh necklaces. In ancient Egypt, the ankh was a symbol for life. In the movie it represents the symbolism for “Sanctuary,” which is the safe haven for runners escaping their deaths in the domed city. So, an aptly fitting symbol.
Washington D.C., where Logan and Jessica find themselves after they escape the domed city; happens to be the “Illuminati/Brotherhood” capital of the U.S. D.C. has many notable Egyptian and esoteric features, including the obelisk National Monument, the dome of the Capitol building, pentagrams in the street layout, as well as pyramid with an owl perched atop the missing capstone within the the street layout as well. So, no coincidence this city of all the possible cities was chosen as the city that the lead characters emerge into.
The obelisk featured so prominently in several scenes – more Egyptian symbolism.
The sun, (Ra) also featured prominently in the scene when Logan and Jessica first emerge from the cave. More Egyptian symbolism, and a big time important symbolism within the so-called Illuminati.
The cats (worshipped by Egyptians) living with the old man at the White House – there were bezillions of cats everywhere.
The old man reiterating several times that cats have 3 names. Not sure what that was all about, but it was a stressed point. The number three is a big one in many of these movies with meaningful symbolisms, as noted in many of my movie summaries.
Other notable symbolism
There was plenty of other interesting symbolism to be found in this movie, including a couple which seemed to tie into Illuminati mind control (as written about extensively by Fritz Springmeier, discussed elsewhere on this site):
Code “033 03.” 33, in numerology/freemasonry means Master level; 3 – the Trinity, Father, Son and feminine principle, which we see with Old Man, Logan, and Jessica.
The crystal life clocks embedded in the palms of people’s hands. Crystal technology is reminiscent of Atlantis, another technologically advanced, hedonistic society gone awry according to legend.
The Domed city. Domes are part of Brotherhood architecture, traditionally used for its energy trapping capabilities. The White House being the best known example in the U.S. Domed city also used in “The Truman Show.”
Carousel. Carousels in themselves are a symbolism used in mind control systems (as noted in the work of Fritz Springmeier), and the death ritual with its circle, robes and masks, people moving counterclockwise around a red rose figure (more Illuminati symbolism) is all symbolic of Illuminati/Brotherhood occult rituals. A near identical set up can be found in “Eyes Wide Shut” with the occult ritual orgy, and the circle of people in red and black robes and masks, moving counter-clockwise around the circle. As noted in my Mind Control Symbolisms… write up, so many of these movies have overlapping repeating symbolisms and themes.
30. And tying into Carousel…..People in the movie are all killed in Carousel at the age of 30, specifically. Why 30? Especially considering that in the original short story that the movie is based on, everybody was killed off at the age of 22, I believe. It was changed for the movie. Well according to my mind control research, the Illuminati/ “MK Ultra” mind control/sex slaves are typically killed off at the age of….30. A symbolism also found in Eyes Wide Shut, see that review for more information.
The rainbow. With the age of “30” and “carousel” now noted, now take a closer look at the movie box cover with the rainbow. On the surface, it parallels “The Wizard of Oz’s” over the rainbow – but as noted in the Eyes Wide Shut write up, the rainbows are also one of those symbols used in mind control. The phrase “over the rainbow” in the context of mind control has to do with living life in a tranced out dream state, coupled with sex kitten programming. Which fits in the context of “Logan’s Run,” a very sexual, hedonistic society living life in an oblivious dream state.
Water. Water, water, everywhere in this movie. Symbolically represents truth and emotions, and was also noted in my write ups for “Dark City” and “The Truman Show.” The entire end of the movie revolves around water – Logan and Jessica go back to the Dome City to tell everybody the truth about the outside world and save them, and in order to get back into the city they have to jump into the water and swim through several closed off openings; At this point in the movie, you could say Logan has finally become fully human, and has connected with real emotions and actual empathy for the first time in his entire life. They also discover at this point that the city is right on the ocean, being powered by the seawater – which means that “the powers that be” who are in charge of running the city are very aware of the truth about the outside surroundings – even if everybody else is kept in the dark.
Going back to rescue those left behind. Speaking of Logan and Jessica returning to the Dome City to tell everybody the truth and save everybody, as noted in my The Island write up, this is a concept that Rudolf Steiner talks about in his book called “How to Know Higher Worlds.” Following is an excerpts from that book which illustrate the parallels, (the voice narrating is supposed to be that of “the great guardian of the threshold”):
“You have freed yourself from the world of the senses. You have earned the right of citizenship in the supersensible world. From now on, you may work from there. For you yourself, you no longer need your physical bodily nature in its present form. If all you wanted was to acquire the capacity to dwell in the supersensible world, you would never need to return to the world of the senses. [….] Some day you will be able to unite with my form, but I myself cannot find perfect blessedness as long as there are others who are still unfortunate! As a single, liberated individual, you could enter the realm of the supersensible today. But then you would have to look down upon those sentient beings who are not yet freed. You would have separated your destiny from theirs. But you are linked together with all sentient beings. […] You must share with the others the powers that you achieved with them. Therefore, I refuse to admit you to the highest regions of the supersensible world until you have used all your powers for the deliverance of your fellow world and fellow beings.”
Flag/Book. At one point towards the end when Logan is fighting off Francis 7, Logan throws a book at him, representing knowledge, while Francis grabs a tattered American flag on a pole, representing nationalism, brainwashing, the system, etc. to attack Logan with in response. Thought that was an interesting use of symbolism.
A parallel to this movie is “The Matrix.” In both movies, our male heroes (Logan, Neo) start out living in a dream world lie – one based on blissful hedonism where the public is lied to, the other being computer generated A.I., respectively; Both meet up with a female counterpart (Jessica 6, Trinity) who set them on the path of awakening, and become their love interest and partner in crime; The two then meet up with the male father figure (Old Man, Morpheus) forming the completed “trinity” of Father, Son, and the feminine principle). Then they make the decision to return to the dream world/illusion (dome city/the Matrix) to rescue the rest of humanity. “Logan’s Run also parallels the movie “Labyrinth” during the first half, (or rather, Labyrinth parallels Logan’s, since Logan’s came first) as well as The Wizard of Oz in many ways, (hence, another reason for the rainbow on the cover…)
All in all, “Logan’s Run” is absolutely dripping in symbolism, tying directly into the Illuminati/Brotherhood “cult of Egypt,” and with a nice little smattering of mind control programming references thrown in for kicks, since the “Illuminati/Brotherhood” is heavily involved in that as well.
Young Sherlock Holmes (aka Sherlock Holmes and the Pyramid of Fear) – 1985. Nicholas Rowe, Alan Cox, Sophie Ward, Anthony Higgins.
What would Sherlock Holmes have been like in his youth? How did he meet up with Watson? What got them started on a life of crime solving? This movie imagines that…but with a plot that’s chock full of Egyptian occult/Illuminati symbolism making it worthy of being mentioned. With three Hollywood elite big wigs at the helm, (producer Steven Spielberg, writer Chris Columbus, and director Barry Levinson) it means this movie is going to be well done, with a dark edge to it and secondary layers and symbolism.
When several people around Victorian London are shot by poisoned blow darts, experiencing hallucinations that drive them to their premature deaths, a young Sherlock Holmes (Rowe) and his classmate/friend John Watson (Cox) are on the case, poking about and looking for answers. What they uncover is a plot involving a secret Egyptian-based cult comprised of upstanding London citizens leading double lives with plans to kill several businessmen.
With its secret Egyptian occult society and ritual sacrifices in the big underground pyramid, the movie’s plot is a direct tie to the other Spielberg movie, “Indiana Jones and the Temple of Doom” from a year earlier. Guess Spielberg was going through his occult-ritual-sacrifices-by-secret-groups phase. ;) It gives a dark and edgy spin to this otherwise family-fare movie. Either it was a phase he was going through, or there’s some not-so-hidden meaning behind it. Nowadays the public is becoming more and more aware of the Egyptian-influenced occult groups and secret societies that run the world, thanks to authors David Icke, Jordan Maxwell, and others, movies such as “National Treasure” etc., so we sort of take this stuff for granted now. But back then the public was pretty clueless about it all. However…someone such as Spielberg, part of Hollyweird’s Elite and probably a secret society member himself, would definitely be aware of such things. He seemed compelled to make several movies that incorporated his knowledge into the plots, either out of giddiness for what he knows, or to spread a message to people who have “eyes to see and ears and to hear,” or because these movies serve as giant occult rituals in themselves. Take your pick. Either way, it’s such a strange contrast to find this content mixed up in a Victorian era England Sherlock Holmes movie. ! If nothing else, it at least makes it interesting.
Bubba Ho Tep — 2002. Bruce Campbell, Ossie Davis, Bob Ivy, Ella Joyce
The plot of Bubba Ho-tep centers on what seems like ridiculous absurdity on the surface…Elvis (Campbell) is alive and well and living out his last days in a convalescent home, duking it out against a resurrected Egyptian mummy with the help of an old black man (Davis) who believes he’s JFK. But if you look closer, the movie seems to be one big reference to Elvis and his Illuminati mind controlled puppet existence.
We have Elvis, going up against what of all things but…a dried up old Egyptian mummy? People with no background in the Egyptian-based occult Illuminati and no knowledge that Elvis was supposedly their puppet will only see something fun and campy. But with a little background into who Elvis was, suddenly, you see this as possibly being a symbolic metaphor for Elvis battling to his death against his Illuminati controllers/handlers.
The last line of the movie was actually pretty telling when you have this realization going on. Elvis is lying flat on his back outside, under the stars at night, about to die, and he’s feeling serene and content because he managed to kill the mummy. Suddenly, in the sky appears several Egyptian hieroglyphics, translating to “ALL IS WELL”, as Elvis smiles and says, “…But my soul is still mine…..”
They killed Elvis, but they didn’t get his soul. When you do the research into mind controlled slaves, you’ll find many a mind controlled victim reminding themselves, or being reminded by helpful others, that at least “they” can’t get their soul. “They” may be able to make your life a living hell while you’re alive, but they’ll never get your soul.
If you’re still unconvinced, then an interesting side note worth mentioning is that Elvis got his start at Nashville’s Sun Records, (Sun — Ra, the Sun God; the sun is very important in Illuminati symbolism) and from what I read, (can’t verify it myself…) after Elvis died, his record label released an album that featured Egyptian symbols and pictures all over the cover.
The other central character of “Bubba Ho-tep” is “JFK”, played by Ossie Davis. We see an old black man in a suit when we look at JFK, but the (deluded?) JFK believes that he really is JFK. His room at the convalescent home is done up just like a bedroom at the Oval Office, and he claims that his life is connected via an implant to “Them” in Washington, and at the flip of a switch they can turn off his life. (symbolic of how “they” switched off the real JFK’s life in an instant?) He even shows a scar on the back of his skull. ! Pretty funny when you’re watching this scene. Everybody laughed in the theater during this whole part. But isn’t this plot concept also just a little…strange?? I thought so. So why “JFK” then? Why make Elvis’ sidekick and partner in bustin’ some mummy ass be JFK??
Possibly because JFK was offed by the Illuminati Brotherhood too, and was another victim of theirs. So it’s very fitting when you think about it. We get to watch Elvis and JFK kill/seek their revenge/break free of the mummy/Illuminati Brotherhood, and succeed in killing it…..unlike how it went in real life.
Bubba Ho-Tep is worth watching if you’re looking for something unique, original, and well done. Bruce Campbell IS Elvis in this movie, and Ossie Davis makes a great black JFK. “They dyed my skin!”
© 2006-2009
Carissa Conti