Vigilant Citizen Movies & TV pp. 308-620

Tubal-Cain is briefly mentioned in the Bible as a forger of instruments and has no direct link to Noah or the Great Flood, making his role in the film significant as he embodies themes of rebellion and human pride.

Tubal-Cain is an obscure Biblical figure significant in esoteric teachings, known as a proficient maker of weapons and a symbol of humanity's potential to build its own power without the Creator.

Bill's journey represents a multi-faceted exploration of the feminine principle, connecting all the women he encounters throughout the film.

Bill infiltrates an elite club attended by the world's most powerful people, which deals with Satanism, black magick, and ritual sacrifices.

The movie implies that while it entertains, it also critiques the audience for consuming superficial content, suggesting that viewers may miss deeper messages about manipulation and control.

The ending, with the Illuminati's call to the public, suggests that the audience is being duped by the real magicians, emphasizing the theme of awareness versus ignorance in the face of manipulation.

The movie '9' is set in a dark, post-apocalyptic world where intelligent, self-reproducing machines have destroyed all life on Earth.

The nine rag dolls represent a small relic of humanity animated by a scientist's soul, symbolizing the remnants of human life fighting against the machines.

The movie symbolizes humanity's transitional phase as seen by occult secret societies, predicting a 'new age' known as the Age of Horus or the Age of Aquarius.

The occult elite believes that humanity must undergo a period of great tribulation to purge its impurities, which include traditional religions and governments.

Manly P. Hall was a 33rd degree Freemason who described the next phase of humanity, which aligns with the vision portrayed in the movie '9'.

Transcendental philosophy is seen as the path to understanding and enlightenment, teaching man to be born well, live well, die well, and be reborn in perfect measure.

The MKULTRA project, although supposedly terminated in the 1970s, is reflected in 'Stranger Things' through the portrayal of a shadow government that conducts unethical experiments, including on children, and operates above the law.

The shadow government in 'Stranger Things' employs tactics such as spying on citizens, eliminating those who know too much, faking the deaths of abducted children, and obstructing investigations to maintain secrecy.

Transhumanism is a movement that seeks to use science and robotics to advance humanity. It is connected to Luciferianism through the idea of reaching a higher state of existence, as articulated by philosopher Max More.

Max More argues that Lucifer is a force for good, suggesting that his exile from Heaven was due to moral outrage against the oppressive demiurge Jehovah, challenging the traditional narrative.

Luciferians interpret the story as one where Lucifer may have resigned from Heaven out of moral outrage, rather than being cast out by God, highlighting a different perspective on the narrative.

Lucifer's departure symbolizes the rejection of oppressive authority and the pursuit of independent thought and freedom. It reflects the struggle against conformity and the desire for self-determination.

Lucy embodies the idea of humanity transcending its limitations by gaining knowledge and power, using science and technology to break biological barriers, but this also leads to a dark side where she perceives others as lesser beings.

The dark side of Luciferian thought is the belief that only a select few can achieve enlightenment, leading to the devaluation of the rest of humanity, which Lucy demonstrates through her remorseless actions against innocents.

Lucy starts as an ordinary woman manipulated by others, highlighting the contrast between un-illuminated humans and those who seek knowledge and power, paralleling the theme of evolution from ignorance to enlightenment.

The feline-print vest symbolizes that Lucy is a regular, animalistic human who has yet to reach a higher level of evolution.

When the packet of CPH4 breaks, Lucy's body absorbs the contents, causing her brain to become increasingly powerful.

CPH4, being a synthetic drug created by humans, ties into the transhumanist philosophy of human evolution through science and technology.

The doctor explains that pregnant women manufacture CPH4 in tiny quantities during the sixth week of pregnancy, which provides the necessary energy for the fetus to form bones.

CHAPPIE is directed by Neill Blomkamp, who is also known for his films District 9 and Elysium.

CHAPPIE raises questions about mortality and the nature of existence as the sentient robot becomes aware of its own 'mortality' due to its dying battery.

CHAPPIE proposes that transhumanism can achieve immortality, which is a promise traditionally associated with religions.

Transhumanism is the merging of humans with robots to create 'enhanced' humans, rejecting the idea that God's creation is perfect and that humans should not play God.

Max More is considered the father of transhumanism, and he describes the spiritual thinking behind the movement as valuing the force of good associated with the Devil, or Lucifer.

The rituals appear as a phony piece of dramatic theater, stripped of esoteric meaning, serving to provide a mystical justification for the rich to engage in debauchery.

Giving her old life away represents the complete erasure of her past self, leading to the creation of a new alter persona that is entirely programmed by the elite.

The producer's question implies that the entertainment industry often requires individuals to sacrifice their personal identity and autonomy in exchange for success and acceptance within a controlled system.

The pentagram symbolizes the ritualistic importance of submission and the occult nature of the actions taking place. It indicates a connection to spiritual and possibly demonic forces.

This phrase suggests that Sarah is being invited to embrace a transformation or initiation into a new state of being, which may involve demonic possession and the rejection of her old self.

Sarah's painful convulsions in the days following the ritual indicate the psychological and physical toll of engaging in such occult practices, suggesting that there are severe repercussions for her submission and transformation.

Sarah's physical change symbolizes the rotting out of her inner-being and her very soul, reflecting her obsession with body image and the toll it takes on her identity.

Sarah receives a vision of herself as a movie star, looking beautiful and healthy, dressed for the Oscars, which represents her desire for success and validation in the film industry.

The pentagram pendant signifies that Sarah is a true industry pawn, indicating her entanglement in the superficial and often dark aspects of the entertainment industry.

The producer presents Sarah with a choice to either 'go into the ground and be forgotten forever' or to 'be reborn', highlighting the extreme pressures and choices faced by those in the entertainment industry.

Sarah sacrifices her own soul and commits a blood sacrifice by killing all of her friends in a violent manner.

The ritual celebrates Sarah's rebirth and involves a gathering of the Hollywood elite who chant 'Hail Astraeus' as she is buried underneath a glowing pentagram, symbolizing her initiation into the occult.

In occult secret societies, candidates for initiation undergo a period of 'symbolic death' in darkness before being 'born again', paralleling themes found in Christianity and other religious narratives.

Unlike traditional spiritual awakenings, where the initiate experiences a genuine transformation, Sarah is portrayed as a puppet lured into a Satanic ritual for the profit and pleasure of her handlers.

The producers yell 'She is ready to transform!', indicating that Sarah has completed her initiation and is now reborn into their world.

The rituals derive from Tantric yoga, where energy generated by physical arousal is used to reach a 'higher state'.

Kubrick strips the ritual of its esoteric and magickal meaning, suggesting that the true 'magick' occurs throughout the film rather than during the ritual itself.

The concept originates from ancient ritual practices found in Hinduism, Taoism, and Medieval secret societies like the Knight Templars. In the modern Western context, the O.T.O is considered the heir to this path, as claimed by Aleister Crowley and Theodor Reuss.

Theodor Reuss stated that the O.T.O was a body of initiates holding the secret knowledge of all oriental orders and existing Masonic degrees, having 'rediscovered' the great secret of the Knights Templar, which is the magic of sex.

The basic principle is the raising of the Kundalini or 'life force', an energy that can be utilized for magickal purposes.

Kundalini is described as lying dormant in the lowest of the seven chakras and can be aroused through two methods: the right-hand path (male principle) and the left-hand path (feminine principle). As it rises, it energizes each chakra until it emerges from the skull, symbolically depicted as a snake's head.

The rising of the serpent unites with the 'many-petaled lotus of the cerebral region' to bring about illumination, representing the highest form of initiation as the energy climbs from duality to unity.

Sacred courtesans, known as nautch girls in India, were exceptionally honored and were experts in ritual eroticism, playing a significant role in the initiation processes of the O.T.O into Hindu and Tibetan Tantra.

While sacred courtesans were honored in Eastern esotericism, modern black magic orders exploit individuals, referred to as Beta Programming slaves, and dispose of them after use, which is the opposite of being 'exceptionally honored'.

Eliphas Levi's depiction of Baphomet is said to wholly represent the concept of Kundalini rising in Tantric magic.

The figure of Baphomet symbolizes the rising of the kundalini through the union of opposite forces, represented by the phallic pole wrapped by two serpents. The torch above the goat head signifies illumination.

Bill's journey in Eyes Wide Shut reflects the concept of kundalini rising as he encounters new women and opportunities. The real ritual occurs within his mind, indicating a transformation rather than a physical climax.

The lack of climax in Eyes Wide Shut signifies that while the movie explores themes of sexuality, it emphasizes the control of desire and lust. Bill's ability to manage his 'life force' is central to the narrative.

Kubrick includes various clues throughout the film that suggest Bill's kundalini is rising, particularly through his interactions with women and the increasing tension of desire, despite the absence of physical climax.

Bill's flashes of Alice cheating on him become increasingly intense, culminating in a moment where she is about to reach climax. This reflects his Kundalini rising, symbolizing his emotional and sexual awakening, which is rooted in pain and humiliation from his initial experiences.

Bill's flirty and grabby behavior with a complete stranger shortly after meeting her signifies his progress in the ritual, illustrating his heightened sexual desire and the impact of his experiences throughout the film.

Coraline discovers that the door leads to an alternate reality where everything in her house is slightly different.

Bill's journey is marked by pain and humiliation, as his visions of Alice's infidelity serve as reminders of his emotional turmoil, ultimately leading to a transformation in his understanding of desire and intimacy.

Bill's final conversation with Alice, where she expresses love and the need to 'f*ck', signifies the culmination of his journey towards a 'magickally charged' climax, reflecting the intensity and transformative nature of his experiences throughout the film.

Bill's journey illustrates duality through the constant interplay of pleasure and pain, attraction and repulsion, life and death. This is symbolized by his movement across black and white tiles, akin to the checkered floors of Masonic lodges, representing the dualistic nature of existence.

The two basic impulses defined by Freud that characterize Bill's encounters are Eros, the instinct for life, love, and sexuality, and Thanatos, the instinct of death and aggression. Bill's experiences reflect a back-and-forth between these impulses, where each encounter offers both attraction and potential destruction.

In the context of Bill's journey, Freud's concept of Eros represents the drive toward attraction, reproduction, and the instinct for life and love, which is contrasted by the destructive aspects of his encounters that evoke pain and death.

The film's ending reflects themes of Crowleyan-magick by culminating in a moment of intense connection and ritualistic expression between Bill and Alice, suggesting that their journey was aimed at achieving a heightened state of awareness and fulfillment, akin to a magical climax.

The themes of lust and desire are juxtaposed with death in Bill's first encounter, highlighting the complexity of human emotions in the face of loss.

Bill's encounters with women promise gratification but are consistently interrupted by guilt or potential danger, illustrating the darker side of lust.

Every time Bill engages with the sleazy aspects of lust, such as prostitution or slavery, he quickly uncovers the exploitative and destructive nature of these experiences.

After enjoying the 'delights' of MK Kittens, Bill is confronted with the dark side of the situation when he sees the shop owner's sudden change of heart regarding his daughter's involvement with businessmen.

Alice and Domino share a sweet and tender connection with Bill, reflecting aspects of a loving relationship. They are portrayed as not very different from each other, suggesting a thematic link in their roles in Bill's life.

Alice's dream mirrors the experiences of Bill at the occult ritual and Amanda, who was present at the ritual. In her dream, Alice describes a scenario of intimacy and sexual encounters that connects her to Amanda's lived experience during the ritual.

The Venetian mask found next to Alice after the ritual may symbolize her awareness of the events surrounding Bill and the secret society. Its presence raises questions about her participation or knowledge of the ritual, although Alice never acknowledges it, leaving its meaning ambiguous.

The name 'Domino' refers to a type of mask used in gatherings like the one Bill attended, suggesting a deeper connection between her character and the themes of secrecy and identity within the film's narrative.

Bill's journey symbolizes an esoteric quest to understand and become one with the feminine principle, which is opposite to his own. This is reflected in his interactions with various women, including Domino, Amanda, and Nightingale, who all mysteriously disappear after the ritual.

The button eyes symbolize that the characters in the alternate world are puppets fabricated by the handler, illustrating a lack of true humanity and individuality.

Helena, Bill's daughter, is shown to be groomed to be another Alice, indicating a connection to the feminine themes. Additionally, there are cues linking her to Domino, such as her interest in a stroller, which reflects the nurturing aspect of femininity.

Domino's character represents a casualty in Bill's journey, highlighting the transient nature of the women he encounters. Her HIV-positive status and disappearance after the ritual emphasize the risks and consequences associated with his quest for understanding the feminine principle.

The stuffed tiger represents Beta Kitten programming, which is often associated with themes of sexuality and subservience in certain narratives.

The scene is significant because it features an entire row of the same toy that Helena shops for in the final scene, creating a symbolic connection to her character's journey and the themes of consumerism and innocence.

The two men behind Helena in the store are significant because they were also present at Ziegler's party at the beginning of the movie, suggesting a continuity of characters and possibly hinting at underlying narrative connections throughout the film.

The appearance of the two men at both Ziegler's party and the toy store raises questions about their connection to the secret society following Bill and his family. Their similar physical traits suggest a deliberate choice by Kubrick, possibly indicating that they are part of a larger, hidden narrative involving Bill's daughter, Helena, who seems to follow them before disappearing from the film.

Kubrick's films often use meticulous symbolism and imagery to comment on broader societal issues rather than focusing solely on love or relationships. His works reflect a critique of civilization, particularly highlighting the corruption and debasement of human desires and relationships in the context of hidden societal forces.

Bill's quest symbolizes a search for something fundamental and visceral that is missing in his life. Despite appearing to have everything, he is incomplete without reconciling with the feminine principle, suggesting a deeper commentary on the balance between masculine and feminine energies in human experience.

Kubrick explores themes of societal corruption and the exploitation of primal urges, particularly procreation. He presents a world where these urges are cheapened and fetishized, dominated by a secret society that thrives on this degradation, reflecting a grim outlook on human nature and relationships.

The esoteric principle of uniting two opposing forces into one is followed, culminating in Bill's physical union with his wife, symbolizing the completion of the alchemical process and Tantric ritual.

The final scene suggests that even if Bill and his wife believe they have reached an epiphany, it ultimately does not change anything significant, as society remains oblivious or 'with its eyes wide shut.'

The phrase 'eyes wide shut' signifies a state of ignorance or denial within society, indicating that despite personal revelations, broader societal issues persist.

The main theme of 'Now You See Me' revolves around a shady organization named 'The Eye' that controls entertainers and highlights the idea that the occult elite governs the entertainment industry.

The movie emphasizes that magicians distract the audience while the real magic happens elsewhere, paralleling how the film's action distracts viewers from its underlying message about the entertainment industry.

The opening lines suggest that the audience is easily fooled by what they see, as they filter and interpret information, which reflects the manipulative nature of mass media and entertainment.

He represents the introduction of arts and civilization, symbolizing worldly possessions and the potential for human advancement.

Most critics argue that the plot of 'Now You See Me' is illogical and implausible, with a master plan that relies on too many variables that could go wrong.

This phrase implies that deeper examination of the film reveals its true message about the manipulation and control within the entertainment industry, rather than just the surface-level action.

The four magicians are initially portrayed as individuals trying to make a living through their magic tricks, lacking fame and recognition. They are being watched by a mysterious figure, indicating their potential involvement in a larger, more significant narrative.

The All-Seeing Eye signifies the control and surveillance of the occult elite over the magicians, hinting at themes of manipulation and the loss of autonomy within the entertainment industry.

In the strange apartment, the magicians discover the elite's plans laid out for them after solving riddles, which serves as an initiation process.

The magicians transition from solo acts to a group by joining together to form the Four Horsemen, becoming big-time entertainers in Las Vegas.

The Four Horsemen are seen as performers who obey orders from The Eye, indicating their connection to the occult elite and the secret society that controls them.

The stage model represents a giant eye, symbolizing the surveillance and control exerted by the secret society over the Horsemen's performances.

The logo features an abstract, geometric design with interconnected, translucent light blue rectangular shapes that create an impression of depth. It has a subtle glow, emphasizing its enigmatic and modern appearance.

The decoration consists of two 3D versions of the Horsemen logo, symbolizing hidden Eye symbolism in plain sight.

The symbol of the Eye flashes on Times Square, highlighting the pervasive nature of its symbolism in real life.

The symbol is not fictional; it represents the most important symbol of today's occult elite and is associated with various powerful secret societies.

The movie plays the role of the Four Horsemen, serving as a vehicle for the symbolism of the occult elite, which is prevalent in mass media.

The Eye in the movie closely resembles the OTO, a self-described 'magickal Order' that is powerful in Hollywood.

The Eye of Horus is a symbol that originates from Ancient Egypt and is associated with the Freemasons, OTO, and the Illuminati, indicating its importance in the occult themes of the movie.

The Eye is described as 'keepers of real magic and protectors of those who practice it', with candidates for initiation required to follow commands with blind obedience.

The documentary reveals that the Eye has occult origins, linking it to secret societies and their practices.

The OTO is based on Aleister Crowley's philosophy of Thelema, which was communicated to him while inside an Egyptian pyramid.

The Eye of Horus is extremely important for the OTO as it symbolizes their goal of bringing about the Aeon of Horus, an era ruled by Thelema.

The OTO distinguishes 'real' magick from stage magic by adding the letter 'k' at the end of 'magick', emphasizing its near-scientific application.

In the Aeon of Horus, mass media is flooded with the symbol of the Eye of Horus, reflecting its significance in the OTO's beliefs and practices.

The title of the book used to research The Eye in the movie is 'The Guardians of Horus'.

The cover design of 'Liber AL vel Legis' features intricate golden designs, including a winged sun disc, stylized pillars, and hieroglyphic symbols, which closely resembles the cover of actual OTO books. This design includes rectangular borders and a title in golden, embedded, capitalized letters, reflecting the aesthetics of the OTO's publications.

The OTO exerts a significant influence in Hollywood, with a mission to promote Thelema and the Aeon of Horus to the masses. The entertainment industry serves as a powerful tool for disseminating these ideas through mass media.

The text alludes to the usage of mind control on various individuals within the entertainment industry, suggesting a darker aspect of how influence and control can manifest in Hollywood.

Thaddeus claims that the audience member is actually a mind-control slave who was programmed to make it to Las Vegas, with nothing left to chance in his selection.

The FBI agent, played by Common, starts playing an air violin when he hears the word 'bullshit', indicating that he has been programmed by the magicians and that law enforcement can also be influenced by the elite.

The tarot card of Death signifies that Jack Wilder was chosen for a ritual sacrifice, highlighting the theme of ritual sacrifices for transformation within the Illuminati industry.

Jack's car crash, which is revealed to be a setup, serves as a ritual sacrifice orchestrated by the occult elite. It generates public sympathy for the elite-backed magicians and acts as a diversion.

Thaddeus, an ex-magician, is framed by The Eye and imprisoned for opposing the elite-backed Horsemen. His downfall illustrates the consequences of falling out of favor with the elite.

The police officer, part of The Eye, suggests that The Eye is omnipresent and seeks to identify truly great magicians, implying that Thaddeus's desire to be part of it was unfulfilled, leading to his downfall.

The members of the Four Horsemen represent artists in the industry who are mere puppets fulfilling tasks given to them, desperately wanting to be part of The Eye.

Dylan Rhodes, an FBI agent, greeting the magicians signifies that The Eye controls both mass media and law enforcement, highlighting the intertwining of power structures.

The carousel scene implies that the magicians were taken for a literal ride, questioning the existence of The Eye and suggesting they were manipulated throughout their journey.

The ending scene reveals the ultimate fate of entertainers used by the occult elite, reinforcing the idea that outsiders can never truly be part of the 'inner circle'.

The neon sign graveyard symbolizes the Horsemen's own career, representing how they have been discarded and forgotten, much like the old Las Vegas signs.

The Horsemen lose access to Eye-related privileges, as indicated by the locked crates stamped with the sign of The Eye, which they can no longer access.

The magicians find that their tarot cards are gone, indicating that The Eye no longer needs them and has revoked their access, symbolizing their disposability.

Investigators question why the magicians and The Eye go through elaborate trouble, hinting at deeper motivations and the nature of their relationship.

The movie conveys that 'The closer you look, the less you see', suggesting that trying to understand the action on screen can obscure the bigger picture.

Lionel Shrike's trick, where a card is placed in a tree and revealed 18 years later, symbolizes the long-term change and the importance of looking beyond the immediate to understand the bigger picture.

Crowley defines magick as 'the Science and Art of causing Change to occur in conformity with Will', which relates to the entertainment industry as its goal is to cause change over time, often metaphorically depicted in the movie.

Thaddeus suggests that the events in the movie represent a larger illusion or distraction on a global level, indicating that the audience is part of the trick.

The movie suggests that the entertainment industry is a master of illusion, manipulating society through mass media to fit the needs of the elite.

The magicians in the movie represent artists and performers who are recruited by the elite to advance their agenda, highlighting a connection between entertainment and societal manipulation.

The Eye symbolizes actual secret societies that exert influence in Hollywood, representing the hidden forces behind the entertainment industry.

The puppets are subjected to trauma, highlighting the darker themes of their existence.

They realize that the entire ordeal was part of the friends' TV show.

Tony the Talking Clock represents the blurring of reality and fiction, similar to MK programming, highlighting the themes of manipulation and control within the narrative.

The videos depict the puppets as victims of trauma, reinforcing their vulnerability and the overarching theme of captivity and exploitation, while also serving as a promotional tool for the Kickstarter campaign.

The main theme explored in Episode 3 is love, along with a deeper examination of mind control concepts.

The 'Still Missing' sign signifies that the three characters have been missing since June 19th, which is the date referenced in the episode.

The Age of Osiris is characterized by strong governments and religions, particularly Christianity, which emphasizes death, suffering, sorrow, and the denial of the body.

The Age of Horus signifies a shift where individuals learn to activate the God-Within themselves, moving away from divine authority held by institutions and towards personal spiritual liberation.

Dunne implies that the transition marks the decline of divine power held by institutions, allowing individuals to take charge of their own spiritual destinies.

The film '9' uses subtle symbolism to depict the fall of authority, particularly that of the Christian Church, in favor of a new era influenced by Luciferian philosophy.

Homunculi are 'little men' artificially created through a magical process, representing the concept of man playing God and giving life, reflecting an ancient occult idea.

Homunculi, derived from Latin meaning 'little men', is a concept found in ancient alchemical documents.

The Golem, an animated being created from inanimate matter, is documented in Jewish folklore, particularly in the Talmud and the Sefer Yetzirah, paralleling the idea of creating life as seen with homunculi.

The scene depicts a scientist creating the last of the homunculi, indicating a connection to themes of creation and the manipulation of life, which are central to alchemical and occult traditions.

The title indicates that the movie is based on hermetic philosophy and alchemy, reflecting the influence of Paracelsus, a renowned occultist of the Renaissance.

Paracelsus was a prominent occultist known for his work in Hermetism, alchemy, and medicine. His teachings and practices are still studied in occult circles today, particularly regarding magical authority and the omnipotence of will.

The All-Seeing Eye symbol, often associated with occult knowledge and enlightenment, suggests themes of hidden truths and awareness within the narrative of the film.

A homunculus is a concept described in Paracelsus' work 'De natura rerum' as a technique to create a 'little man' using specific materials. This idea has influenced various occult texts and practices.

The concept of homunculi appeared in other significant texts such as the Rosicrucian work 'Chymical Wedding of Christian Rosenkreutz' and Goethe's 'Faust, Part 2', indicating its lasting impact on occult philosophy and alchemy.

In Crowley's teachings, the term 'homunculus' refers to a small, artificially created human or being, which he associated with the concept of 'Moonchild'. It is a crucial element in Western Occultism, particularly in the context of initiation into the O.T.O's 10th degree, where the creation of a homunculus is considered a 'secret instruction'.

The concept of a homunculus is deeply rooted in Western Occultism, symbolizing the creation of a new being through esoteric practices. It represents the intersection of alchemy, magic, and the quest for spiritual enlightenment, often linked to the idea of personal transformation and the manifestation of one's will.

The drawing documents the creation of the rag dolls and is likely inspired by the Faust engraving, linking their existence to themes of alchemy and occultism.

The backstory is steeped in ancient occultism, portraying a world seen through the lens of members of occult secret societies, influencing the storyline and character evolution.

The character is described as stubborn, fearful, dogmatic, cowardly, and close-minded, representing the Church's shortcomings as viewed by elite occult groups.

He forces all of the dolls to hide in a decrepit Cathedral, discouraging them from venturing outside, believing ignorance is the best way to stay alive.

His loss of authority, symbolized by the loss of his scepter, cape, and coin, represents the fall of religions in the Age of Horus and their diminishing power, wealth, and authority.

The Cathedral is attacked by one-eyed robots and burns down, forcing the group to seek refuge in the Library.

They discover 'Annuls of Paracelsus', an occult book that describes the creation of the rag dolls.

Character 1 tears up the page describing their creation and dismisses the book as 'useless rubbish', expressing disdain for what he calls 'Dark Science'.

The burning of the Cathedral symbolizes the fall of religions on the brink of a new era, representing chaos and destruction.

The speaker implies a rejection of ancient knowledge associated with evil, suggesting it is better left forgotten or ignored.

The scene suggests that religious elites hold occult knowledge and actively discourage their followers from seeking it, portraying the Church as a barrier to enlightenment.

'The Light Bearer' is the hero of the movie, associated with a light-bulb on a stick, symbolizing enlightenment or knowledge.

The release date 9-9-09 is a nod to occult numerology and flirts with the number of the beast, 666.

The Judeo-Christian version of Prometheus is represented as Lucifer, which means 'light-bearer' in Latin. He is seen as a savior who initiated humanity to divine knowledge and opened a path to godhood.

The character 9 represents the Promethean/Luciferian concept of attaining godhood through one's own means, contrasting with the idea of awaiting divine intervention.

The movie takes place in a transitional period between the Age of Osiris and the Age of Horus, with 9 symbolically representing the Luciferian principle that overthrows traditional religions and aims to save the world.

The one-eyed robots may symbolize a connection to the occult elite, suggesting that the film conveys a deeper message related to hidden powers or control. This imagery can represent themes of surveillance, dominance, or manipulation within the narrative.

The Library symbolizes a place where all knowledge, including occult knowledge, is stored, representing a shift from the oppressive rule of the Cathedral to the pursuit of knowledge and courage.

The story illustrates that occult secret societies have historically accused the Church of stifling knowledge, science, and progress, leading to a rejection of religious authority in favor of knowledge.

The transition represents the abandonment of religions in favor of the pursuit of knowledge, highlighting the conflict between religious authority and the quest for enlightenment.

The alchemical process symbolizes the evolution of humanity as an ongoing transformation, with the first phase, Nigredo, representing the burning and purification necessary for growth.

The group must make sacrifices and undergo a purge of certain elements to survive the attacks from the robots.

The bonfire created by 9 symbolizes the liberation of the souls of the dolls who were killed by the robots, representing a form of purification and transition to a new phase.

The world is going through the Nigredo phase, characterized by darkness, destruction, and ruin, symbolizing a necessary breakdown before renewal.

The bonfire releases the souls of the dolls 1, 2, 5, and 8, who were killed by the robots.

The four dolls who remain alive—9, 7, 3, and 4—are significant because they are the ones who defied the rule of 1, highlighting themes of rebellion and survival in the face of oppression.

The movie '9' conveys a deeper message about humanity undergoing a transitional period, embracing a Promethean/Luciferian savior, and challenging traditional powers such as religion.

Aleister Crowley describes the current transitional period as the Aeon of Horus, which began in 1904. He notes a decay of the sense of sin, a growth of innocence and irresponsibility, and a childlike confidence in progress amidst fears of catastrophe.

Crowley associates several trends with the Aeon of Horus, including:

1. Decay of the sense of sin
2. Growth of innocence and irresponsibility
3. Bi-sexual or epicene reproductive instincts
4. Popularity of infantile cults like Communism and Fascism
5. Prevalence of distractions like cinema and sports that soothe societal unrest.

The ending of '9' signifies a rebirth of life on Earth, as the purge has allowed living organisms to return, indicating that only the representatives of the Luciferian principle have survived, suggesting a new beginning.

Crowley suggests that humanity remains largely unmoved and indifferent to the daily atrocities of war, implying a childlike state of ignorance or apathy.

The central question is whether humanity is organically entering this phase of history or if it is being forced and provoked by powerful entities to achieve its own 'Great Work'.

The movie 'Coraline' symbolically tells the story of the programming of a mind control slave at the hands of a sadistic handler.

Unlike '9', which has a dark underlying meaning, 'Coraline' received rave reviews and almost universal praise for its story and visuals despite its dark themes.

The first scene of 'Coraline' symbolizes the process of mind control, depicting how MK slaves are taken, traumatized, and programmed by a handler, represented by a metallic hand.

The metallic hands in 'Coraline' represent the manipulative handler in the mind control process, symbolizing the transformation and programming of the mind control slave.

The doll represents an MK slave, symbolizing the manipulation and control associated with mind control programs.

The act of cutting the doll's clothing could symbolize abuse and the violation of innocence, reflecting themes of control and exploitation.

The imagery suggests a form of trauma-inducing torture, highlighting the psychological impact of such violence.

The removal of eyes is a main symbol representing MK programming, indicating control and manipulation of the individual.

Coraline is about a young girl who feels neglected by her parents and discovers a small door that leads to an alternate reality where her parents are fun and attentive, creating a magical and wonderful world.

Coraline shares a similar blueprint with these stories: a young girl who is curious and resourceful, bored with her life, magically enters a strange but wonderful world, and gets hooked into that alternate reality.

These storylines are used as programming tools in Mind Control sessions, encouraging individuals to dissociate from reality and escape trauma by entering an alternate reality created by a handler.

Coraline is shown practicing dowsing or 'water witching', which is an ancient occult activity.

The alternate reality is a fake world created by a sadistic handler to manipulate Coraline, representing a deceptive escape from her real-life trauma.

Wybie calls Coraline a 'water witch' when she uses her dowsing rod to search for water.

Coraline's father refers to her as a 'twitchy, witchy girl' while singing.

The magical and supernatural events are traps meant to lead Coraline to her handler, alluding to the witchcraft aspect involved in MK programming.

In MK symbolism, dolls represent the slave's alter persona. Coraline refers to this doll as 'Little Me'.

The doll sometimes appears to lure Coraline to places where her handler wants her to go, such as the alternate world or, in MK terms, dissociation.

Coraline finds a small locked door in her house, but when her mother unlocks it, the door leads nowhere.

The Other Mother tailors everything in the Other World to charm Coraline and fulfill her needs for attention, fun, and discovery, reflecting the desires of all children.

The Other Mother being a handler in disguise highlights the theme of manipulation, as she knows exactly which 'buttons to push' to elicit a positive response from Coraline.

The Other Mother's warm and comforting cooking serves to distract Coraline from the reality of her situation and to create an illusion of a perfect family life, enhancing the theme of deception.

The Other Mother creates an entire garden that resembles Coraline's face when viewed from above, appealing to children's desire to feel special and be the center of attention.

Initially, the Other World caters to everything children like, creating a whimsical and appealing environment. However, it quickly shifts to elements that scare children, leading to a terrifying experience for Coraline.

The Other Mother asks Coraline to let her sew buttons over Coraline's eyes as a condition for staying in the Other World forever.

The button eyes symbolize the loss of individuality and control, representing how Coraline would become a puppet for her Other Parents if she sews them onto her face.

The horned heads, reminiscent of Baphomet, emphasize the black magic and occult transformation occurring in the alternate world, highlighting the sinister nature of the Other Parents' intentions.

The phrase implies that Coraline is viewed as an object or puppet by her Other Parents, indicating their desire to control her completely and strip her of her autonomy.

Sewing buttons onto her eyes signifies a permanent transformation into a puppet, leading to the loss of her core persona and control over her own identity, akin to the concept of devouring her soul.

The concept of eyes in Coraline represents the dichotomy of control; the All-Seeing Eye symbolizes the occult elite, while the removal of eyes signifies the loss of reality and autonomy in mind control scenarios.

The phrase suggests that desires can lead to unforeseen consequences, particularly when one seeks something that seems appealing but may have hidden dangers.

The All-Seeing Eye symbolizes awareness and the idea of being watched, hinting at themes of surveillance and the hidden motives of characters in the story.

Coraline's refusal triggers the Other Mother's anger, revealing her true, monstrous form, which signifies the dangers of rejecting temptation and the consequences of standing up against manipulative forces.

Coraline sees the true form of the Other Mother, which is a skeletal spider-like monstrosity, indicating the horror behind the facade of the Other World.

Initially, the dissociation provides a sense of 'relief', but it quickly turns into a nightmare, highlighting the dangers of escaping reality.

The ghosts ask Coraline to find their eyes, as it is the only way their souls will be freed from their current state as the handler's slaves.

Initially, Cohle is disgusted by the psychosphere, but over time, he becomes part of it, embracing its toxic nature as he drinks and smokes, symbolizing his acceptance of the foul environment.

The first ritual murder is staged to attract public attention and serves as a physical manifestation of the foul psychosphere. It aims to shock and traumatize the masses, influencing the collective thoughts sent to the psychosphere, which the occult elite exploit.

The triangle with a hole symbolizes the All-Seeing Eye, suggesting a deeper awareness or insight needed to find the missing eyes of the children ghosts.

The term 'Beldam' means 'ugly, evil-looking old woman' and resembles 'Grand Dame', a title associated with important women in the Illuminati mind control system.

The Beldam plays the role of a Grand Dame in mind control programming, acting as a twisted mother figure who assists in the psychological manipulation of children.

A close loving bond is needed to create a clean split in the child's psyche during mind-splitting trauma, leading to conflicting views of the abuser as both a caretaker and a source of fear.

In Monarch Mind Control, the Grand Dame is one of three individuals who oversee the programming of young slaves, similar to the Beldam's role in Coraline.

The key represents access to Coraline's psyche, symbolizing control over her own mind and choices. Either Coraline has control of it or the Beldam does, emphasizing the struggle for autonomy.

The black cat serves as Coraline's guide and mentor, helping her navigate her challenges. In European folklore, black cats are seen as witches' familiars, which aligns with the cat's protective role in the story.

In the real world, the black cat appears as a normal cat, while in the Other World, he has no buttons on his eyes, indicating a different nature or reality.

The ability of the black cat to speak in the Other World signifies his role as a knowledgeable guide, providing Coraline with crucial information about the Beldam and her created world.

The black cat shows Coraline that the Other World is a fake construct created by the Beldam to lure her, indicating the confines of the dissociative world. However, he also leads her into the Beldam's traps, creating ambiguity about his true intentions.

The black cat's guidance leads Coraline to dissociate again by bringing her back to the portal to the Other World, suggesting a complex relationship between help and manipulation.

The ending of the movie raises the question of whether the black cat is truly helping Coraline or manipulating her, leaving the audience to interpret his role in her journey.

Coraline saves the ghosts by finding their eyes and destroying Beldam's constructed world.

The key represents Coraline's psyche.

The garden is shaped like the face of Beldam, symbolizing her imprint on Coraline even after her apparent defeat.

Questions include whether Beldam was truly defeated, if Coraline was manipulated by the cat, and if throwing the key down the well was a good move.

The final scene appears to be a celebration, but is dampened by creepy details suggesting that all might not be well and good.

The black cat serves as a guide for Coraline, but its magical disappearance raises questions about whether its role as a guide or programmer is complete.

Coraline delves into themes of occultism and Monarch mind control, using dark imagery to convey a more complex narrative about manipulation and deception.

The buttons symbolize the illusory nature of the Other World and the blindness of those who are trapped within it, highlighting themes of control and manipulation.

While the visuals are comforting and artsy, they juxtapose the dark themes of mind control and deception, suggesting a sinister undertone beneath the surface.

The menacing hand symbolizes the handler manipulating Coraline, representing the darker forces at play in her journey and the concept of control over her psyche.

The movie explores themes of religion, morality, and the hidden forces at play in society, presenting a profound spiritual journey amidst adversity.

The setting in Conyers, Pennsylvania during Thanksgiving is grey, gritty, and unglamorous, which allows the characters' pains, struggles, and dilemmas to take center stage in the story.

The film comments on aspects such as Christianity, preppers, secret societies, and mind control through the background and evolution of its characters.

Keller Dover is depicted as a family man, a devout Christian, a 'prepper' with a significant stockpile of goods, and very patriotic, with a preference for the Star Spangled Banner. He also exhibits traits that align him with Libertarian or Tea Party ideologies.

Keller Dover's religious belief is highlighted in the first scene where he recites a prayer before his son shoots a deer, creating an awkward association between religion and the death of an innocent animal, which sets the tone for the film.

Keller Dover's traits, such as his devoutness, patriotism, and preparedness, ultimately contribute to his downfall, suggesting that these characteristics may not be beneficial in the context of the film's events.

Keller Dover's truck, adorned with a 'Jesus fish' and a cross hanging from the rearview mirror, symbolizes his strong Christian faith and values. It reflects his identity as a carpenter and his preparedness for challenges, both spiritual and practical.

Keller advises his son to 'Be ready' for emergencies such as hurricanes or floods, emphasizing the importance of self-sufficiency in dire situations where societal structures may fail, and people may turn against each other.

Keller's basement, filled with a stockpile of food, tools, weapons, and gas masks, reveals his identity as a 'prepper' and his desire to be self-reliant and prepared for any potential disaster or societal collapse.

Keller's behavior indicates that the topic of his daughter's abduction is a taboo subject, making him appear suspicious and untrustworthy.

Keller's desperation escalates into madness, leading him to kidnap and torture a man he believes is responsible for his daughter's abduction.

Alex Jones is revealed to be innocent and a victim himself, having been abducted as a child, which resulted in his impaired intellectual development due to years of mind control.

The name 'Alex Jones' is significant as it references a real-life conspiracy radio host associated with the 'prepper' movement, contrasting with the character's portrayal as a mentally deficient individual who suffers at the hands of Keller.

Keller's actions of kidnapping and torturing Alex Jones further traumatize an already damaged person, highlighting the cycle of violence and the consequences of desperation.

Keller builds a custom torture chamber where Alex is confined in a small dark space and is occasionally showered with scalding hot water.

The single eye represents Alex's perpetual state of mind control, illuminated by the hole in his chamber, symbolizing his intense confinement.

Keller's actions, while stemming from a noble purpose to find his daughter, lead him to become a kidnapper, crossing the boundary between right and wrong, highlighting the moral conflict.

Keller's recitation signifies his internal conflict and inability to live up to the Christian ideals of forgiveness, as he stops short of saying 'those who trespass against us.'

Keller reacts with violence, ignorance, and paranoia, while Detective Loki remains rational, methodical, and focused on the law, showcasing a stark contrast in their responses to crisis.

Detective Loki shares traits of being crafty, quick-witted, and sometimes heroic, while also symbolizing the antithesis of Keller's monotheistic beliefs.

Detective Loki's Masonic ring symbolizes the Masonic ideal of obtaining truth through one's own means and intellect. It is prominently displayed during key scenes where he is researching clues or reflecting on events.

The astrological symbols tattooed on the character's fingers are significant as they are important in occult Mysteries, suggesting a deeper connection to esoteric knowledge and practices.

The eight-pointed star tattoo, known as the Star of Ishtar, symbolizes the Babylonian goddess associated with the planet Venus.

Keller Dover represents irrationality and emotion-based responses, while Detective Loki embodies rationality and enlightenment, reflecting the values of occult secret societies.

The film criticizes the 'religious prepper' type through Keller Dover and presents negative representations of Christianity, exemplified by a drunk priest and Holly Jones, the kidnapper.

Holly Jones claims that making children disappear is part of a 'war on God', suggesting that such acts lead people to lose their faith and become 'demons'. This reflects her twisted justification for her actions and highlights the theme of faith and loss in the narrative.

Holly Jones and her late husband were once devout Christians who spread the good word. However, after losing their son to cancer, they turned against God, which influenced their decision to kidnap children as a form of rebellion against their faith.

The Jones couple employs basic mind control techniques, including:

1. Drugging the children
2. Traumatizing them by throwing them in dark holes
3. Subjecting them to mind games
   These methods are designed to break the children's spirits and manipulate their minds.

The maze symbol represents the system that abducts children and the state of mind control these children are forced to live in.

The phrase written on the maze puzzle book is 'Finish all the mazes and you can go home'.

Alex Jones implies that he was abducted by Holly and that he was given an alter persona.

Jones refers to the state of mind control that the children are subjected to, rather than an actual physical maze.

Bob Taylor was drugged with an LSD/Ketamine drug cocktail, which is a classic mind control technique.

While being interrogated, Bob obsessively draws mazes, claiming they are 'maps' to the kidnapped children.

Bob's house is covered with never-ending mazes, symbolizing his ongoing struggle with mind control and his feeling of being trapped.

Bob's 'maps' symbolize the psychological state of the children as being trapped in the mind control maze of their handler, representing their inability to access their true personality due to programming.

In actual mind control, mazes serve as an important trigger image that accurately represents a victim's mind state, keeping them from accessing their core personality.

During the interrogation, when Loki becomes aggressive and demands specific answers, Bob responds with 'I can't...' and subsequently kills himself, reflecting the programming of MK slaves to commit suicide in such situations.

Loki discovers that Bob is completely obsessed with child abductors and their tactics, even recreating child abductions using dummies as a hobby.

The book 'Finding the Invisible Man', written by an ex-FBI agent, discusses a theoretical suspect believed to be responsible for child abductions. Although discredited, it appears to accurately describe the Jones and their mind control system.

Questions arise about whether the Jones work for a higher organization and if 'The Invisible Man' represents the MK Ultra system of the occult elite, suggesting a possible cover-up by powerful individuals.

Keller Dover crosses the line between good and evil by kidnapping and torturing Alex Jones, justifying his actions by dehumanizing his captive.

By dehumanizing Alex Jones, Keller stoops to the same level as the child abductors, indicating a moral decline in his character.

Keller being thrown into the dark hole symbolizes his transformation into a captive, representing a moral and spiritual downfall.

Keller's time in the dark hole can be compared to the three days Jesus spent in his tomb, symbolizing a spiritual death before potential rebirth, similar to initiation rituals in ancient occult societies.

Detective Loki saves Keller from spiritual death by pulling him out of the hell he created for himself, representing a Masonic-like occult secret society that offers a path to enlightenment and rebirth.

Keller starts as a family man with positive traits like being religious and patriotic, but he becomes irrational, sadistic, and paranoid, ultimately turning into a 'bad guy'.

The film critiques how characters like Keller Dover, who embody traditional values such as religion and patriotism, are increasingly viewed with suspicion and negativity in contemporary mass media.

Although Detective Loki saves Keller's life, Keller must still face the consequences of his actions and go to prison, highlighting the theme of true imprisonment being his moral downfall.

The film suggests that traits like being openly religious and patriotic are frowned upon in today's media landscape, questioning their desirability in the context of a New World Order.

Individuals like Keller Dover may take action against perceived injustices or threats to their freedoms, potentially leading to resistance against authority or government actions.

The portrayal of 'constitutional, patriotic militias' as terrorist groups in training videos by the Department of Homeland Security suggests a societal concern about the rise of dissent and the potential for organized resistance against government actions.

The main theme revolves around the investigation of satanic ritual murders and the deeper societal influences that shape such events, encapsulated in the concept of 'psychosphere'.

The series suggests that the ritual murders are not just the actions of a lone individual but are indicative of a toxic environment and mindset that has persisted through generations, affecting society as a whole.

Marty Hart's family life is extensively developed to illustrate the personal struggles and societal issues that reflect the broader themes of the series, even though it may seem irrelevant to the investigation's outcome.

The term 'psychosphere' refers to the collective mindset and toxic environment that influences individuals and society, as highlighted by detective Rustin Cohle in the series.

The ending, which revealed a straightforward conclusion with a typical murderer, left many fans disappointed as they anticipated a more complex plot twist or conspiracy.

Symbols and references throughout the series serve to convey profound messages about societal influences and the underlying issues that contribute to the narrative of ritualistic murders.

The discovery of the corpse of a young woman, set up in a ritualistic manner, initiates the story.

The young woman is found naked, bound, with stab wounds on her stomach, wearing a 'crown of thorns' and antlers on her head.

A spiral, which is the symbol of the group carrying out the murders, is tattooed on her back.

Rustin Cohle describes the killer as 'meta-psychotic'.

It refers to an attachment of physical lust to fantasies and practices that are considered forbidden by society.

The signs include being drugged, bound, abused, tortured with a knife, strangled, and posed outside for public display.

'Devil nets' are structures made of sticks used to catch the devil before he comes too close, as explained by the reverend.

The reverend initially thought 'devil nets' were just child's play to keep children busy, but they are actually associated with dark rituals and the abuse of the victim.

The triangles made of sticks are indicative of ritualistic practices and may serve as a clue to understanding the context of the crime and its symbolic meanings.

The wooden cross symbolizes the idea that religion might be seen as 'stories for children', paralleling the reverend's comment about devil nets being 'stories to keep children busy'. It also hints at a connection between devil nets and Church leaders in Louisiana.

Rustin Cohle views human consciousness as a 'tragic step in evolution', suggesting that self-awareness is a burden that separates humanity from nature. This perspective underscores his pessimistic outlook on humanity and its constructs, including religion.

Rustin Cohle exhibits abilities that suggest a sixth-sense or extra-sensory perception (ESP), including having visions, quickly reading people, and even 'tasting' colors, which accentuates his role as an outsider.

Cohle's reference to 'smelling the psychosphere' indicates his awareness of the underlying, often dark, psychological atmosphere in Louisiana, suggesting a deeper, almost occult understanding of the environment around him.

The 'psychosphere' is defined as the 'sphere of human consciousness', originating from the concept of 'collective unconscious' by Carl Jung. It suggests that all thoughts processed by the human brain are projected into ethereal dimensions, creating an 'atmosphere of thoughts'.

Vladimir Vernadsky and Teilhard de Chardin refer to the 'psychosphere' as the 'noosphere', which implies that humans are compelled to respond to similar ideas, myths, and symbols due to the existence of this collective consciousness.

In occult circles, mega-rituals are conducted to influence the 'collective unconscious', often for nefarious purposes, as they are believed to affect the psychosphere and manipulate collective human consciousness.

Antonin Artaud predicted the advent of occult mega-rituals in media, emphasizing the transformative powers of theatrical rituals and their potential to profoundly change audience consciousness.

Ritualistic murders are identified by occult researchers as mass-rituals intended to shock the masses and disturb the psychosphere, often involving intricate ceremonies that are amplified by electronic media.

Michael A. Hoffman II suggests that some ritual murders are intricately choreographed ceremonies, performed on both intimate and grand scales, designed to program initiates and broadcast a symbolic, ritualistic working to the masses, akin to a Black mass.

Rustin Cohle describes the psychosphere as toxic and foul, stating it tastes 'like aluminum and ash'. This indicates that the sphere of human thought around the crime scene is negatively charged and polluted.

The 'pentagram of men' symbolizes the occult elite's ritualistic abuse of a child, representing a collective unconscious awareness of this abuse within the psychosphere.

The photograph depicts a young girl standing in a field, surrounded by five masked figures on horseback. The girl is positioned in the center, has long blonde hair, and is wearing a light blue shirt and dark blue jeans. The masked riders are arranged in a semi-circle around her, creating a mysterious atmosphere.

The arrangement of the dolls, particularly the female doll laying naked surrounded by male dolls, suggests themes of objectification and ritualistic behavior. It hints at the subtle connections to the rituals that will be explored later in the narrative.

Rustin Cohle's act of transforming five beer cans into little people and placing them in a circle may symbolize his unconscious acknowledgment of the real culprits behind the crimes, representing a pentagram of men involved in the rituals. This reflects his belief that he never truly caught the right perpetrators.

The series conveys the disturbance of the psychosphere through the depiction of elite rituals and their impact on society. The use of symbols, such as the dolls and the beer cans, illustrates how these rituals affect the characters and the broader narrative.

Rustin Cohle's name, sounding like 'rust and coal', symbolizes decay and toxicity, reflecting his detached and dark worldview. In contrast, Martin Hart's last name, resembling 'heart', signifies life and emotional engagement, highlighting his connection to human experiences despite his flaws.

The evolution of Martin Hart's family illustrates how average citizens are affected by the moral depravity of those in power. Despite being disconnected from the main investigation, the family's experiences, particularly those of his daughter Audrey, show the pervasive impact of a toxic environment on individual behavior and values.

Audrey Hart's drawings, including a pentagram and sexual imagery, suggest that she is subconsciously affected by the toxic environment around her, despite having no direct contact with the rituals. This indicates that children can be influenced by the moral decay present in society, reflecting broader themes of innocence corrupted by external factors.

The tiara worn by Marty's girls is reminiscent of the Satanic antler crown used in rituals, suggesting a connection to themes of innocence corrupted and ritualistic sacrifice.

The foul psychosphere appears to negatively influence Audrey's behavior and her soul, indicating a deeper connection between the environment and the characters' psychological states.

The grandfather's observation about 'kids today' wearing black and heavy makeup suggests a critique of modern youth culture, highlighting a shift towards sexualization and a loss of innocence.

The Tuttle family tree represents the connections and relationships within a powerful family involved in ritualistic practices, including the abuse and sacrifice of children. It highlights the family's influence and the secrecy surrounding their actions.

The lone tree symbolizes the Tuttle family's deep roots in Louisiana, representing their bloodline and the power they wield in the region. Its repeated appearance emphasizes the family's dominance and the isolation of their dark practices.

The Tuttles' involvement in the cases of missing children suggests a pattern of abuse and ritual sacrifice, indicating a systemic issue of power and corruption that silences law enforcement and media, reflecting the family's influence.

The Spiral in True Detective represents rituals and sacrifices made to the 'Yellow King', an effigy of a horned god, within the context of a mythology inspired by science fiction and horror literature, particularly H.P. Lovecraft and Robert W. Chambers' The King in Yellow.

The mythology surrounding the Spiral in True Detective is heavily influenced by Robert W. Chambers' The King in Yellow, which introduces the concept of the lost city named Carcosa.

Carcosa is an abandoned structure where the rituals and sacrifices to the 'Yellow King' take place, serving as a central location in the series' dark mythology.

The poem evokes a sense of mystery and dread, describing strange celestial phenomena and the haunting nature of Carcosa, enhancing the unsettling atmosphere of the series.

H.P. Lovecraft is referenced in the series due to his works being revered in occult circles, particularly because the series deals with themes of satanic ritual murders.

Lovecraft's Cthulhu Mythos is considered a conduit for 'unseen Powers' in occult practices, with rituals invoking names from the Mythos alongside satanic proclamations.

Kenneth Grant praised Lovecraft for his ability to control the dreaming mind, suggesting that Lovecraft received actual arcane knowledge in his dreams, which he expressed through his writings.

Lovecraft's works are integrated into satanic rituals, where names from the Cthulhu Mythos are evoked, reflecting a blend of mock ceremony and traditional religious practices.

Anton LaVey included Lovecraft's ideas in his book 'The Satanic Rituals', viewing him as a source of inspiration for rituals that engage with metaphysical concepts.

Reggie Ledoux's tattoo of Baphomet inside an inverted pentagram symbolizes the sigil of the Church of Satan, indicating his involvement in satanic rituals.

Errol Childress is discovered to be a 'bastard son' of the reverend from the Tuttle family, suggesting he was treated poorly and is a victim of a multi-generational satanic cult.

Despite being caught, clues imply that Errol Childress is not the real culprit but rather a patsy for the elite, indicating a deeper conspiracy behind the killings.

Errol's facial scars indicate that he was disfigured as a child by his family, highlighting his traumatic past.

The Spiral symbol represents that Errol is 'branded' by it, suggesting he is more of a traumatized victim rather than the head of the club.

It symbolizes how the actions of the occult elite are often hidden in plain sight, accessible only to those who are perceptive enough to notice. It also indicates Errol's obsession with this symbol, suggesting he has been programmed by it.

The spiral mowing pattern represents the idea that the occult elite's activities are visible to those who are aware, emphasizing the theme of hidden truths in plain sight.

Errol exhibits distinct accents, alternating between a Louisiana drawl and a British accent, which are classic symptoms of a person with multiple personas, suggesting he has undergone trauma-based mind control.

Errol's ability to switch between different accents indicates the presence of multiple personas, a common characteristic in individuals who have experienced trauma-based mind control.

The dolls, many of which are beheaded, symbolize the multiple personas created through Mind Control, adding to the unsettling atmosphere of Errol's house.

The child's face is projected on a vintage telephone with the rotary dial positioned over the child's forehead, symbolizing how victims of the Spiral are mind-controlled.

Errol lives in a filthy shack with his half-sister, highlighting his status as an illegitimate byproduct of the elite, despite his father's wealth and respectability.

Although Errol is portrayed as the ultimate 'bad guy', he is depicted as another victim of the Spiral, indicating that even those associated with the elite can be victims.

Delores Jackson exhibits signs of mind control by becoming mentally ill and unresponsive, yet shows excitement when presented with trigger images, reciting programmed lines about Carcosa and death.

Delores recites lines such as, 'You know Carcosa? Him who eats time. Him robes, it's a wind of invisible voices. Rejoice! Death is not the end!' which suggests she has been programmed with these phrases.

The series implies that the real culprits behind the Spiral were never caught, as a mind-controlled patsy takes the fall, leaving the actual perpetrators untouched.

The news report discredits rumors linking Errol Childress to the Tuttle family, indicating that the State Attorney General, the FBI, and mass media are complicit in disinformation to protect the family's reputation.

Rust implies that their job is not complete because they have not captured all the individuals involved, specifically mentioning the Tuttles and the men in the video.

Marty implies that the real occult elite operates in secrecy and is rarely caught, suggesting that they have successfully evaded justice. His phrase 'we got ours' indicates that they have managed to secure a scapegoat or patsy for their actions, rather than addressing the true perpetrators.

The 'psychosphere' refers to the collective consciousness and emotional state of society, which is influenced by the elite through mega-rituals and mass media. This manipulation generates fear and dismay, leading to a toxic atmosphere that affects societal morality and thought patterns.

The series suggests that a disturbed psychosphere leads to societal breakdown, immorality, and an obsession with dark thoughts, as exemplified by the character Audrey. This reflects the elite's revelry in chaos and disorder within the population.

Rustin Cohle experiences an epiphany where he perceives the 'spirit world' and recognizes the existence of an eternal dimension beyond the material world. This realization offers him hope, as it suggests that powerful families do not have control over this spiritual realm.

The primary message is that humanity needs to be cleansed again, reflecting a political agenda from the world elite.

The movie reinterprets the tale to promote radical environmentalism, devaluation of human life, and a new moral alignment, diverging from the original biblical narrative.

The movie includes giant stone monsters, primitive bazookas, and Noah killing people, which are significant departures from the biblical account.

Noah describes God as a super-villain who is going to destroy the world, which raises questions about God's morality in the film.

The article suggests that Aronofsky's films, including 'Noah', contain powerful underlying messages that often push controversial political agendas.

The clothing style, which resembles modern fashion rather than traditional Biblical attire, suggests that Noah is not about the Bible but rather a message to contemporary humanity from the elite.

The film invents characters, subplots, symbols, and messages that reshape the original tale, presenting a twisted and disturbing interpretation that diverges from the spiritual context of the Biblical story.

Noah kills several people in the movie, which is disturbing in the context of the original story. This violence aligns with the film's intention to convey a new religion dictated by the world elite, reflecting values they wish to promote.

The movie Noah suggests that human life is viewed as a cancer on Earth that needs to be eradicated, promoting the idea that the masses must die to save the Earth, except for the chosen bloodline of the elite.

Both Noah and 2012 depict a narrative where the masses die while a select few, representing the elite, survive. They share similar themes of disaster and survival, with Noah reinterpreting the biblical story of Noah's Ark to fit a modern agenda.

The narrative of Noah promotes an agenda of massive depopulation under the guise of an ecological mission, suggesting that extreme environmentalism is a new religion being sold to the masses through fear.

The Georgia Guidestones are a monument that outlines ten new commandments, reflecting the same themes of depopulation and control found in Noah, suggesting a broader agenda of the elite regarding population management.

The first commandment is to 'Maintain humanity under 500,000,000 in perpetual balance with nature.'

93% of humanity would need to die to reach a population of 500 million from the current 7 billion.

The last commandment is 'Be not a cancer on the Earth - Leave room for nature - Leave room for nature,' which reflects a message about humanity's impact on nature, similar to themes in the movie Noah.

The movie Noah conveys a message that humanity needs to be extinct due to its disrespect for nature, paralleling the Guidestones' call for depopulation and environmental balance.

Noah discusses hardcore environmental concepts, emphasizing the need to protect nature, such as stopping his son from picking a flower to prevent senseless destruction.

Noah's interaction with the flowers symbolizes his extreme environmentalism and belief in the inherent purpose of nature. He emphasizes that flowers, like all living things, have a rightful place in the world, which reflects his view that nature should be preserved and respected.

Noah views animals as 'the innocent' and believes they are superior to humans, whom he perceives as scum deserving of death. This perspective highlights a radical environmental stance that prioritizes animal life over human existence.

Noah's statement that 'strength comes from the Creator' signifies his belief that true power and sustenance come from a divine source rather than from consuming animals. This reflects his extreme vegan ideology and challenges the notion that eating meat is a source of strength.

Noah stabs a man in the leg to rescue an animal, calling his act 'justice'. This reveals his extreme views on environmentalism and his willingness to resort to violence to protect animals, showcasing a radical approach to his beliefs.

The film portrays a stark contrast between humans and animals through Noah's actions, depicting humans as violent and destructive while animals are seen as innocent and deserving of protection. This reinforces the film's message that animals hold a higher moral ground than humans.

Noah's dream, where all humans drown while animals swim to safety, symbolizes his hatred for humanity and his belief that animals are innocent compared to humans. It reflects his desire to save the animals, whom he sees as pure and untainted by the corruption of mankind.

Noah justifies the innocence of animals by stating that they still live as they did in the Garden of Eden, implying that they have not fallen from grace like humans have.

The portrayal of Giants in the movie twists Biblical narratives to convey an anti-humanity message. The Giants, originally seen as beings who taught humans advanced skills, are depicted negatively, aligning with Noah's disdain for humanity and suggesting that human advancement is a form of corruption.

The movie draws parallels between the Giants and Fallen Angels, suggesting that both represent a corruption of divine order. The Giants, like Fallen Angels, are depicted as having disobeyed God and brought forbidden knowledge to humanity, reinforcing the theme of humanity's fall from grace.

In the movie Noah, the Giants are portrayed as gentle teachers who aid humans, contrasting with the biblical depiction of the Nephilim as a destructive presence responsible for humanity's corruption. The film inverts the biblical narrative, suggesting that humanity is solely responsible for its demise.

The Nephilim are described in the book of Genesis as a hybrid race resulting from the union of the 'sons of God' and human females. They were said to have lived among humans and ultimately became a destructive force, leading to God's decision to cause the Great Flood to rid the Earth of them.

The movie conveys its anti-humanity message by portraying humanity as having evolved into a state beyond repair, with Noah's grim speech about the evils of humanity serving as a pivotal moment. This message is reinforced by the inversion of the Giants' role from destructive beings in the Bible to victims of human cruelty in the film.

Noah tells his family the 'first story he ever heard,' which begins with 'In the beginning, there was light' but quickly turns into a grim narrative about the evils of humanity. This story underscores the film's theme of humanity's inherent flaws and the consequences of its actions.

The movie suggests that humanity is once again beyond hope, implying that massive depopulation is a necessary 'cleansing process'.

Noah's statement indicates that fire represents destruction while water symbolizes cleansing, separating the wicked from the innocent and allowing for a new beginning after destruction.

The film portrays depopulation as a necessary cleansing process rather than a catastrophe, suggesting that death is equated with cleansing.

The story emphasizes that not all humanity needs to die; only those not part of the 'chosen' bloodline, which reflects the belief of the occult elite that they are the chosen ones.

The snakeskin represents the continuation of the line of Adam and the 'chosen' bloodline being passed down from one generation to another.

In the early scenes, Noah receives his birthright from his father, symbolizing the passing down of lineage and responsibilities.

The narrative element introduced is the idea that God favors a specific bloodline, which is a fabrication added to flesh out the story.

Methuselah is depicted as a reclusive but supernatural figure, emphasizing his unique status within the narrative.

In the film, Noah is depicted as a character who is not solely a 'man of God' but rather a figure who prioritizes the survival of his bloodline. He engages in violent actions, such as killing people who attempt to reach the Ark, which contrasts sharply with the traditional view of Noah as a righteous and compassionate figure.

Methuselah is portrayed as a mystical figure who guides Noah through the Creator's plan, despite not being mentioned in the Bible as having a role in the construction of the Ark. This addition emphasizes the theme of bloodline and suggests a deeper connection to divine guidance.

Noah's violent actions, such as killing those who try to board the Ark, serve to illustrate a darker interpretation of his character. This portrayal raises questions about morality and the nature of righteousness, suggesting that even those who are seen as 'good' can commit acts of violence.

Noah's decision signifies that the value of life is determined by bloodline rather than morality. The message conveyed is that being 'good' or 'innocent' is irrelevant if one is not part of the chosen bloodline.

After the flood, Noah becomes a disturbed, depressive, and psychopathic figure, showing a drastic transformation from his previous self.

Noah becomes convinced that he must kill the unborn girl to prevent humanity from reproducing, reflecting his disturbed mental state and extreme beliefs about bloodline.

The scene communicates that the survival of humanity is prioritized over individual lives, emphasizing a harsh and utilitarian view of existence based on lineage rather than personal virtue.

Noah realizes that he does not want to stab his granddaughter, ultimately learning that he did the right thing by 'showing mercy'.

The film suggests that Noah was allowed to murder those who were not part of the chosen bloodline, reflecting a belief similar to that of the occult elite.

The movie ends with a sacred oath to the latest addition to the bloodline, emphasizing the importance of lineage and the continuation of the chosen bloodline.

The film depicts Noah's 'divine' quest as a cruel and violent process, raising questions about morality and mercy in his actions.

Tubal-Cain represents a Gnostic point of view and opposes Noah. He perceives the Creator as a demiurge, a lower god who has imprisoned mankind in a material world.

Tubal-Cain is proud of humanity's accomplishments and is not ashamed to be human, while Noah exhibits a deep-seated hate of humanity and believes that everyone needs to die.

Tubal-Cain feels forsaken by the Creator and seeks to emancipate himself from the Creator's rule, representing a rebellion against divine authority.

Tubal-Cain is considered the 'bad guy' because he is Noah's mortal enemy and leads the humans against Noah's doctrine, yet he expresses the most thoughtful and sensible lines, causing viewers to identify with him.

Tubal-Cain is thought to be closely connected with ancient Freemasonry, being referred to as the Vulcan of the Pagans and associated with the builders of remarkable ancient structures.

His introduction of the arts of civilization is seen as giving the first value to property, making him a symbol of worldly possessions among Masons.

Manly P. Hall describes Tubal-Cain as the 'forefather' of Freemasons, emphasizing the importance of mastering emotion to harness the energy of the universe.

A man must prove his ability to use power constructively and selflessly.

Tubal-Cain is a Biblical character who represents the pursuit of knowledge and power without reliance on God, embodying the idea of self-empowerment and mastery over one's destiny.

Tubal-Cain offers Ham a sword, symbolizing the opportunity to 'become a man' by giving him the power to take life.

Ham feels ignored and infantilized by Noah, which drives him to seek validation and a sense of manhood outside the Ark, ultimately leading him to Tubal-Cain.

Tubal-Cain's challenge represents a desire for equality with the Creator, highlighting themes of autonomy and the quest for power in the face of divine authority.

Tubal-Cain tells Ham that men are meant to take dominion over the earth and its creatures, suggesting that they serve men rather than the other way around. He emphasizes that man was created in the image of the Creator to rule over the beasts and the world.

Tubal-Cain's view reflects a literal interpretation of Genesis 1:26, where God grants man dominion over all living things. This connection adds to the confusion and mixed messages presented in the narrative.

Tubal-Cain urges Ham to kill his father, asserting that a man is ruled by his will and challenging Ham's manhood by asking if he is capable of such an act.

Ham's act of killing Tubal-Cain signifies his initiation into manhood, as Tubal-Cain acknowledges this transformation with his dying words, 'Now you are a man.' This act represents a rejection of Tubal-Cain's philosophy and a complex relationship with authority.

Tubal-Cain gives Ham the snakeskin of the Garden of Eden, which signifies that Ham is Tubal-Cain's successor, not Noah's.

After surviving the flood, Ham does not reintegrate with Noah's family; instead, he leaves them behind and makes his own path.

Ham leaving his family represents the Gnostic path surviving the Great Flood, indicating a divergence from traditional lineage.

The story that follows Noah's Ark is the Tower of Babel, which suggests that the Great Flood did not cleanse humanity, as Tubal-Cain's lineage survived the Flood.

The movie presents two philosophical views: one for the ignorant masses advocating radical environmentalism that leads to self-hatred, and another for 'those in the know' represented by Tubal-Cain, which embodies Gnostic philosophy and the pursuit of godhood.

Noah embodies the message of radical environmentalism by portraying humanity as the evil force behind war, suffering, and nature's destruction, suggesting that humanity needs to be 'cleansed'.

Tubal-Cain represents the pursuit of godhood and the acquisition of tools to reach the same status as the Creator, reflecting Gnostic philosophy adopted by the occult elite.

The film suggests that the idea of a 'great cleansing' is pushed by the occult elite, who do not believe in radical environmentalism or care for human life, instead blaming the masses for the destruction of nature.

Genesis 9:11 states that God establishes a covenant with humanity, promising never again to destroy all life by flood, indicating that any future 'cleansing' will not come from the Creator.

The main theme of 'Return to Oz' is trauma-based mind control, depicting the horrific process experienced by a young girl.

Unlike 'The Wizard of Oz', which is light-hearted and whimsical, 'Return to Oz' presents a much darker narrative, including scenes of a young girl in a mental hospital and undergoing electroshock therapy.

MKULTRA refers to a covert CIA program that involved trauma-based mind control, which is symbolically represented in 'Return to Oz' through the protagonist's experiences.

Dissociation is a psychological response where a victim disconnects from reality as a protective mechanism against intense trauma, allowing for the creation of a programmable alter-persona.

'Return to Oz' is considered disturbing for children due to its bleak and terrifying scenes, which starkly contrast with the expectations set by the original 'Wizard of Oz'.

Fantasy in 'Return to Oz' serves to illustrate the programming process of a young girl who has dissociated from reality, highlighting the manipulative control of her handler.

MK slaves are conditioned to dissociate from reality and escape unbearable trauma by being told to go 'over the rainbow', similar to Dorothy in 'The Wizard of Oz'.

Fritz Springmeier states that 'The Wizard of Oz' was chosen in the late 1940s as a basis for trauma-based total mind control programming by the Illuminati/Intelligence community.

In 'Return to Oz', Dorothy is sent to a psychiatric ward to receive electroshock therapy, a disturbing addition not found in L. Frank Baum's original books.

In 'Return to Oz', the fantasy land represents a symbol of dissociation, where the mind escapes to cope with trauma, paralleling the experiences of MK slaves.

These films share a theme where an inquisitive young girl escapes reality to explore a fantasy land, which symbolizes dissociation in the context of trauma and mind control.

The key represents the key to Dorothy's core personality - her true self.

It symbolizes Dr. Worley taking over Dorothy's mind and becoming her MK handler.

He presents her with his electroconvulsive therapy (ECT) machine.

Dr. Worley tells Dorothy that his machine has eyes and a mouth, suggesting that it will become an actual character in the twisted world of Oz, which Dorothy will enter while dissociating.

The reflection of another girl that Dorothy sees in the electroshock machine signifies the emergence of her alter persona, Ozma, indicating a deeper psychological transformation.

The institution represents a MK ULTRA programming site, highlighting themes of mind control that were not present in the 19th century, the time period of the film. This addition by Disney suggests a critique of psychological manipulation and control.

Dorothy's experience, including being forcibly strapped to a bed and subjected to ECT, illustrates the power dynamics between the patient and the medical professionals, emphasizing the loss of autonomy and the abuse of authority in such institutions.

The head nurse's creepy black dress symbolizes the menacing authority and the oppressive environment of the institution, reinforcing the themes of fear and control over the patients.

The sounds of screaming and lamenting create a terrifying atmosphere, emphasizing the psychological horror of the institution and the trauma experienced by the patients, which aligns with the film's exploration of mental health and abuse.

The power outage symbolizes Dorothy's core personality going out, indicating a dissociation from reality due to the violent and intense electroshock she experiences.

It is implied that Dorothy did undergo electroshock, which caused her to dissociate and enter a state of mind-control programming, despite the initial impression that she avoided it.

The screams represent 'patients who have been damaged and locked in a cellar', implying they are MK slaves, highlighting the theme of mind control and trauma.

The Land of Oz represents the inner-psyche of the dissociated slave, created and manipulated by the handler, causing Dorothy to feel like a stranger in her own mind.

The characters in the Land of Oz are distorted versions of the people Dorothy perceives in the mental institution, reflecting her dissociative state as an MK slave.

The head nurse of the institution represents Mombi, the evil witch in the Land of Oz, symbolizing a twisted, sadistic motherly figure.

The male nurse who tied down Dorothy to a bed is represented as a 'Wheeler' in Oz, indicating a transformation of his character in Dorothy's dissociative perception.

The quote highlights the role of an Illuminati Grande Dame in mind control, ensuring that the victim receives the proper script and preventing a psychotic break that could lead to losing their mind.

The male nurse is a secondary programmer who is often in charge of torturing and traumatizing the victim, perceived as the head of the Wheelers, a group of unpredictable individuals wearing terrifying masks.

Dr. Worley is described as the chief handler and main programmer of the MK slave, which leads Dorothy to perceive him as the Nome King, indicating his control over her mind.

The clues suggest that Dorothy never left the institution, and her friends in Oz are actually objects seen around her, indicating a sad implication about her mental state.

Tik Tok symbolizes the ECT machine, suggesting that Dorothy perceives her torturer as a friend, reflecting the life of an MK slave.

The movie emphasizes the connection between Tik Tok and the ECT machine by focusing on their winding-up key at different points, reinforcing the disturbing implications of their relationship.

Tik Tok was part of the original book written by L. Frank Baum, but the association with the ECT machine was introduced by Disney, adding a disturbing MKULTRA twist to the narrative.

The pumpkin symbolizes friendship and comfort for Dorothy, representing a connection to her inner world and psyche as she navigates her experiences in Oz.

Oz represents Dorothy's psyche as a dissociated MK slave, illustrating her feelings of being a stranger in her own mind and the constant surveillance experienced by MK slaves.

Fleeing the institution with Ozma signifies Dorothy's escape from control and her journey towards self-discovery and autonomy within her own psyche.

The Yellow Brick Road symbolizes the path laid out by the handler for the slave to follow during programming. It represents the commands and assignments given to the Monarch slave, guiding them through their programming despite any fearful obstacles ahead.

Monarch slaves are conditioned to follow the Yellow Brick Road through programming that instills the idea of obedience to commands set by their handlers. This programming is often linked to the narrative of the Wizard of Oz, where the phrase 'Follow the Yellow Brick Road' becomes a key directive in their training.

Examples include:

1. Track Stars: The track they must run on is their Yellow Brick Road.
2. Alters: The runway from which alters are trained to exit their internal world and take control of the body.
3. Assignments: The specific tasks or commands given to an alter, which they must follow as part of their programming.

The Yellow Brick Road symbolizes the path laid out by the handler for the slave to follow during programming, leading to a false sense of wonder and ultimately to a desolate place where everyone is turned to stone.

The headless statues represent women who have been turned to stone, symbolizing loss of identity and autonomy, and the eerie atmosphere reflects the consequences of the programming process.

Dorothy's mission is to bring the Land of Oz back to life, which aligns with the desires of her handler, indicating a deeper layer of control and manipulation in her journey.

After shaking off the creepy Wheelers, Dorothy enters the castle of Mombi, the evil witch, marking a significant stage in her programming process.

Dorothy's encounter with Mombi suggests that she is being programmed by the head nurse in the clinic.

The castle symbolizes the inner world of the MK slave, representing a programmed state where the individual mirrors themselves ad-infinitum.

Mirrors are significant because they create numerous internal images, leading to confusion about direction. They are used extensively in programming Monarch slaves to generate countless mirror images in their minds.

Mombi's collection of heads represents the fragmented identities and the loss of self that can occur in the process of programming and control.

The collection of heads represents various alter-personas that can be programmed into the slave.

The Nome King being embedded in the wall indicates that he is part of the fabric of Dorothy's psyche as a dissociated MK slave.

Dorothy's escape signifies her readiness for the final stage of her programming, which involves confronting the Nome King.

The Nome King acts as a handler, controlling the structure of Dorothy's inner world by tearing down walls, creating doorways, and summoning various elements. He initially displays a compassionate side while programming her.

Luciferianism can be associated with various philosophical currents such as humanism and other ideologies that emphasize the pursuit of knowledge and the elevation of human potential.

The Nome King tells Dorothy, 'I know just the thing to cheer you up!', mirroring what Dr. Worley said before showing her the ECT machine. This signifies a manipulation tactic where the handler proposes a 'game' to further program her.

As Dorothy interacts with the Nome King, he becomes increasingly human, symbolizing the handler's growing presence within the slave's mind.

The Nome King transforms into a giant rock monster with one eye, symbolizing the concept of Monarch Programming.

The cave setting symbolizes intense trauma and chaos that Dorothy experiences at the hands of her handler.

The grotesque figures represent entrapment and horror, contributing to the sense of danger that Dorothy faces.

Dorothy's escape symbolizes her struggle against trauma, but it is suggested that she merely follows a predetermined script rather than truly defeating her foes.

The ultimate goal of MK programming is the split of the core personality into alters.

The celebration symbolizes Dorothy's dissociative mind becoming fertile soil for the programming of alter personas.

Seeing a different person in the mirror, specifically her alter persona Ozma, is a powerful MK symbol.

When Ozma touches Dorothy, it signifies that Dorothy's core persona splits.

Ozma becomes 'real' and is fully present in Dorothy's mind as her programmed alter persona.

Ozma tells Dorothy that she will look in on her and can make it possible for her to return to Oz whenever she wishes.

Dorothy understands that even though she is back to reality, her programming remains within her.

The film is interpreted as a story of a young girl being taken to a mental ward and subjected to trauma and programming by sadistic handlers, reflecting themes of mind control.

The storytelling is described as deceitful, tricking viewers into witnessing a traumatic experience that serves as a programming tool for mind control.

Disney is said to have added elements to L. Frank Baum's original story to create a narrative that serves as an ode to mind control.

The audience is compared to Dorothy, being led down the Yellow Brick Road like mindless slaves, suggesting a need to break free and create their own path.

The main theme of 'Lucy' is the exploration of Luciferian philosophy and transhumanism, focusing on a woman's journey as she unlocks the full potential of her brain, symbolizing the ascent to divinity and the acquisition of knowledge.

The name 'Lucy' is derived from the Latin word 'lux', meaning 'light'. It connects to 'Lucifer', which means 'light-bringer', suggesting that Lucy embodies the qualities of Lucifer, who is seen as a bringer of divine knowledge.

'Lucy' is labeled as 'transhumanist' as it depicts the idea of humans evolving to a higher state through technology and knowledge, reflecting the modern implications of Luciferian thought.

Prometheus and Lucifer are seen as benefactors of humanity who brought fire and light, symbolizing divine knowledge, enabling humans to reach divinity through their own means.

Luciferians view the snake that gave Eve the forbidden apple as a hero, as it brought humanity knowledge of good and evil, which they see as a positive act.

The Tower of Babel is viewed favorably by Luciferians as it represents humanity's struggle to reach divinity, despite being stopped by God, whom they perceive as a jealous demiurge.

Phoebe, Mike's handler, is portrayed as a cute young girl, contrasting with the typical representation of MK handlers as sadistic and inhumane individuals, which sanitizes the reality of the MKULTRA program.

The film presents the CIA and MKULTRA program through friendly characters, making their illegal and oppressive tactics appear normal and just part of everyday business, thus sanitizing their true nature.

The truck is ordered by Yates to go out and kill Mike, indicating a plot to eliminate him using controlled individuals.

The fake news story is planted to justify the manhunt against Mike and Victoria Lasseter, illustrating the manipulation of media for ulterior motives.

FEMA equipment is used to impose martial law in Mike's city.

A remote-controlled drone is sent to bomb Mike's house.

Yates gets executed in the woods by his superior.

Lasseter convinces her boss that Mike is a great asset for the CIA instead of being killed.

Mike turns into a whiny superhero who can use any common object as a weapon and embraces his new-found powers.

He claims, 'I remember every single thing that happened in the last 94 minutes.'

He compares himself to a robot with gigabytes of memory recall and Karate programming.

He looks in the mirror and says, 'No, I feel kind of amazing.'

Mike's statement reflects a distorted perception of reality due to his mind control programming, suggesting that he finds pleasure in violence and chaos, which is a troubling message being conveyed to youth.

The setting emphasizes the absurdity and danger of their relationship, highlighting the juxtaposition of love and violence, and suggesting that their bond is formed under extreme and threatening circumstances.

The portrayal suggests that violence can be normalized and even glamorized in entertainment, potentially influencing youth to view such behavior as acceptable or 'cool'.

The tasering represents their status as 'pawns of an oppressive system', highlighting their lack of agency and the control exerted over them by external forces.

By the end of the movie, it is revealed that Mike is still an MK slave, indicating that he is under manipulation and control, with his 'wife' serving as his handler.

Lucy transforms into a transhuman superhero, symbolizing the potential of human evolution through technological and scientific advancement rather than natural evolution. This transformation is highlighted by Professor Norman's speech about the untapped power of the human brain and the need to push beyond traditional evolutionary limits.