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The 1999 movies Fight Club and The Matrix both incorporated symbolic and/or informational ‘predictive programming’, which in a general sense simply means they included deliberate public displays of content which predictively communicated major future events; albeit retaining a cloak of plausible deniability through deliberate obfuscation, and/or non-specificity. Fight Club is a movie which contains an abundance of predictive esoteric information, which was custom designed to be complimentary with the September 11th 2001 Twin Towers false-flag terror attack, which occurred exactly two years after its first screening on September 10th 1999 at the Venice Film Festival. The Matrix contained a much more subtle informational insert; however, this single instance was contextually important enough to similarly link the actual event of September 11th 2001, to the overall themes of initiatory enlightenment and human control systems expressed in the trilogy.
This series of posts are designed to be an in-depth esoteric and psychological examination of these connections – especially in the case of Fight Club and The Matrix franchise – but in doing so I will also make mention of Valley of the Dolls, Eye of the Devil, Rosemary’s Baby, V for Vendetta, Eyes Wide Shut, Ninth Gate, Black Swan, The Walk, the prescient and ever relevant insights in George Orwell’s novel Nineteen Eighty-Four, and unexpectedly the Back To The Future movies. The esoteric systems of Hermetic Kabbalah, Freemasonry, Neotantra, and Thelema, will be exposed as being central to the programming in these movies, as well as the September 11th 2001 World Trade Center false-flag attack, and a possible sister event involving the Mecca Clock Tower and Kaaba.
[SPOILER ALERT: If you have not seen Fight Club yet, this post will spoil the plot]
The above twelve minute video by Apophenia Productions needs to be viewed in order for this post to be fully understood. This video came to my attention about a year ago, and reinforces my two year suspicion that the Sept 11th 2001 Twin Tower attacks are only one half of a New World Order ritual, and that the Mecca Clock Tower is a long planned sister event. The movie Back To The Future (1985) directed by Robert Zemeckis, and its sequel Back To The Future Part II (1989), contain unmistakable evidence of foreknowledge for a double-event ritual, over fifteen years before the first event occurred. As the above video reveals, the maker of this well produced expose has not realized that he has discovered evidence of a double-event, and instead believes that this blatant predictive programming is a synchromystical reference to the single Twin Towers attack, which in turn was a ‘synchromystical portal’ to awaken people in some kind of evolutionary initiation. In this post I will give another interpretation of the purpose of these esoteric symbolic inserts, because I favor a more conspiratorial interpretation of the motives behind predictive programming, though the concept of a world wide initiation ceremony is quite apropos (intentionally for malevolent luciferian and gnostic purposes, not benevolent ones).
“But Marty has foreknowledge of two events”
The above video is very well produced, and should be commended for the quality of its content and communications clarity. However, an earlier video by the same producer is shown below, because it illustrates something very important about the BTTF movies which is not explained so clearly in the newer version above. I have time-stamped the video viewer below to begin at the 9:20 mark. Make sure you watch the below video for two minutes until the 11:20 mark to see my point about the significance of two events, and how the newer video above did not so clearly develop this important aspect. The narrator in the older video aptly states: “But Marty has foreknowledge of two events“; referring to the Twin Pines Mall attack, and the Clock Tower being struck by lightning. The first BTTF movie does indeed revolve around Marty’s knowledge of exactly two central plot events: A Clock Tower lightning strike in 1955, and an Islamic terror attack on Doctor Emmett Brown in 1985 at the Twin Pines Mall.
As I have been exposing on this blog for nearly two years, the Sept 11th 2001 attack by ‘Binladen box-cutters’ (yeah, right), on the 7-towers of the Rockefeller initiated World Trade Center, was a geopolitical catalyst designed to unleash a worldwide Hegelian dialectic (Ordo Ab Chao), which is only completed once the reciprocal attack occurs involving the Saudi Binladen Group built 7-tower Abraj al-Bait complex (Mecca Clock Tower). This obvious worldwide ritual initiation into a New World Order initially using the Twin Temple Pillars, requires TWO EVENTS; one in the western world, and the other in the eastern world. I came to this conclusion early in 2014 whilst in deep thought over the ritual aspects of the Twin Towers, because from a geo-political point of view the Twin Towers and ‘Islam vs the West’ narrative, was extremely lacking in coherence. If the western oligarchy are to solidify their power with the Gulf Cooperation Council puppets they sponsor politically and militarily (Saudi, Qatar, Kuwait, U.A.E., Oman), in the key Middle East crude oil and natural gas fiefdoms, then a kind of MENA Caliphate needs to be catalyzed on the same scale as the European Union. This would obviously be an event that would require a pan-Islamic catastrophe. So I started looking for such a catalyst, obviously starting in Mecca with the Kaaba; the literal sacred center of Islam. It didn’t take me too long to notice the BIG Clock Tower, and also the fact that it was built by the Saudi Binladen Group. As the Illuminati Card Game cards (shown to the right) which were produced within a decade of the BTTF movies suggest, a COMBINED DISASTER is maybe on the cards (pardon the pun).
Shown above is the clock tower prop flyer used in the BTTF movie [LARGER FLYER IMAGE HERE]. Notice the picture which features the top of two pillars on a town hall facade, and also the clock dial sitting atop them in the tympanum: symbolically Twin Pillars + a Clock in a Pyramid. I extrapolated on the significance of this pillars and pyramid arrangement, and why the concept of TIME and SPACE are related to Twin Pillars and the star Sirius – on pages 8-14 of my original 77-page PDF document BREAKING THE JUBILEE 77, 2014 (released Oct 2014). Further down in this current post I expand on this esoteric concept greatly, so I hope the reader will take the time to consume the importance of this symbolism. The ‘filler text’ used in the actual movie prop flyer is not related to the Clock Tower in the movie, but is instead a frequently utilized generic text used in Hollywood movie props – including Fight Club. This text was detectably used as early as Rocky II (1979) in mock newspaper pages. The text importantly includes the following excerpt:
“Thus at this conference all our governments found themselves in unanimous agreement regarding this undertaking. Arrangements for dealing with questions and disputes between the republics were further improved. Of no less importance was the common recognition shown of the fact that any menace from without to the peace of our continents concerns all of us and therefore properly is a subject for consultation and cooperation”
This text is not relevant to the movie, but is relevant to the New World Order motives I have been outlining on this blog. After much research, I have found that these words are taken from an international address by Cordell Hull, the longest ever serving U.S. Secretary of State (11 year term). They are contained within a widely circulated press release 77 years ago, dated December 13th 1938, regarding the 8th Pan-American Conference; which was held at Lima, in Peru. As one of the worlds leading WWII era internationalists, Cordell Hull would go on to become the main architect of the United Nations, which as my readers will be aware, is a globalist order posing as a ‘peace’ organization, conceived during, and birthed after, the chaos that was WWII; which to its architects was the necessary chaos to conceive an embryonic World Government, which is what the United Nations strives to become after high levels of engineered global chaos allow one to be formed. The Imperialistic technocrats who secretly steer the United Nations, will not stop contriving major chaos until they get what they desire; the whole world! Cordell Hull is known as the ‘father of the United Nations’; a moniker that U.S. President Franklin Delano Roosevelt showered on him, and for this reason, Hull is one of the historical darlings of self proclaimed ‘progressives’ worldwide, who beg for an un-elected global technocracy to rule over them.
As a ‘progressive’ Democratic Party apparatchik from Dixie frat land, Hull is remembered as one of the movers who placed President-for-life F.D.R. into the White House, and the point-man for the U.S. Income Tax (Internal Revenue Service), which is the enforcement arm of the usurious Wall Street dominated Federal Reserve System. The ‘Fed’ is a ‘legal’ fiat money cartel, technically referred to as a private/public hybrid; a super-quango with a monetary monopoly. This cartel, however, is actually totally private when we consider that T.B.T.F Fed Member Banks donate the largest amounts to the election campaigns of American politicians, or provide them with personal loans to fund their own campaigns; as in the recent, very cozy case of Senator Ted Cruz, and Goldman Sachs, which coincidentally is where wife Heidi also works as an executive. Cordell Hull, it needs to be known, was a complete racist (read his memoirs), and a globalist who attacked import tariffs and embraced ‘free trade’; which is code-speak for support of off-shore multi-national monopoly capital cartels, who are shacked up with the T.B.T.F. members of the Fed and BoE money cartel, all ruling over a commercial empire enforced at the expense of entrepreneurial domestic businesses – which get regulated and taxed out of existence.
It should come as no surprise, therefore, that while in the halls of power, Cordell Hull was a very active Anglo-American Commercial Imperialist – posing as a “progressive” – who stated repeatedly that only ethnic European’s had the right to rule over other cultures (in an act of benevolence), and last, but not least, that the U.N. should be an agency to “prosecute war”, not to enforce peace; though the public relations people at the U.N., after its foundation, seemingly had a more pragmatic approach to branding. Presciently: “WAR IS PEACE”; as George Orwell aptly popularized. Winston Churchill had a similar view regarding a “world army” to “enforce peace”; so, dear reader, take a look at NATO, study Operation Gladio, and ask the question: “Who are the REAL global terrorists? … and who are their ‘useful idiot’ patsies?”. The Twin Towers and the Mecca Clock Tower attacks are the required worldwide ritual to consolidate the United Nations into a functional World Government – call it a christening – thus the appearance of the words of the author of the U.N. Charter on this flyer are important; especially the phrase “any menace from without to the peace”; which is the Hegelian modus operandi of the Imperial technocrats who run the United Nations from behind the vail of secrecy. This is the true reason for the Twin Towers & Mecca Clock Tower sister events: The deliberately nurtured enemy is ‘global terrorism’; the only victim is human freedom from an Imperial technocratic tyranny.
This series will analyze and develop the meaning of the Back To The Future predictive programming explained in the above videos, by broadening the scope to include deep analysis of two other predictive programming projects; The Matrix Trilogy and Fight Club. I will also attempt to place these movies into their similar framework which revolves around elite psychology, and to develop a theory of this psychology using an aspect I label the Emmanuel Golstein Complex; derived from George Orwell’s novel Nineteen Eighty-Four. This novel will also be analyzed from the standpoint of elite psychology. I will also further develop some esoteric aspects of the symbolic architecture of the Twin Towers and Mecca Clock Tower, and explain how they will, and have been used, to create an initiatory liminal A∴A∴ ritual to manifest Aleister Crowley’s satanic Aeon of Horus.
“In a time of universal deceit,
telling the truth is a revolutionary act.”
― Anonymous; sometimes attributed to George Orwell without citation.
Synchromysticism or Conspiracy? Mystic or Cynic?
“Synchronicity is an ever present reality for those who have eyes to see.”
– Carl Jung [EMPHASIS ADDED] (Gnostic anti-Christian self-deified high priest of psychoanalytics cult).
“Synchromysticism is a portmanteau of the words “synchronicity” and “mysticism.” A Synchronicity is a coincidence with meaning which is usually far less likely to occur naturally than typical coincidences. An observance of synchronicity is often coupled with a recent moment of personal enlightenment or great insight. A shift in consciousness of perceived reality will usually determine ones ability to see an increased number of synchronicities.”
– Synchromystic Wikia [EMPHASIS ADDED]
CONSPIRACY: “an evil, unlawful, treacherous, or surreptitious plan formulated in secret by two or more persons; plot.”
– Dictionary dot com definition.
CYNIC: “a person who believes that only selfishness motivates human actions and who disbelieves in or minimizes selfless acts or disinterested points of view.”
– Dictionary dot com definition.
— Synchrocynicon: A new term for realists —
I’m going to get right to the point: I am a cynic and a conspiracy theorist, but only where faith in other men and women, and their worship of money and power are concerned. So was Jesus Christ, and so was every Biblical Prophet. The entire Bible is an exercise in the chastisement of the baser side of human nature; priests, kings, and money changers, were constantly chastised for their selfish iniquity. To think otherwise of the modern world requires a great naivety in regards to world history. Either you are a cynical conspiracy theorist, or you slept through history class without reading between the lines and connecting the important dots. I believe in the existence of legitimate Synchromystical events – such as the Crucifixion of Jesus Christ – but I am also a Synchrocynicon; a word I have invented to describe a skeptical individual who views events which seem to be connected, to be possible conspiracies, because they may have been consciously planned by conspirators – how revolutionary (!) – or at least, one who views such events critically, and who actively investigates whether a conspiracy theory is a possibility. The opposite of a Synchrocynicon is an individual who believes the world to be mostly ruled by benevolence, but such an individual in the animal kingdom is known, simply, as ‘lunch’. Follow the money to find the motive; it usually unveils a den of thieves, which is always conspiratorial by nature.
“No man can serve two masters: for either he will hate the one, and love the other; or else he will hold to the one, and despise
the other. Ye cannot serve God and mammon.”
― Matthew 6:24, words of Jesus Christ.
Human nature is really quite easy to understand; true benevolence is for the humble minority, but wealth and power corrupt human nature. When the vast majority of people get the taste of wealth, they become addicted, reborn as creatures of self-interest, and they usually adopt an entitled world view where they expect their money to make more money all by itself: Unearned income rent-seeking known as usury (an entitlement in-and-of-itself); as opposed to a system of legitimate debt jubilee cycles enriched by direct capital investment into productive industries, which generate real earnings and employment. These same ‘elites’ who pay virtually no tax themselves, and who control the ‘Too Big To Fail’, then expect future taxes (actually a relative value transfer in present tense – because the future has no real value) to bail them out when their usurious schemes fail; usually due to structural collapses in the underlying productive industries of a society. Where the moderate pension or retirement funds of older people are concerned, usury in its modern form is justifiable, but financial dynasties are another matter entirely. In the minds of such people only the lower classes can appear overly ‘entitled’, whereas people who have accumulated a pirate hoard of fiat digits, apparently hold up the globe like Atlas, preventing divine cataclysm with their ‘godlike’ ability to accumulate large numbers on un-taxed offshore ledgers; including dubiously acquired physical gold bullion hoards – REAL legacy wealth (including the fine arts).
Effectively, we live in a form of monetary apartheid, where racial identity has been replaced by two classes: Networked and ‘off-shored’ monopoly capitalists, including their minions, and of course, everyone else; sharecroppers trapped on welfare in a Socialist technocracy, and/or workers being taxed to death, whilst the imposed socialist system is steered by the foremost class towards an Imperial, global, and neo-feudal plantation model; an Übermensch and an Untermensch respectively. To believe that modern corporate-socialism and the current monopoly capitalist system is even a remotely honest galaxy of ‘free-markets’, is to partake in what Orwell described as DOUBLE-THINK. The vast majority of above-ground ‘free-markets’, are manipulated and controlled by special interest networks who manipulate them using privileged access to what is now known as dark-pool liquidity financial structures; which are undeniably dominated by the City of London (Square Mile), which sits at the center of this network; New York City is merely the American funnel for this octopus. The City of London contains a monolithic event-horizon of dark-pool syndicates, protected by an archaic ‘Crown’ patronage system evolved towards a Keynesian world, sucking the life blood from the productive elements of the world economy. The following is one of my favourite socio-economics quotes, because it is highly relevant to today’s status quo:
“When plunder becomes a way of life for a group of men in a
society, over the course of time they create for themselves a legal
system that authorizes it and a moral code that glorifies it.”
– Bastiat, Frédéric (1848), French free-market economist.
Frédéric Bastiat was a social and economics cynic after my own heart – a realist. This same sentiment in the socio-economics sphere also helps to explain why the placement by ‘elites’ of 9/11 Twin Towers and Clock Tower predictive symbolism into movies, is occurring at all. Once an organized system of deception commits itself to perpetrating events on the level of the September 11th 2001 false-flag attacks, the self-proclaimed Übermensch responsible for such events, will inevitably utilize predictive programming in movies and TV as a vector for warfare against their targeted Untermensch. Now, if you believe the Back To The Future references to September 11th 2001 were purely synchronicity, then I believe you are perhaps subconsciously trying to apply for a job at a bank in Stockholm. For some people the idea that September 11th 2001 was a conspiracy, involving deep-state elements including internationalists within the Anglo-American Empire, becomes so consciously or subconsciously scary, that they will do anything to create an alternative explanation. The best medicine for this symptom of denial is usually to ridicule the messenger as being insane, which is also the most cowardly defense. People such as Adolf Hitler and every other world leader successful enough to gain power and try to keep it know of this basic trait of humankind, and they exploit it to their advantage. Because of this group-think tendency of the greater public, the form of government known as ‘democracy’ is seriously flawed due to the effectiveness of the Big Lie technique. Hitler explained it thusly:
— the art of lying big —
“. . . in the big lie there is always a certain force of credibility; because
the broad masses of a nation are always more easily corrupted in the
deeper strata of their emotional nature than consciously or voluntarily;
and thus in the primitive simplicity of their minds they more readily fall
victims to the big lie than the small lie, since they themselves often tell
small lies in little matters but would be ashamed to resort to large-scale
falsehoods. It would never come into their heads to fabricate colossal
untruths, and they would not believe that others could have the
impudence to distort the truth so infamously. Even though the facts
which prove this to be so may be brought clearly to their minds, they
will still doubt and waver and will continue to think that there may
be some other explanation. For the grossly impudent lie always leaves
traces behind it, even after it has been nailed down, a fact which is
known to all expert liars in this world and to all who conspire together in
the art of lying.” – Hitler, Adolf. “Mein Kampf”, vol. I, ch. X [EMPHASIS ADDED]
The September 11th 2001 attacks are proof that this concept works very well, and it will work just as well when the GCC+NATO destroy the seven towers of the Mecca Clock Tower Complex, the Kaaba, and the Masjid al-Haram, blaming it on ‘Islamic extremists’. For people who can pull off mass media manipulations such as the Twin Towers attacks, the urge to boast and predictively program such awesome pre-planned future world events into major movies, is irresistible. On a primitive level, consider the urge that some serial killers have to leave clues for, and taunt, their pursuers in law enforcement. However, some predictive programming is motivated by a scientific and psychological manipulation I will refer to as the Emmanuel Goldstein Complex (EGC), which is a deliberately triggered response to map psychological profiles required for sophisticated Human Domain Analytics: Tracking entities in live-time, both individuals and collectives (to be explained by the end of this series). This technique is required in order to separate the mentally objective minority from the inert general majority. Adolf Hitler referred to the tendency of the inert general majority to self-induce into a mental fetal position using Big Lie fear tactics – emotional manipulation – as an invocation of the “primitive simplicity of their minds”: Emotional responses overriding intellectual situational awareness. Can you see what an understanding of the primitively simple group mind of the general majority has to do with predictive programming in all forms of media; which are merely vectors for propaganda?
These sophisticated programming and social engigeering techniques work on multiple levels, which we will explore.To an elite predator this emotional assessment of the general populace as being easily manipulated, is core to their own elite sense of superiority, though it is clearly a quite correct assessment of the potential prey. The group mind of modern western civilization is simple, primitive, and very, very, “dumbed-down”. Accepting ones own role as a predator, whilst acting on the impulse, however, is an act of personal ‘Will‘: A pilosophical concept that Arthur Schopenhauer, and then Friedrich Nietzsche, developed into the polar opposite of Christian ethics; Hitler simply chose to implement it. An analogue in Nazism would be the concept of the Übermensch vs Untermensch. People who have a psychopathic need to prove to themselves that they are superior to the general public, will equally need to prove the inferiority of the general public, and the best way to achieve both, at the same time, is to deliberately expand the margins of the Big Lie technique into the realm of the surreal. The Big Lie separates the fools from those paying attention, and it serves multiple purposes all at the same time. Once a person comes to grips with the true size of the elite conspiracy we find ourselves immersed in today – especially the mindset of the people attempting to engineer the world narrative – it is easy to understand the reasons for hiding esoteric messages in mainline movies.
As Hitler himself said, it is impossible to nail down a grossly impudent lie – such as the NYC Twin Towers ‘inside job’ – and all master lie fabricators know this, so instead, such conspirators pre-plan to deliberately amplify the size of the lie, so as to drown out any possible logical form that skeptical analysis might take. Predictively programmed simulated events and symbolism, in cinema, are actually complementary to real life events like the World Trade Center destruction. Both the event and the programming feed off of each other in the collective subconscious of the general public, but also in the conscious minds of a minority. This is actually a form of ‘magic’, for lack of a better term, which in essence relies on deception to control a willing or unwilling audience. The 1999 movie Fight Club is a great example of a simulated event, in which a terrorist conspiracy known as Project Mayhem involving the destruction of multiple large office buildings at the end of the movie (seen below), predicted the demise of the Twin Towers. The movie also contains a plot to destroy a ‘piece of corporate art’ that resembled The Sphere from the World Trade Center Plaza; which sat on a circular water fountain in both the movie and in real life. In addition to these predictive inserts, Fight Club modelled them around an elaborate Kabbalistic symbolic mesh, which cannot be understood without analyzing the psychology expressed by the character relationships embedded within the movie.
“Magick is the science and art
of causing change to occur
in conformity with will.”
― Crowley, Aleister. “Magick in Theory and Practice”.
Project Mayhem: Fight Club Kabbalah
Hmmm … Deutsche Bank’s Twin Towers Frankfurt headquarters looks like a
prime symbolic GROUND ZERO for the *ACTUAL* Financial Collapse–2016?
The image in the top left is from the Fight Club scene known as Operation Latte Thunder, in which the domestic terrorists in the movie (predictive programming), destroy a piece of ‘corporate art’, which looks exactly like The Sphere from the World Trade Center Plaza (shown top right), and which even sits on a similar fountain feature in the movie. The bottom images show the final scene from the movie where Project Mayhem is concluded by the destruction of eleven key financial office buildings (!) in an attempt to destroy the world credit system, triggering a crisis that sends mankind back to the Stone Age. Tyler and Marla are visually twinned in the scene, watching architecturally twinned buildings being demolished. A video clip below shows the scene. Notice that these last two buildings to be destroyed in the sequence are left alone to be simultaneously demolished, and they are the only two buildings to have identical architecture, falling at almost the same time. Was this to program the mind that the last thing seen was a twin collapse, as if they were twinned towers? At about the 43 second mark, a subliminal image was included of a *circumcised* penis. Those who have seen the movie will understand the apparent gag (or would they? HINT: The scene is entitled ‘Walls of Jericho’). In the movie, it is revealed that the main character, Tyler Durden (Brad Pitt), worked in a theatre as a projector operator. In his spare time, for amusement, he grafted single frames of pornography into family movies he was entrusted to screen. This clip can also be viewed at the end of this post. Aleister Crowley would have been amused by this movie.
— Walls of Jericho —
TYLER DURDEN (Norton): “You met me at a very strange time in my life!”
. . . greatest ever movie understatement . . .
. . . final line of dialogue in Fight Club the movie . . .
The AIM of Project Mayhem in Fight Club?
TYLER (Pitt): “In the world I see – you’re stalking elk through the damp canyon forests around the ruins of Rockefeller Center. You’ll wear leather clothes that will last you the rest of your life. You’ll climb the wrist-thick kudzu vines that wrap the Sears Tower. And when you look down, you’ll see tiny figures pounding corn, laying strips of venison on the empty car pool lane of some abandoned superhighway.”
There is obviously a socio-political message in Fight Club, and if connected directly with the World Trade Center collapse – which I will prove – we will need to explore the deep character relationships in this movie. These relationships penetrate psychology deeply, expressing an inter-generational obsession with gender mechanics and sexual intercourse, and particularly the procreative ramifications of the latter in the physical, emotional, social, and spiritual spheres. Norton’s character sums this up in the opening scene thusly:
TYLER (Norton) Narrating: “That old saying, that you always hurt the one you love . . . well it works both ways . . . . and suddenly, I realize that all of this, the gun, the bombs, the revolution, has got something to do with a girl named MARLA SINGER”
Ed Norton’s character in Fight Club actually goes verbally unnamed throughout the initial ninety percent of the movie, and is likewise unnamed in the novel the movie is based on. On the other hand, Norton’s alter ego Tyler Durden (played by Brad Pitt) is named Tyler Durden throughout, suggesting that the alter ego is far more important than his overt ego. It is correct to assume that the character’s name in his overt life as Norton was indeed also Tyler Durden, which is also the reason why the author/screenwriter had to omit it, otherwise there could be no twist at the end when we find out they are two aspects of the same individual with dissociative identity disorder. Tyler’s overt ego and alter ego are in fact TWINS, one representing his repressed identity, and the other representing his visible personality and public facade anchored unhappily in the materialistic world. The act of breaking apart the separation between the two (ie, two destroyed pillars such as the Twin Towers), and creating a single identity after fusion (ie, replaced by a single pillar, the new One World Trade Center), is an alchemical psychological process, but it works on multiple levels with multiple DUALISM’S at play. To truly understand the esoteric levels of this movie and the deliberate symbolic inserts, one must be familiar conceptually with Hermetic Kabbalah, Freemasonry, Neotantra, and Thelema.
It is no coincidence that Tyler is the official name of the officer who guards the entrance to a Masonic Lodge, which entrance is composed ritually of Twin Pillars (Biblical: Jachin and Boaz). This doorway represents Solomon’s Temple, concealing the highest esoteric secrets of the Microcosm (identity; self), and the Macrocosm (universe; other). To destroy ones façade and also ones alter ego, and to rectify them both into one single unity, is to re-balance the self, but also to accomplish an initiation into a totally NEW identity; entering deep into the ‘Lodge of secrets’ (or cave) within us all. As a point of congruence the protagonist of The Matrix is named Thomas Anderson, but is fully renamed as his hacker alias Neo – his covert alter ego, meaning ‘NEW’, which is also an anagram of ONE – after he is initiated by Morpheus into the real world. The particular occult congruences between these two movies will be fully developed in this post, because they are striking. Just as Neo finds out in The Matrix that reality isn’t quite what it seems, in Fight Club directly before the final scene shown above, Norton’s character finds out that he was in fact Tyler (Pitt) all along, but only because Marla confirms it for him. The role of Trinity in The Matrix is likewise pivotal for Neo, because her love for him is the required catalyst for Neo’s self acceptance that he is indeed ‘the One’.
— Machbenah — Mahabyn — Mahabba —
To finally confirm for himself that he was also Tyler (Pitt) all along, Tyler (Norton) has to confront Marla to specifically ask whether or not they had ever had sex; to which Marla replies that perhaps that’s because he actually wants to know whether they simply had SEX, or whether they made LOVE!
The subtlety of this question is overlooked by many people trying to analyze this movie, but it is key to understanding the true meaning, and also the Masonic and Thelemic undercurrents. Sexual intercourse in-and-of-itself represents a simple momentary lustful instinct and procreative functionality. Love on the other hand is a deep emotional connection between two people: One is purely physical, the other is non-physical, but neither one is mutually dependent on the other. They can however be united, which is highly important socially for the family unit, which is the result of the procreative process of enjoining two flesh entities into one child, but importantly also passing two love relationships onto the child. Tyler (Norton) displays in the movie his inability to emotionally connect with Marla, which is why his intimate encounters with her only occur with his alter ego Tyler (Pitt), and which are self serving lusts for the flesh only. So what is the reason for this suppression of emotion? The answer lies in another scene from the movie where Tyler (Norton) is reminiscing to Tyler (Pitt) about the absence of his father during childhood. As there was no love in his childhood household, the child – who learns by imitation – had not been exposed to this vital emotional connection between mother and father, creating an unbalanced psyche in the grown Tyler (Norton).
In effect, Tyler (Pitt) represents the repressed masculine side of the protagonist, because he was raised by his mother without the presence of his father. Tyler (Pitt) is therefore, also, a representation of the vacant masculine imprint his father was supposed to help create within him, because children learn by imitation. Tyler (Norton) remembers in the movie his father jumping from city to city, leaving behind children and women as mere collateral damage of lust without love. This could however have been because his father was suffering from the same problem as Tyler, being stuck in a vicious chain of generational dysfunction. Tyler (Pitt) cynically refers to this city hopping of his father as an attempt to ‘set up franchises’, which is parallel with the concept of the movie itself: Hundreds of Fight Club franchises of men with repressed masculine sides are attempting to beat masculinity into themselves, little by little approaching the abyss of self destruction; hate for the self displacing all love! One of the misnomers that people make when analyzing Fight Club is to assume that Tyler’s (Norton’s) real name – or nickname – was Jack, due to certain perceived first-person references he makes to Jack throughout the movie; but importantly, nobody ever calls him Jack in the movie. To believe that Jack is simply the nickname that Tyler (Norton) is known by publically, is far too superficial, because the name Jack is almost certainly a symbolic epithet for the embodiment of his entire collective paternal line.
Tyler’s dilapidated Paper Street house represents the neglected, masculine emotional side of a domesticated almost femininized male, one who finds himself avoiding the instinctual side of his own psyche. This is ‘Jack’s House’ (Jack lives here!), which is why Tyler (Norton) finds himself reading the strange parables (listed below); ignored emotions filed away in Jack’s neglected archives. Jack is, of course, a collective patriline of *ALL MALES* trapped in domesticated modern society, which is why this turns into a halfway house for clones of Tyler by the end of the movie; a collective becoming conscious!
As such, Tyler (Norton) refers to himself as components of an eponymous construct called Jack – and not Jack’s persona per se – almost as if Jack is a Hobbesian construct of the male social contract throughout human time. Jack thus represents his familial reason for existence, back to the very origins of mankind: A völkisch ‘blood memory’ concept; ie, “I am Jacks smirking revenge”, revealing a disdain for his own dysfunction inherited by his father, the only purpose of whom he perceives as a sadistic self-replication, and social re-iteration, of a meaningless male existence. This male existential crisis becomes embodied in Tyler (Pitt) as an inner urge to self-destruct and to project this destructive urge onto the existing social order; an order Tyler subconsciously perceives as adversarial to ‘true’ human nature. Tyler (Pitt) aims to overthrow this order and redefine it as a transgressive and nihilistic utopianism – or dystopianism depending on your perspective. Whether this is transgressive, or not, depends on your point of view of modern society. This transgressive current is highly congruent to Thelemic dogma. In fact, without an understanding of Thelemic dogma and Kabbalah, the deeper strata of Fight Club will remain an unexplored country. According to the “Journal of Thelemic Studies”:
“Regarding Aleister Crowley’s antidemocratic, racist and misanthropic writings, followers point out: “The reason […] aspects of Thelema are omitted [in public discussion] indicates the actual problem with presenting Thelema as a religion and attempting to get Thelema sanctioned by the government or approved by the public: Thelema is ultimately in contrast to and transgressive of normative society. Thelema rejects the morals and values of normative society and acts to transgress and violate these norms. From the inclusion of intoxicants in ritual, to the positive view of sexuality, which frequently is seen as promoting promiscuity, to the pro–authoritarian and Nietzschian aspects of Thelema, normative society has much to reject in Thelema and conversely, Thelema encourages its adherents to reject most aspects of normative society.”.”
– “Journal of Thelemic Studies”, 1;2, 2008, page 40 [EMPHASIS ADDED]
… Jack and Jill, went up the hill, etc …
Self projections of Jack and Jill referenced in the movie, in order:
I Am Jack’s Medulla Oblongata
I Am Jill’s Nipple [only Jill ref.]
I Am Jack’s Colon
I Am Jack’s Raging Bile Duct
I Am Jack’s Cold Sweat
I Am Jack’s Complete Lack of Surprise
I Am Jack’s Inflamed Sense of Rejection
I Am Jack’s Smirking Revenge
I Am Jack’s Broken Heart
…son is an emotionless involuntary brain function of father
…son is emotionally purely a product of motherhood and weaning
…son feels like a mere channel for emotional waste
…son is a dumping ground/accumulator for emotional waste
…son embodies paternal fears, anxieties, and lack of warmth
…son embodies paternal apathy and loss of dignity
…son embodies fear/hatred of un-reciprocated emotions
…son perceives he is a projection of paternal sadism
…son is a projection of fathers inability to feel and his rejection of emotion
Jack and Jill naming conventions obviously derived from the famous children’s nursery rhyme:
“Jack and Jill went up the hill to fetch a pail of water.
Jack fell down and broke his Crown, and Jill came tumbling after.”
IMPORTANT: In the movie, the name Jack replaces the name Joe
from the original Chuck Palahniuk novel that the movie is based on.
This name alteration in the movie is highly significant esoterically!
These references above shown in order betray a life journey on the part of Tyler (Norton), travelling from the physical towards the emotional. The list starts with the name of body parts, and progresses to emotional descriptors; starting with the involuntary brain that services body function, and ending with the broken heart, which is the traditional symbolic seat of emotion. Using such a simple nursery rhyme to assign sobriquet’s to Tyler’s matriline (Jill) and patriline (Jack) might seem trivial, but from a Kabbalistic perspective it is not. The rhyme is about a boy and a girl, both of whom go to the top of a hill to fetch a bucket of water; which is seemingly the simplest of tasks. Contextually, because it refers to childhood when emotional development is most important, it fits perfectly with the thesis outlined above about inter-generational familial dysfunction. Sequentially Jack fails and falls first, then Jill falls second, but Jack importantly ‘breaks his crown’. It is an apropos analogue for a dysfunctional relationship, where even the simplest task fails, but the reference to the male crown is esoterically, sexually, and socially important. Kabbalah creates a link between all three, but before we explore the Keter/Crown in Kabbalah, believe it or not we must explore the importance of sperm and male procreative potential, and their implications on social order, because testicles are repeatedly referenced throughout the movie.
Within each suit of a deck of playing cards the 11th card is the Jack, the 12th card is the Queen, and the 13th card is the King. The Jack here means Knave, or in a more general sense a royal servant. The King is paired with the Queen, but the Jack is without a female pair. The Jack in an historical social sense was ‘not his own man’, because he was ruled over by another, and had lost the penultimate authority over his male domain to a King. In some traditional Italian decks the Jack is actually androgynous and is referred to as a Maid; analogous to the themes expressed in Fight Club. It is this androgynous card which shares a similar sexual dualism with The Devil card of the Tarot Trumps (Tarocchi is closely related to the evolution of playing cards) used heavily in Hermetic Kabbalah traditions such as Golden Dawn and Thelema; both of which are structured around sexual dualism, especially the latter. This androgyny concept expressed on this particular Trump card would inspire the infamous and influential Baphomet character of Eliphas Levi, which Aleister Crowley made central to his occult doctrines, adopting the name of Baphomet as his title as Outer Head of the Order of the Ordo Templi Orientis. Testicles, the phallus and sperm, are physiological determinants of masculinity, and can be used creatively – as we will see – as esoteric allusions to ‘secret men’s business’.
Bob and Tyler (Pitt) are both shown shot in the head,
anatomically with the Crown of the head blown out.
This androgyny in Fight Club is deliberately embodied by the character named Bob – Robert Paulsen – who’s testicles had been removed due to cancer, and who had grown breasts due to the associated hormone imbalance coupled with his former life as a body builder taking steroids – epitomizing masculinity gone wrong. Bob’s character is central to Tyler’s journey, because he is the first person with whom Tyler shares an emotion at the ‘Remaining Men Together’ support group, and is also the only person killed in the movie. His death in relation to the monument which looks like ‘The Sphere’ during Operation Latte Thunder is also esoterically important. In regards to Bob’s altered physiology, a quick glance at Eliphas Levi’s Baphomet character (explained further down) illustrates the congruence, and also the connection to breasts, expressed by Tyler (Norton) in the movie when crying into Bob’s breast:
TYLER (Norton) Narrating: “Between those two huge sweating tits
that hung enormous, the way you’d think of Gods as big”
What a strange reference to God having breasts!?! Was the Baphomet character enamored by so many occultists and satanists here subtly being referred to as God? As I will explain below, the Dual-Aleph’s that the Baphomet represents need to be destroyed and merged into one entity for a ‘Chymical Wedding’ to be performed, which is why Bob’s death in relation to the analogue for ‘The Sphere’ is so important, because it represents a Crown. This mystical hermetic act of inner pro-creation is reliant on male pro-creative potential, which is why testicles and sexual intercourse play such an important role in the esoteric currents embedded in Fight Club. A case in point is the pivotal scene when Tyler first assaults an authority figure – Police Commissioner Jacobs – on a checkerboard floor in a male bathroom, which is a *MALE ONLY* private area just like a Masonic Lodge; the door of which is officially guarded in a Masonic Lodge by the officer known as the Tyler.
ABOVE: (1) Police Commissioner Jacobs enters the male bathroom with black and white tiled floor.
(2) Tyler (Pitt) is guarding the door, and assaults him, pulling him onto the tiles.
(3) Tyler (Norton) closes the door, locking it for privacy — only males present.
BELOW: (1) Tyler (Pitt) drags Jacobs across the tiles, asserting his authority over the domain.
(2) Commissioner Jacobs is told his testicles will be removed if he does not call off his investigation.
(3) Robert Paulson – Bob – who has no testicles, ties a rubber band around Jacobs’ testicles.
The Two Guardians of the Temple Door
— TYLER (Pitt) is the *OPENER* —
— TYLER (Norton) is the *CLOSER* —
Tyler (Pitt) threatens to have Jacobs’ testicles removed if the investigation into Fight Club is not cancelled. Do you see how that works? Secret men’s business and male authority is symbolized by testicles, phallus, and sperm, which represent male pro-creative potential; especially in ‘sex magick’ [sic] dogmas such as those found in Thelema. This concept goes back deep into human anthropology, especially evident in the ceremonial of the Pharaoh’s of Egypt, who were the penultimate expression of divine rule: Pharaoh’s prime symbol of authority was the was sceptre; A dried bulls penis from a wild Aurochs bull, which was ceremonially hunted and killed by the Pharaoh himself. It is also important that when Tyler (Norton) first confronts his alter ego (Pitt) after confirming with Marla that he is in fact Tyler (Pitt), his first flashback is of the male bathroom DOOR *OPENING*, and Tyler (Norton) personally pulling Police Commissioner Jacobs onto the black and white checkerboard floor in the place of Tyler (Pitt). After this flashback vision Tyler (Norton) finally accepts his personality co-existence with Tyler (Pitt), allowing him to become *BOTH PILLARS* of his inner Temple gateway: An opener, and closer, with control over his own destiny; though we later learn that his awakening was too late to save the world debt credit system (what a shame!), but soon enough to save Marla, and presumably ‘love’ itself.
This male bathroom scene can also symbolically represent a coup d’état within the male fraternal system, between two modalities with conflicting agenda’s; in the same way that Adam Weishaupt sought to infiltrate Freemasonry and to turn it into a vehicle for his crypto-synarchic ambitions (Bavarian Illuminati). Weishaupt’s proclaimed intentions were to overthrow all governments – spiritual and temporal – and to replace this Old World Order with a crypto-synarchy: A hidden ‘enlightened’ power structure holding an absolutist control over a New World Order. This DOOR represents the Tyler’s role in a Masonic Lodge. Ironically, Commissioner Jacob’s in his function as head of the Police force, himself represents the embodiment of the Masonic officer known as the Tyler, who guards the door to the current power structure which Tyler Durden perceives as contrary to human nature; especially male social functionality. Police are the physical hand of the established government. The connection between the police profession, misogyny, and Freemasonry, is well known, so this juxtaposition between Tyler Durden and a man who represents the Tyler of the existing power structure, is intentionally ironic.
Such male authority on a social level, however, can be ultimately viewed from its foundation within the traditional family unit, which was almost universally governed by the male of the household for thousands of years before the onset of the twentieth century. Some females still submit to this convention willingly, but the Western Socialist State provides an alternative for females who want to reverse this historic norm. This seismic shift has occurred only within the last century and its psychological, and social effects, are almost never addressed from a male perspective; almost always being viewed simplistically as the ‘liberation of the woman’ rather than the ‘redundancy of the male’. Governance is a function of headship, and esoterically headship is symbolized specifically by the symbol of the Crown. To ’break ones crown’ means to lose headship of a family unit. In the nursery rhyme Jill’s inevitable fall is linked to Jack failing first, and esoterically on the ‘tree of life’ of Kabbalah Kether/Crown is the uppermost sephiroth, whilst Malkuth/Kingdom is the lowest sephiroth (the so called ‘tree of life’ can be seen above under the last video player window).
In the final scene of Fight Club featuring the Twin Pillars of Kabbalah, which is called ‘Walls of Jericho’ in the DVD Chapter menu, there is a *LADDER* placed on the *FEMALE* right hand side of the movie set. This ladder has but *10 RUNGS*, which is equivalent to the ten Sephiroth of Kabbalah, and thus the 10 degrees of Thelemic initiation in Crowley’s A∴A∴ system and/or O.T.O. This scene represents ascension towards Ipsissimus (Kether/Crown).
Is it appropriate to substitute the Holy Place of Solomon’s Temple – in which workspace a Levitical priest had to first ritually wash himself before entrance – with the floor of a male urinal? Both of these spaces are somewhat sacred to males, but for entirely different reasons. For the Thelemite however, profaning the Holy is an act of ‘magick’ – as Crowley referred to it. The fraternal aims of Thelema and Freemasonry, the latter having its rituals rooted in the mythos of Solomon’s Temple, are in some ways aligned, but on a wider social level they are worlds apart for most practitioners; especially those who would consider themselves to be Christian Masons. In the modern world Freemasonry is dying because younger males eschew its perceived impotence, but Thelema and other darker esoteric occult traditions formulated around Hermetic Kabbalah and ‘sex magick’ [sic] are in ascendancy, simply because they appeal to a younger more frustrated male membership: Females are a key part of Thelema, whereas in Freemasonry females are forbidden from membership (irregular co-masonry excepted); though it needs to be said that the higher eschelons of the organized Thelemic Orders, may in fact be unknown to many low level female members kept in the lower spheres as sexual props for ritual purposes – matching Tyler (Pitt) and his relationship with Marla, who is seen as a danger to the male-only Project Mayhem.
In The Matrix Reloaded (2003) the Merovingian attends the female bathroom in order to be unfaithful to his wife Persephone, whereas Persephone lures Neo, Trinity, and Morpheus, into the male bathroom. She then invokes the word *LOVE* and proceeds to induce jealousy in Trinity by trading a single *KISS* with Neo in order to experience what *LOVE* used to feel like. This juxtaposition involving the switching of bathrooms and associated gender allocations, where a female rules the male space and a male rules the female space, is ideologically transgressive and confronting – purposefully such. This scene is congruent to the scene in Fight Club, because it invokes the same technique of esoteric domain classification.
Issues of gender roles in society and their physical anchorage in procreation, should *NOT* be taboo subjects in social and spiritual dialogue. On the contrary, it is about time that even the Christian world addresses the importance, and neglect, of these areas of study. Does Fight Club not embody lost aspirations of youth and perceived male social dysfunction? Are the concerns raised in this movie not blatantly evident even from the perspective of a modern faithful Christian? These inserts regarding gender swapping of authority roles, including the emphasis of struggles between old and new systems of societal expression regarding gender, are relevant to fraternal systems, but also to the social fabric of western civilization at large. Kabbalah is the primary esoteric system which incorporates formal systems of gender expression and exploration, so there is a good reason that Fight Club and other modern movies hiding occult currents centered around gender, are so clearly rooted in Kabbalah.
In Kabbalah all falls begin at the top and end at the bottom, hence gravity can also be symbolic. The headship represented by the King/Crown and representing Law, is anchored in the Queen/Kingdom, which represents the Earth, or simply a household which is a domain on Earth; meaning, at the level of a New World Emperor the Earth would here be literal; though every family unit is within itself functionally modeled on this principle. If anything disrupts this then the entire symbolic structure collapses, and this applies to the Emperor/Father representing Law/Head, and the Empress/Mother representing the Kingdom/Household. This concept is enshrined in the tradition of females changing their family names for that of the male upon marriage; ie, MARLA DURDEN, which is esoterically important to the movie, and which is explained further down. To properly understand this from a biological stand point, we need to look at the esoteric dimensions of procreation, which Kabbalah and Thelema attempt to address. The biological dualism enshrined in the functional roles of sperm and ovum are highly important to understanding not just occult ‘sex magick’ [sic] ritual, but also the more esoteric aspects of Solomon’s Temple in the Holy Bible; especially the meaning of the pillars Jachin and Boaz.
… and, yeah, we’ll need to look into the Twin Towers a little …
Would it surprise you to find out that the World Trade Center,
Pentagon, and Shanksville false-flag attacks, were also
a Thelemic ‘sex magick’ [sic] ritual?
I know, sounds crazy: Welcome to Planet Earth!
The Moment When Two Become One
Pro-creatively, the male principle is active like the sperm – movement – and the female principle is passive like the ovum – stationary. The ovum remains passive whilst the sperm seeks it out, but the woman represents the ‘house’ that brings forth the baby in the womb. A human sperm contains one single CENTRIOLE, which is actually the eye and brain required to begin cell division in the ovum. The ovum cell, in contradistinction to the robust and motile nature of the sperm cell, is a purely passive, and very fragile packet of raw material awaiting an initiatory impulse; the sperm and centriol packet, which initiates cell mitosis, creating a new human embryo.
IMPORTANT] In humans, *ALL*
centrioles are copies of one single
unit delivered by the sperm to
the ovum upon fertilization.
The ovum does not contain any
centrioles until this single
unit is delivered.
Almost all biological cells in the human body contain these centrioles, which can actually sense the direction of near-infrared radiation in the same way the human eye can tell the direction of visible light. As such, the collective ‘eye sight’ of the human body in a symbolic sense extends to every cell. I would encourage the interested reader to visit and study the website of Guenter Albrecht-Buehler, Ph.D., which is entitled CELL INTELLIGENCE. The importance of this information on our understanding of the human pro-creative process should not be understated, because it proves without a doubt that cells with centrioles do in fact think, and they can also see surrounding objects in the near-infrared spectrum.
“3. Cells can ‘see’, i.e. they can map the directions of near-infrared light sources in their environment and direct their movements toward them. No such ‘vision’ is possible without a very sophisticated signal processing system (‘cell brain’) that is linked to the movement control of the cell … In addition there is the supporting theoretical consideration that the hiterto completely unexplained complex structure of centrioles is predicted in every detail if one asks what structure a cellular ‘eye’ should have.” – G. Albrecht-Buehler, Ph.D.
The sperm contains this initiatory (Time) impulse to begin the cell divisions based on intelligent biological Law, whereas the ovum contains the ability to propagate this Law by providing the anchor (Space). Time & Space can be thought of in terms of a sexual union: Time as Male; Space as Female. There is a great universal functional truth in this. Shown above on the right, is a graphic with schematics of the sperm and centriole, and an animation displaying its cosmic symbolic correlation to a macrocosmic relationship I like to call the Earth-Moon PPP-Pyramid; which is explained in a seminal PREVIOUS POST that I would advise the interested reader to study. Humans are a crop that was planted in the Earth. If the Earth represents an ovum, then the Moon, and the Sun, functionally represents the sperm. Coincidentally, in ancient Egyptian religion, the Moon represented Thoth, whose iconography was the left eye, whereas the Sun represented Ra/Re, whose iconography was the right eye.
please note … “It is the mark of an educated mind to be able
to entertain a thought without accepting it.” – Aristotle.
… so humour me, if you are shaking your head …
When combined, for instance, during a solar eclipse, these right and left eyes converge, both of them becoming unitary (a ‘third eye’), and exhibiting an alignment time-cycle known as the Saros cycle; which is an important 223 synodic month geometric eclipse matrix, governing all Sun-Earth-Moon syzygy events. Microcosmically, the biological wonder of the sperm is the Centriole Eye, but macrocosmically, the binary lunar-solar symphony which nurtures all life on Earth, is a fertilizing agent; just like the sperm. The twin components of the the Moon and Sun are two hands on a cosmic clock that regulate life-time: The Moon regulating tides and thus water; and the Sun regulating light, fire, and heat (ANALOGOUS TO THE TWO CHRISTIAN BAPTISMS). This might sound totally ridiculous, but once the implications of the golden mathematics enshrined in the PPP-Pyramid are understood, and the dimensions of the Earth-Moon system are placed in their engineered context, all becomes apparent.
Please read the AFOREMENTIONED POST in order to properly understand this, and also the true meaning of the radiant eye in the pyramidion, which is NOT satanic/luciferian in nature, but has merely been hijacked by such people in their jealousy of the marvellous engineering of God. An example of the knowledge and use of this Macrocosm=Microcosm of Earth-Moon Architecture=Biology (organic life) was the World Trade Center Plaza (Austin J. Tobin Plaza) layout and placement of The Sphere at the old Twin Towers. The plaza was arranged around the central focus of The Sphere by Fritz Koenig. Koenig incidentally is the English transliteration of the German König, meaning King/Monarch; relevant to our discussion of a ‘broken’ Crown: As such, this sculpture was also known as ‘König’s Eye’. This plaza was accessible from Church Street in New York City through a wide courtyard, featuring an abstract double Pyramid sculpture; which can be seen enlarged in the inset of the below image on the right. This sculpture symbolically stamped the larger plaza as the domain of a pyramid, which is mostly recognized in Egyptian archaeology as a *TOMB*. Below on the left can be seen a schematic of the plaza layout, as well as its relation to the engineering of the centriole eye and the Nine Gates of Kabbalah. The amalgamation of an Eye and a Pyramid, should be recognizable for anyone who has seen a U.S. One Dollar Federal Reserve Note, which, in fact, the sculptor Koenig invoked by calling the sculpture a “Kaaba to Commerce” … [United $tates Dollar W.R.C based commerce].
The Sphere mechanically rotated once daily through the 36 radiating ‘rays’ of 10 degrees each, representing the 36 decans of the full zodiac. An outer circle of main planters ensured that there were only nine sets of steps allowing access to the water feature and The Sphere, each occupying one single ‘ray’ segment of 10 degrees: ie, Nine ‘Gates’. This meant that each main planter occupied 3 ‘ray’ segments totalling 30 degrees, which matches the radial configuration of the centriole ‘eye’ we have just discussed, which has 9 groups of 3 tubules per array, where the infrared light can only enter the centriole at the nine structural gaps. This is how a centriole knows which angle along its polar axis that infrared radiation is arriving from – see Guenter Albrecht-Buehler, Ph.D. , in CELL INTELLIGENCE. Not only was this device referred to as an ‘eye’ – of a ‘King’ – but it looked like an eye with a pupil, it exhibited the biological structure of the eye of each human cell, and it turned 360 degrees on its axis once daily, making it literally ‘all seeing’ . . . Is this all a coincidence? … Synchronicity? … Conspiracy?
— Twin Pillars … *AND* … Pyramid —
The Austin J. Tobin Plaza incorporating the centrepiece of The Sphere, was arranged in a highly Masonic configuration with the center of each of the Twin Towers. This three-location isosceles triangle formed a perfect cross section of a Phi-Perfect-Pi Pyramid, such as that used in Khufu’s very special Great Pyramid of Giza (with an ~51.85 degree angle). Thus, we have here an Eye at the apex of an esoteric Pyramid, standing between two monolithic Temple Pillars, which is a symbolic combo used frequently in Masonic symbolism; such as, for example, the Freemason’s Circle in Eilat, Israel. Just to cap the symbolism, the key entry into the plaza from Church Street featured an abstract modern art sculpture called Cloud Fortress, by Japanese artist Masayuki Nagare. This very large black granite sculpture clearly represented a double pyramid arrangement reproducing the Ancient Egyptian Akhet principle, which was the esoteric gateway between the lands of the living and the dead: A cosmological ideology incorporating the rising and setting of the celestial lights on the eastern and western horizon, both rolled into one cosmic principle; ie, death and rebirth of the Sun, but also other luminaries. This Akhet double pyramid sculpture representing the rebirth of the Sun, was placed precisely east of The Sphere, in which direction the Sun rises daily; esoterically marking solar rebirth (Ra-Horakhty).
The rebirth of the Sun was celebrated in the ancient Egyptian calendar on the first day of the wandering 365 day civil year, marking the first day of the season also known as Akhet – meaning ‘Inundation’ or ‘Flood’ in Egyptian calendrical context [LINK]. The Coptic Calendar of Egypt, which was seasonally intercalated by Augustus Caesar in 25BC, is the only living calendar which preserves the old Egyptian calendar months. Because of the importance of this intercalation following the Battle of Actium and the subjugation of the Ptolemaic dynasty of Egypt, the Coptic calendar represents the marriage between the Pharaonic and Roman Imperial systems; but also the continuance of Gnostic ideology. Currently the Coptic New Year (Thoth/Thout 1), is celebrated on September 11th each year, which is probably just another coincidence [sarcasm]. Actually, because of the Coptic calendrical affinity with the Julian Calendar, the Coptic New Year from 1903 until 2095 occurs on September 12th every fourth year preceding the Julian leap year (ie, 1999, 2003, 2007, etc.), but in 2001, and in 2016, the New Year falls on September 11th. To be clear: When the Twin Towers were destroyed on September 11th 2001, it was the Coptic New Year, and the first day of the Akhet season of the Flood (of blood). A somewhat brief explanation of the principle of Akhet is quoted below, though the full cosmological importance, and context, of this core ancient Egyptian religious conception, deserves detailed study by those readers serious about understanding the Masonic ramifications of Sept 11th:
[regarding ancient Egyptian pyramid ideology] “The central concept here is akhet, a word we traditionally translate as “horizon” but that in Egyptian refers to a region of the heavens where the sky nears the earth and the sun god ascends from the underworld in the morning and returns in the evening. In Egyptian the pyramid of Cheops (whose Egyptian name was Khufu) is called akhet of Khufu. Akhet is the threshold region between the sky, the earth, and the underworld; in particular, akhet is the place where the sun rises. The etymological root of the word has the meaning of “blaze, be radiant”; likewise, the hieroglyph for akhet has nothing in common with the pyramid, but is a pictogram of the sun rising or setting between two mountains. The pyramid does not represent such an akhet, but symbolizes it in an aniconic way. The term of comparison between akhet and pyramid is the idea of “ascent to heaven.” As the sun god ascends from the underworld to the akhet and appears in the sky, so the king interred in the pyramid ascends to heaven by way of his akhet, his threshold of light.”
– Assmann, Jan.“The Mind of Egypt: History and Meaning in the Time of the Pharaohs”, pg 58, (2003)
Now, the reason that this rebirthing of the Sun is so important, at least from the point of view of modern occult movements, is because all neo-pagan dogmas are founded on the seasonal solar cycles: Spring; Summer; Autumn; Winter; and the important transition zones between these quadrants. Modern ‘witchcraft’, which is known popularly as Wicca, for instance, is modelled around the quarter turns of the solar cycle, and some would say, so are the more materialistic and un-Biblical calendrical fetishes of organized forms of Christianity; which are alterations from the early first millennium designed to appease certain pre-existing Roman pagan practices; such as the Saturnalia and Sol Invictus synchronisms with Christmas Day – even though Jesus Christ was definitely born 2BC ~Elul 1 (end of August to the beginning of September; as explained in previous posts). Specifically, and primarily, the reinstatement of pagan sun worship sits at the center of Aleister Crowley’s Thelemic dogmas as practiced in A∴A∴, especially a core ritual known as the Mass of the Phoenix (revealed previously HERE and HERE).
Although Aleister Crowey’s dogmas seem to some observers of occultism to be too obscure, or perhaps absurdly lacking in mainstream credibility, and especially not credible enough to attract the patronage of European or American elites, I assure the intelligent reader that if you think as much, you are sorely mistaken. Crowley was a serious British occultist who took all possible streams of ‘western esotericism’ including Freemasonry, mixed them with Victorian and Edwardian conceptions of ancient Egyptian religion, then added some syncretic neotantra sourced from the east, then synthesized all of this with an ethos for organizational structures derived from the original Bavarian Illuminati, and then mixed in the Will to Power philosophies of Nietzsche and Schopenhauer. This is a highly desirable combination for sociopaths and psychopaths looking to systematize, and philosophically justify, a collective raison d’être for rulership over a despotic New Age Imperium. Aleister Crowley makes Shelley’s Victor Frankenstein seem like a quaint novice; or perhaps a revolutionary philanthropist depending on your admiration, or not, of terrors. The following chilling excerpt from Crowley’s core work of ‘magickal’ instruction, explains the ultimate ambition of this lunatic, and his followers’ collective vison for mankind:
“But the bloody sacrifice, though more dangerous, is more efficacious; and for nearly all purposes human sacrifice is the best …
… One last word on this subject …
… There is a Magical operation of maximum importance: the Initiation of a New Aeon. When it becomes necessary to utter a Word, the whole Planet must be bathed in blood. Before man is ready to accept the Law of Thelema, the Great War must be fought. This Bloody Sacrifice is the critical point of the World-Ceremony of the Proclamation of Horus, the Crowned and conquering Child, as Lord of the Aeon. This whole matter is prophesied in the Book of the Law itself; let the student take note, and enter the ranks of the Host of the Sun.”
– Crowley, Aleister. “Magick in Theory and Practice; Chapter XII:
Of The Bloody Sacrifice: And Matters Cognate.” (1913)
Please take note of the above mentions of solar significance:
“Proclamation of Horus” … and … “Host of the Sun”
… a worldwide death and rebirthing ritual, in the form of a
Great War involving a literal bath of blood, in order for a
Crowned and Conquering Child – Horus – to be proclaimed!
Returning now to Freemasonry: The Twin Towers and their obvious congruence with the Twin Pillars of Solomon’s Temple, have an additional ancient correlation with Khufu’s Great Pyramid of Giza, and it cannot be ignored. As the largest ever manmade structure of pure masonry on Earth, the Great Pyramid of Giza is obviously an object of awe; especially to those in the modern world calling themselves Freemason’s. But Freemasonic ritual is undeniably modelled around legends of Solomon’s Temple, which only exist in one primary source; the Holy Bible. Although 1,500 years separated the construction of both the Great Pyramid of Giza, and Solomon’s Temple, we need to ask whether there are any architectural connections between them; after all, the tribes of Israel spent 400 years in Egypt before escaping during the Exodus year of 1449BC. There is indeed such a connection, and this blaring connection has barely been mentioned even in the most penetrating esoteric dissertations, including Freemasonic publications. This connection also has implications for our modern paradigm regarding the historical awareness of the ancient Egyptians and Israelis when it comes to knowledge of the dimensions, and the spherical form, of planet Earth. The following diagram is a Rosetta Stone for people possessing a brain with the ability to grasp important esoteric subject matter:
Now, the above diagram might not seem like much, but it opens up a real can-of-worms for intellectually honest, and thoughtful people; especially those who have studied the Great Pyramid of Giza, and the meaning of the specifically stated dimensions of Solomon’s Temple, including the portable Tabernacle which preceded the latter; dimensions which were transmitted in the text of the Holy Bible. The Great Pyramid of Giza contains, as an internal centrepiece, the so-called ‘Kings Chamber’, which contains an empty sarcophagus situated on its western half, and a single entry in the north-east corner. The floor area of this chamber which replicates the Hall of the Two Truths (‘Judgement Hall of Maat’), is a *RECTANGLE* of *EXACTLY* 10CUBITS x 20CUBITS (Egyptian royal cubits), which is importantly aligned *EXACTLY EAST-WEST*. Congruently, the Tabernacle had a ritual floor area known as the Holy Place, which was before the vail on the east, and which concealed the Ark of the Covenant which sat on the west of the vail in the darkened Most Holy Place. This Holy Place was a *RECTANGLE* of 10CUBITS x 20CUBITS, which was aligned *EAST-WEST*, with the entrance on the east facing the rising Sun. Later on in 952BC when Solomon’s Temple was consecrated, it contained a replicated, but scaled-up, Holy Place, which was a *RECTANGLE* of 20CUBITS x 40CUBITS, and which was also aligned *EAST-WEST* with the entrance on the east facing the rising Sun (and other rising luminaries on the ecliptic).
It will be seen that Solomon’s Temple was ritually an exact double scale-up of the preceding Tabernacle; regarding the Holy Place and Most Holy Place floor areas. The important difference between the Tabernacle and the later Temple of Solomon, however, was that the entrance of the latter was flanked by a porch with two monolithic brass pillars named Jachin and Boaz; which pillars replicated the ancient Egyptian Akhet principle. These two pillars were aligned North-South with Boaz on the north, however, Boaz is usually reported incorrectly as the southern pillar. Trust me: Boaz was the northern pillar and Jachin was the southern pillar; the Biblical accounts, and a single account by Josephus, are interpreted sometimes in the most ridiculously illogical manner, with total disregard to other clear instances providing ritual context; such as the the cursing (left hand: Mount Ebal) and the blessing (right hand: Mount Gerizim) by Joshua at Shechem (DEUT.27:11-28:68; JOSH.8:30-35). These two mountains recreated an Akhet, and Joshua, the officiant, was facing the east, just as the Mercy Seat on the Ark of the Covenant faced east. As the above diagram of the spherical coordinate model of any Planet will confirm, the *2×1 RECTANGLE* facing east-west behind the pillars, ritually represents the terrestrial and celestial Spherical Coordinate System; transposed onto a Cartesian 2D Plane where the x and y coordinates represent the angular components of the spherical reference model.
This floor of Solomon’s Temple represented a spherical Earth rotating towards the east, and the twin pillars represent the *ONLY* two single points on a sphere around which *ALL* celestial objects technically pass between whilst rising and setting: The North Pole and South Pole; which both represent the axis – a single 3D vector – around which the terrestrial and celestial spheres are mechanically fixated. Both of these poles actually refer to the exact same vector in space-time, and they are appropriately referred to as Twins (ie., Zarah and Pharez; generating Jachin and Boaz). TAMAR, who was the mother of the royal twins Zarah and Pharez, was said to have “played the harlot” (GEN.38:24), but was proven to have been more faithful than her unsuspecting father-in-law Judah, who had inadvertently inseminated Tamar believing her to have been a scarlet woman. It is from this curious sexual encounter that all royal titles in Israel were derived. The story revolves around her twin boys who also had a switched birthright caused by the breach of a Matrix taboo during their nativity; ie, the scarlet cord incident. Amazing mysteries surround this encounter, but suffice it to say, I must gloss over the technicalities for the sake of brevity. From Pharez came Boaz, but the implications of Zarah’s connection with Jachin (HINT: Jachin is missing his right shoe! RUTH 4:7-8), contains a mystery relating to the Land Title and Royal Sovereignty contained within the Divine Promise made to Israel.
The central branch axis of a date palm tree
(Phoenix dactylifera), is known as the ‘Crown’.
Protected above this thorny crown are the bunches of sweet dates; a rare source of intense sugars in this desolate region of the globe. The date palm was considered a royal tree in the most ancient near-east cultures, especially in regards to female royalty, whereas male royalty were usually compared to the strong cedar trees of the higher mountain ranges. This link between date palms and royalty is why a date palm appears on each of the four clock faces of the Mecca Royal Hotel Clock Tower. Additionally, ancient Jericho was importantly referred to as the ‘city of palm trees’; which is important context relating to the last scene of Fight Club, known as ‘Walls of Jericho’.
Now, Tamar is a Hebrew name for females, which means date palm. Date plams were in turn the sacred archetypes for Temple pillars in ancient middle eastern religion; even being connected to the very ancient Eridu Temple doctrines of Ea (Enki), in Sumerian religion, which also incorporates the twin guardian lions which feature in the Biblical story of Tamar and Judah; Zarah and Pharez were symbolically twin lion cubs, because the iconography of the Tribe of Judah, is the lion, which is probably one of the oldest solar symbols in ancient religion; coincidentally pictured in ancient Egyptian religion as the twin lion guardians of the two Akhet mountains (as seen in numerous versions of the funereal work known as the Book of the Dead). The Hebrew name Tamar is a very curious name in this respect, because it happens to share a phonetic structure almost identical with Egyptian pronounciation of the name Ta-mera, which was the Egyptian name for the ‘Two Lands’ of Egypt in the ancient tongue; referring to the land of Upper Egypt (southern), and Lower Egypt (northern), as two separate, but unified, sovereign entities represented by Crowns (Pschent). Curiously, this north-south division was also manifested in Israel when the northern and southern kingdoms separated following the death of King Solomon, replicating the division enshrined in the dual crowns of the ancient Egyptian Pharaoh’s.
The reason that this congruence between the dual-crown of Egypt and the dual-crown of Israel, is so important, is due to the ritual congruence between the King’s Chamber in the Great Pyramid, and Solomon’s Temple (preceded by the portable Tabernacle). Remember: Sitting at the center of this ritual system is the Akhet principle of death and rebirth, which is perfectly reconcilable with Christian resurrection doctrine. Somehow the most ancient principles of Egyptian royal theology from the Fourth Dynasty of Egypt – which preceded the appearance of the deity of Osiris in the Fifth Dynasty – are interlocked with those of Biblical Israel. There are also many parallels between Genesis cosmology and Egyptian cosmology – especially regarding the Hermopolitan Ogdoad and the emergence of the primeval mound from the waters of Nun – but there are also similarities with certain Sumerian cosmology and mythology; such as those emanating from the most ancient cities of Eridu and Ur – especially the Akītu New Year/Creation festival rituals. We should expect such similarities, because Genesis is quite clear about the connections between Sumerian – Ur was the city of Abraham’s nativity, which is very close to Eridu – and Egyptian cultural interplay during the formative stages in which the Tribes of Israel became a nation, then a dual-nation, possessing land by divine conquest. The following pivotal reference in the Holy Bible book of Isaiah, is instructive of this key connection:
“In that day shall there be an altar to the LORD in the midst of the land of Egypt, and a pillar at the border thereof to the LORD. And it shall be for a sign and for a witness unto the LORD of hosts in the land of Egypt: for they shall cry unto the LORD because of the oppressors, and he shall send them a saviour, and a great one, and he shall deliver them.” – Isaiah 19:19-20
Now, to the intellectually honest student of esotericism and/or Judeo-Christian mysticism, the above riddle by Isaiah is clearly a reference to the region of ancient Memphis, including the Dahshur-Saqqara-Giza necropolis constellation. In order for this ‘pillar’, and ‘altar’, to be in the midst of the land of Egypt but also ‘on the border thereof’, requires an internal border to be the subject of referral. Only the border between Upper Egypt and Lower Egypt can be meant by this reference. At this identified location only the Pyramids stand as a testament to the PPP-Pyramid of God explained previously, and only Khufu’s Great Pyramid of Giza contains a cenotaphic, encapsulated, analogue for the *10 CUBITS X 20 CUBITS, EAST-WEST* oriented Holy Place from the Tabernacle – and thus the later double scale-up within Solomon’s Temple. Critics of this suggestion have cited a Biblical taboo for altar’s (including stone altar’s) not to be built of hewn stone touched by workman’s tools (EXODUS 20:24-26), because this would ‘pollute’ them. However, this argument is nullified by two rebuttals: Firstly, this law was laid down after the Exodus and the Great Pyramid of Giza predated this law by over 1000 years; Secondly, this law only refers to altar’s for burnt offering, but there were actually two altars in the Tabernacle and/or Solomon’s Temple. The first altar, found in the 2×1 Holy Place, was an incense altar made using workman’s tools. The second altar found outside in the Temple Courtyard, was for burnt offering, and it was made of ‘living’ stone in compliance with this law.
“And when they were departed, behold, the angel of the Lord appeareth to Joseph in a dream, saying, Arise, and take the young child and his mother, and flee into Egypt, and be thou there until I bring thee word: for Herod will seek the young child to destroy him. When he arose, he took the young child and his mother by night, and departed into Egypt: And was there until the death of Herod: that it might be fulfilled which was spoken of the Lord by the prophet, saying, Out of Egypt have I called my son. Then Herod, when he saw that he was mocked of the wise men, was exceeding wroth, and sent forth, and slew all the children that were in Bethlehem, and in all the coasts thereof, from two years old and under, according to the time which he had diligently enquired of the wise men.” – Matthew 2:13-16 [EMPHASIS ADDED]
Does the Great Pyramid represent the Tabernacle/Temple incense altar due to the ritual primacy of the 2×1 rectangular sanctuary floor? If so, this altar taboo which only relates to altar’s of burnt offering, does not apply. No Egyptian primary sources state that the Great Pyramid – or any Pyramid whatsoever – were considered altar’s of burnt offering, and it is almost certain that the Fourth Dynasty pharaonic pyramids (the primary ones, but not the satellite pyramids for female relatives), were actually only cenotaphs to divine kingship, and that they were never tombs. A cenotaph is specifically an implement for ‘remembrance’ – a form of witness – which matches perfectly the prophetic statement of Isaiah. Jesus Christ was a Divine King in the flesh, whose self-sacrifice for his own people represents a sacramental communion of remembrance revolving around his death, resurrection, and ascension. An empty tomb, where no man had previously been laid to rest, is a key component of the Easter Sunday remembrance. Ancient Egyptian ritual context suggests that empty sarcophagi were purposefully used in ancient Egyptian mock burials as early as the Third Dynasty; ie, the Buried Pyramid of Pharaoh Sekhemkhet Djoserty. To this day there is no evidence of interment of any Fourth Dynasty Pharaoh’s in these Old Kingdom pyramid cenotaphs. Known as the ‘empty case’ of Horus – in relation to spiritual ascension – we have written evidence on Pharaonic Pyramid walls a few hundred years later:
“The body to heaven, the empty case of Horus to the earth.
The sandal (i.e., foot) of Horus treads on the serpent Nekha.”
– Pyramid Text of Teti I (First Pharaoh of Sixth Dynasty; died ~2333BC)
Compare … “And the LORD God said unto the serpent, Because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly shalt thou go, and dust shalt thou eat all the days of thy life: And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel.” – Genesis 3:14-15
These large pyramids were certainly altar’s of witness to the divine, in which the king of the double-crown claimed his continued right to rule – as a Judge – through his living successors; in a völkisch blood memorial relating to the continuance of the Ka of the king’s ancestral line; a concept certainly derived from the clan-divinities of ancient Saharan/Nilotic cattle culture. Likewise, the early Tribes of Israel were also shepherd herders. So, what divinity do these cenotaph’s witness of? Were not the Pharaoh’s polytheists, and pagans? The reader might be surprised to find out that primary sources from the Fourth Dynasty are almost non-existent, and that the only references to Khufu being linked to a deity, is through his birth nomen Khnum-Khuf. Khnum was symbolically a ram headed Divine Potter who controlled the annual Nile flood from the Cavern of Yebu, and who breathed the ‘breath of life’ into mankind upon their formation from literal ‘dust of the earth’; red clay. This matches the Genesis creation story of Adam and Eve, where the word Adam actually means ‘redness’, or ‘ruddy’; in relation to red blood and flesh. Jesus is referred to theologically as the Son of God, but also symbolically as the slain ‘Lamb of God’ – a young ram – being the same symbolic species as Khnum. This could very easily be a great example of very ancient cultural tropes being inherited or shared between sedentary Egyptian, older nomadic Egyptian, and nomatic Semetic cultures; such as the first ever Pyramid Texts found in the Fifth Dynasty Northwest Semetic serpent spells in the Pyramid of Unas witness.
The Falling Crown
— Potter’s Field for Divine Regicide —
A well needed Africanist perspective on kingship …
“The accumulated ethnographic and historical facts show that kingship is not, in principle, political power. It is an onerous ritual duty which results, more often than not, in the killing of the king”
– Scubla, Lucien. “Sacred King, Sacrificial Victim, Surrogate Victim, or Frazer, Hocart,
Girard”. In ‘The Character of Kingship’, edited by D. Quigley, pp.39-62. Oxford: Berg. (2005)
“My kingdom is not of this world: if my kingdom were of this world, then would my servants fight, that I should not be delivered to the Jews: but now is my kingdom not from hence.” – John 18:36 [words of Jesus Christ]
Interestingly, the blood-money of Jesus’ betrayal by Judas, in an act of regicide involving a conspiracy within the spiritual and political hierarchy of his own Jewish people, purchased the Potter’s Field for a ‘burial place’. This seems congruent with the Pharaoh’s Royal Jubilee Sed festival, which contained rituals revolving around a plot of land referred to simply as ‘the field’, which was associated with the living Pharaoh’s future funeral rites. The Potter’s Field burial ground purchased by the Pharisees symbolically represented the Land Covenant of Israel, which was embodied by the Sovereign – the King – in an astonoshing case of the final fulfilment of God manifest in the flesh, now known to the entire modern world as the ‘King of the Jews’, who was first brought forth ‘out of Egypt’. Jesus’ physical death, resurrection, and ascension, allowed for his global remembrance. Likewise, the only reason we so readily remember the name of Khnum-Khuf, is through the errection of this largest, most monumental ‘Witness’, in the ‘midst of the land of Egypt’, which was an altar to assist the resurrection of the Pharaoh into a blessed afterlife. In conclusion, the most massive stone cenotaph ever built is the Great Pyramid of Giza, and it was built on land remembering the death of a divinized king bearing a dual-crown, with divine protection, whose divine name Khnum-Khuf literally means ‘Protected of the Potter’; ie, ‘protected by the creator of man’ (Khnum).
There are many other parallels which could be recalled, but again, for the sake of brevity, I will leave it to the interested reader to ponder on their own how this all came about so succinctly. Synchromysticism, in this case, is an apt term to describe such a string of coincidence; alas, my cynicism must finally concede ground, but only when God himself shows such a powerful hand in the affairs of man. The above information, should, however, provide enough context for why a ‘falling crown’ is symbolically important theologically, from not only an ancient Egyptian religious perspective, but also right down into Judeo-Christian religious conceptions. As we will see, this ‘falling crown’ symbolism central to Fight Club and 9/11, is also highly important in Kabbalah, which had its formative stages within mystical Judaic currents nurtured in the Judeo-Christian cultural milieu of medieval Europe. Though it began with Jewish Rabbi’s, mystics from all esoteric disciplines soon adopted the Kabbalistic ‘tree of life’ as a skeleton with which to visualize esoteric systems of hierarchy. This process birthed Hermetic Kabbalah, which in turn birthed organizations such as the Hermetic Order of the Golden Dawn, which inspired Aleister Crowley’s Thelema. However, Thelema also incorporated an inverted interpretation of the Book of Revelation; which is clearly a very mystical, and profound, Christian apocalyptic text.
Crowley elevated the Queen of Heaven prostitution concept to centrality, by merging this concept with the ancient Egyptian deification of the sky Nut/Nuit; who after the Fifth Dynasty, in the Heliopolitan Ennead, was the mother of Osiris, Isis, Set, and Nepthys. Crowley used the terminology ‘Nuit’ to label the Queen of Heaven concept, but also the terminology ‘Scarlet Woman’ to represent a ritual analogue embodied in a material sacred prostitute, to be used in ‘sex magick’ [sic] rites. It is important to note, that the ancient Egyptians referred to the Sarcophagus as the Womb of Nut (the sky), meaning that, technically, a conventional elite ‘burial’ – or ascension ritual – in ancient Egypt, was considered to be a symbolic ‘sky burial’ (heavenly ascension). This is where the concepts of virginity, whoredom, sin, and death, all fall into a divine interplay, and which are all embodied by the death of Jesus Christ, sentenced to physical death because of the imperfect nature of mankind. The two date palm pillars of Solomon’s Temple represent a feminine gateway, and the 2×1 Holy Place represents the womb which brought forth – birthed – the Son of God. This gateway represents Divine Kingship – thus Divine Judgement – because Tamar was the mother from which ALL titles of monarchy in Israel were literally conceived; ie, through the twins of Zarah and Pharez, the latter, through Boaz, being the forefather of Joseph, who was Jesus’ adopted father and the source of Jesus’ material claim to an unbroken Adamic royal bloodline.
The perfectly cubic Most Holy Place with no windows, however, was separated by a ritual vail from the feminine 2×1 Holy Place womb which contained windows and sacred oil lamps, representing the dark, masculine, primordial power of Law – the Father. The Ark of the Covenant which was a Judgement Seat containing the Law of Moses on two stone tablets, was an aniconic representation of the Throne of God; being immaterial in a theological sense, but quite material once the Son of God – the light of this world – had been born. The Levitical priesthood were supposed to be theological virgins, maintaining this sacred feminine space in a condition of virginity, but they had invited the graven image of the Phoenician god Melqart (meaning “King of the City”) into the Temple of Yahweh, through the 19-15BC introduction of a KAP or KP monogram (kapparot; atonement, as in EXODUS 30:15-16) on silver Tyrian shekels mandated for purposes of paying the Temple Tax. These same shekels were paid to Judas for Jesus’ betrayal: 30 pieces; which had to be four full shekels, and twenty six half shekels; 17 shekels in total (JEREMIAH 32:9); a total of 34 years of Temple Tax, paid by the Israeli Nazarite (dedicated at birth to this same Temple) Messiah or his parents, at a rate half a shekel per year, then rejected by the Pharasees because it was ‘unlawful’ to keep blood-money in the Temple Treasury; even though the graven image of Melqart on each KAP shekel hadn’t bothered them for well over fifty years – the audacity!
Tribute comes in two forms; the Temple Tax was uniquely for God, not a mortal King:
“And they sought to lay hold on him, but feared the people: for they knew that he had spoken the parable against them: and they left him, and went their way. And they send unto him certain of the Pharisees and of the Herodians, to catch him in his words. And when they were come, they say unto him, Master, we know that thou art true, and carest for no man: for thou regardest not the person of men, but teachest the way of God in truth: Is it lawful to give tribute to Caesar, or not? Shall we give, or shall we not give? But he, knowing their hypocrisy, said unto them, Why tempt ye me? Bring me a penny [dēnarion; Roman silver], that I may see it. And they brought it. And he saith unto them, Whose is this image and superscription? And they said unto him, Caesar’s. And Jesus answering said unto them, Render to Caesar the things that are Caesar’s, and to God the things that are God’s. And they marvelled at him.”-Mark 12:12-17 [ΚΑΙζΑΡΟζ appeared on coins]
The monogram KAP, which shortly became KP, is revealed to mean KAIZAROZ/ΚΑΙζΑΡΟζ. This explanation for the meaning of the monogram on post 19BC Tyre shekels is probably only half true, because the extrapolated meaning only shows up on coins after 6AD, meaning the earlier use was probably a ruse to introduce the monogram incrementally to the Jews: Reverse engineering a pun; KAP is simply a phonetic abbreviation for KAPPAROT/KAPHAR (STRONGS: H3722), which is the original Hebrew word for ‘atonement’; used to describe the Temple Tax since the time of Moses. Herod the Great had been granted nominal control of Tyre, and its Mint, by Emperor Augustus. Augustus, Herod, the Pharasees, and the money changers, all viewed the Temple as the biggest single cash-cow in the Levant. It has been assumed that between 19BC, and 15BC, that the Tyre Mint had been relocated to Jerusalem, which theory seems to be correct, because the silver mines in Spain had long since become a direct concern of the Romans, with Tyre losing its near monopoly on the economically exploitable silver supply of the Mediterranean trade sphere. Tyrian silver is so important to Biblical prophecy – especially to present world events – because these coins were used for the most important monetary transaction in world history, which was executed at the Jewish Temple complex in 33AD: The wages of a divine regicide, for the purchase of a graveyard!
… a funeral fit for a Pharaoh!
“No man can serve two masters: for either he will hate the one, and love the other; or else he will hold to the one, and despise
the other. Ye cannot serve God and mammon.”
― Matthew 6:24, words of Jesus Christ.
Importantly, the long standing convention of Tyrian coins bearing the image of a man on one side, and the Eagle of Zeus on the other, was instituted by Pharaoh Ptolemy I Soter (c.367BC-283/2BC; Soter means Saviour). Ptolemy was one of Alexander the Great’s leading Macedonian General’s, who protractedly inherited the double-crown of Egypt – after the Wars of the Diadochi – from Alexander, after Alexander’s 323BC death at Nebuchadnezzar’s Palace, in Babylon. Ptolemy was present when Alexander had been proclaimed the ‘son of Zeus’ at the Siwa Oasis Oracle of Amun after the famous Macedonian and Greek sacking of Tyre, and the ‘liberation’ of Egypt from Persian dominion. Thus, the later Tyrian shekels which were struck after 127BC, at the Tyre Mint, which was then once again politically autonomous from any regional power, adhered to almost the exact same graphical numismatic conventions as the earlier Ptolemaic coinage struck at the same mint; but this iconography was initially set because of Alexander the Great’s famous 7 month siege of Tyre, coming to represent a synthesis between Egyptian, Phoenician, and Greek religious and political ideologies (Pharaoh/Melqart + Eagle of Zeus … later at the time of Jesus being interpreted as Jupiter, who was identical with Zeus under Roman religious syncretism).
The Temple Tax was for the ‘service of’ the material Temple, but after Jesus had died, resurrected, ascended, and the Temple had been destroyed, this revenue stream was no longer required. The Pharisees had finally lost their tax revenue, and sovereignty. The money changers and their harlot protector priests had been ejected like parasites from a dead host, seeking another victim. Through a divine irony in 70AD, the Romans became the executors of Jesus’ will, just as they had executed Jesus 37 years earlier. The priests were banished from the divine service of Yahweh forever, until, that is, the rise of a new politicized priesthood within the Roman Catholic Church – this time in acceptance of Jesus’ claim to be the Messiah – which came along about 300 years later beginning with Roman Emperor Constantine I. Ironically, the Catholics would outlaw the charging of usury throughout Christendom, except through certain approved Jewish money changers known as court factors. The Jews had become the new Tyrians, but this time managing the money for Christian Monarchs and Bishops. The process of spiritual harlotry had begun all over again, within the established Christian Church, being consumed from the inside out, until the troops of General Raffaele Cadorna crossed the frontier between the newly created Kingdom of Italy and the Papal States on September 11th 1870, signalling the beginning of the end for Papal independence and sovereignty in the temporal sense.
Now almost 150 years later, the Pope has become the CEO of a super multi-national corporation, uniquely with its own central bank, with a financial laundromat (IOR and APSA) high-end managed by Papal nuncio’s with legal immunity throughout most of the planet, with the largest conglomerate of real-estate holdings world wide. Most of this real-estate is highly illiquid, carrying severe cost burdens and lacking in consistent revenue streams; ie, Churches, Cathedrals, and much more. However, the Vatican, like most elite private wealth networks, is now totally dependent on the patronage of the City of London’s access portal to British Crown off-shore secrecy and tax haven networks (especially the Vatican’s Cayman Islands operations), which manage the *profitable* end of the Vatican’s dark-pool fiat financial transactions; which include large revenues from narco-chapel laundering throughout the America’s, requiring a substantial international infrastructure to handle ‘donations’ and ‘alms’ (ignoring, of course, the forked tongue lip service from CEO Francis ‘attacking’ the narcotics trade). History is repeating, but synchromystically, just in time for the Second Coming of Jesus Christ. The biggest sign is the worldwide globalist push for Carbon Taxation, Carbon Trading, and Carbon Derivatives Markets; a great deception presented under the guise of a ‘scientific’ world governance (United Nations Gaia cult).
… the primary sign of the First Coming of Jesus Christ was …
“And it came to pass in those days, that there went out a decree from Caesar Augustus, that all the world should be taxed.”
– Luke 2:1 [referring to the event that brought Joseph, Mary, and Jesus to Bethlehem].
The modern push for a Carbon Tax/Trade $ystem represents the new Tyrian Blood $hekel; a harlot system of fiat monetary slavery, endorsed by the eco-fascist CEO Pope Francis, the British Crown, bloated government bureaucracies worldwide looking for more monetary stock-feed, and of course, their money changers. This new Blood Shekel system is about to be conjoined with a cashless personal carbon identification number for each individual and corporation, without which you will not be able to buy or sell; it will track your required carbon indulgences, and allow your entire lifestyle to be audited and regulated by your new jet-set slave masters. The United Nations – the Roman Empire reborn – will enforce this system at the point of a gun, and under the sole of a jack booted thug carrying a clipboard. Non-compliance will be classified as terrorism (that scary ‘T’ word, somewhat akin to ‘Conspiracy Theorist’), and any dissenters will be declared equivalent to Al-Qaeda or ISIS; ie, your human rights will be revoked. Carbon-12 atoms have: 6-Protons; 6-Neutrons; and 6-Electrons; making them the 666 element of ALL material and organic life on Earth, and the basis of all economic transactions which begin with cheap affordable energy (IRONY: Fossil fuels are stored solar energy, whereas windmills are inefficient, do not store energy, but do kill lots of birds and require land clearing). Yes, your massively increased tax burden will be presented as a method for your slave masters to ‘Save Mother Earth’; making them religious saviours, which is a moniker that belongs to Jesus Christ.
…the Biblical sign given for people to identify the antichrist system…
“And he [Antichrist] had power to give life unto the image of the beast, that the image of the beast should both speak, and cause that as many as would not worship the image of the beast should be killed. And he causeth all, both small and great, rich and poor, free and bond, to receive a mark in their right hand, or in their foreheads: And that no man might buy or sell, save he that had the mark, or the name of the beast, or the number of his name. Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is Six hundred threescore and six .” – Revelation 13:15-18
— YOU HAVE BEEN WARNED — NEARLY 2000 YEARS AGO —
We have run out of TIME!
ALL carbon based organic life,
declared the property of man-gods.
But another catalyzing EVENT is required.
Believe it or not, the above esoteric subject matter is required context for understanding the occult subtleties included in the movie Fight Club. The final scene of the movie, in which the Twin Towers of Kabbalah are being demolished, is Crowned by a deliberately discernable subliminal of a *circumcised* penis. This scene is entitled ‘Walls of Jericho’ in the DVD release, which is a reference to the first *battle* fought by the children of Israel when they entered the Promised Land. This conquest was ordered by Moses, and executed by Joshua, but before they were allowed to besiege Jericho, they staged a mass circumcision of all Israeli males. Biblical circumcision is actually an act of ethnic protectionism, to protect Israeli females from being impregnated by non-Israeli males, in the bed chamber. Such non-Israeli’s could have been Canaanites, but the lack of circumcision would alert a woman to an impostor before insemination could occur. In the Biblical narrative Jericho was conquered without a siege, simply by ritual use of the Ark of the Covenant, seven days of encirclement, and trumpet blowing. After this divine intervention, the walls fell outwards, but not before two Israeli spies and a curious encounter between a prostitute called RAHAB, had set the stage for the conquest.
The identification of the city walls (which are a martial-domestic barrier), and their penetration, including a female of the scarlet woman persuasion, is logically self explanatory. Rahab and her family were subsequently the only inhabitants spared in this conquest, but her protection was only ensured by the use of the scarlet cord! Rahab is then named in the genealogy of Jesus Christ as the ‘mother’ of Boaz, for whom the North Pillar of Solomon’s Temple was named; which account is given in the New Testament Book of Matthew (MATT CH1; certainly an abridged genealogy). The Land Covenant of Israel was only ensured once conquest had occurred, and this event at Jericho was GROUND ZERO for all Israeli claims of sovereignty in the Promised Land. Hopefully the thoughtful reader will find this information profound – especially with respect to the WTC disaster – but if you don’t, then I can only advise further consumption, and digestion, of the Holy Bible (the communion). Before laying criticism in the comments section below, please consider the sheer breadth of these topics fully. Let’s look at some other esoteric inserts in Fight Club, but also The Matrix and Matrix Reloaded, in which movies a ‘refuge city’ for the ‘free’, called Zion, is depicted, though in a very Thelemic and un-Abrahamic way.
“If the real world was too bizarre for you to believe, or accept, would you spend the rest of your life living in a dream? … or likewise spend the rest of your life watching movies to reinforce a bias
that the bizarre is exclusively fictional?”
― A Very Good Question!
1..3… Tantra: Singularity & Trinity …3..1
TYLER (Norton): “Go to the house, OK?
Fifteen thirty-seven  Paper Street.
That’s our headquarters.”
GEN 3:1 The serpent was more subtle than any beast. Deliberate numerological inserts are the most subtle way to hide deep occult meaning within written or visual arts. The address of the HQ of Project Mayhem is given in the ‘Castrating Cops’ scene towards the end of Fight Club as 1537 Paper Street. Why does Tyler Durden’s Gemini Paper Street Soap Company business card shown at the beginning of the movie contain the wrong address? Why is the FIRST number, which is the number ONE missing? Was this an oversight by the production team or deliberate? The answer lies in the number shown on the apartment door of Marla Singer, in which the THIRD number, which is the number THREE, is also missing. A missing number can be construe as an occult – meaning ‘hidden’ – number, which is a very subtle way of hiding occult doctrine in a movie. This small insert is important to our comparison of Fight Club and The Matrix, because the character known as Neo – an anagram of One – in the latter is referred to repeatedly in Messianic terms as ‘the One’, whilst his love interest is known as Trinity: Male=1; Female=3.
The Matrix contains another important reference to this numerological dualism surrounding gender roles, which like Fight Club also involves door numbers. The number shown on Neo’s apartment door at the beginning of the movie is room 101, but the first door number seen at the very beginning of the movie involving Trinity is room 303. This last mentioned room also just happens to be the same door that appears at the end of the movie, where Neo is killed by Agent Smith, and where Trinity gives him a ‘kiss of life’ in order to resurrect him in the matrix – which catalyst starts his heart again in the real world. Thus Neo comes full circle in the movie which symbolically starts in the same room where it ends; much like the retrospective start and end scene of Fight Club. The third degree is also the penultimate degree in Craft Freemasonry, where the initiate re-enacts a mock death and resurrection ceremony within the Lodge, and where the ‘lost word’ is replaced upon resurrection by the mysterious word Machbenah, recorded as Mahabyn in the earliest Scottish Masonic manuscripts; which is almost certainly derived from the Arabic word Mahabba, meaning Love, and anciently used in Sufi ritual.
It was Trinity’s love that resurrected Neo at door 303! The numbers 101 and 303 were deliberate palindromes structured around numerically doubled 1’s and 3’s separated by zeros to create a pun on HTML status codes; 101 Switching Protocols and 303 See Other for issuing a URI redirect. Given the subject matter of The Matrix, this is a very clever use of tech jargon to explicate an esoteric meaning. But what is the true reason that the directors of these movies went out of their way to insert this similar symbolism deliberately? This numerology revolves around a pivotal gender dualism inherent in the plots of both movies, and it will be quite simple for people familiar with Tantra to understand; especially those familiar with the syncretism of Shaivism and Shakhtism within Neotantra, which finds an important place in Aleister Crowley’s cult of Thelema. We will be heavily exploring Thelemic dogma during this post, but I would encourage the interested reader to explore other posts on this blog (PREVIOUS POST). Following is a brief explanation of the One + Trinity of Neotantric dogma:
Shiva SANSKRIT: Śiva GENDER: Male
MEANING: “The Auspicious One”
MAIN TANTRIC SYMBOL: Bindu; a dot/singularity; an eye.
MEANING: “To be able” or as Shakthi “Power”
MAIN TANTRIC SYMBOL: Triangle; manifest universe.
Shown above is one representation of the Sahasrara Chakra, also known as the Crown Chakra; described as the 1000 Petal White Lotus – ‘1000 points of light’ – which represents the highest of the chakras. In Kabbalah it translates to Kether/Crown, whereas the lowest chakra translates to Malkuth/Kingdom. The symbol which sits at the centre of the chakra is a tantric device depicted as a dot/bindu, a triangle, and a circle (though there are differences of opinion). It should be understood that Neotantra functionally relies on a western esoteric interpretation of Hindu beliefs, whereas Hindu sectarian beliefs are so varied in focus and scope that many accentuate female divinity to the point of almost excluding the male, and vice versa – much like western Gaia cults. What is being presented here is the Neotantric interpretation based on the simple concept of a single point which sits inside a triangle, and its relation to actual procreation. As we have discussed the sperm is active, but requires the passive ovum in order to activate. In Tantra it is sometimes said that the Shakhti is the active force, and that Shiva is passive, but it needs to be understood that this is due to their reliance on each other in order to do any meaningful work.
This means that the single point known as the bindu is passive until it has room to move/create within a space which is represented by the triangle; thus the triangle is incorrectly construe as the ‘activating’ force when technically they activate each other and manifestation cannot occur without both components. Nobody will argue that the sperm is not the active gamete whilst the ovum is the passive one, thus biology solves the riddle once and for all. In sacred geometry a triangle is produced from three points which are separate from each other in 3D space – but not all on one single vector – which is the simplest way to designate a 2D ‘field’ in a 3D space. Likewise the simplest 3D solid is a tetrahedron with four triangular faces, making the triangle and the number 3 intrinsic to spatial materialization. As such the triangle represents the ovum, and the dot/bindu represents the sperm; field and seed respectively. In anthropology this symbolic concept of the ‘field’ and ‘seed’ is ubiquitous to a plethora of ancient cultures. Likewise on a symbolic level in tantra the triangle represents the Yoni, and the dot/bindu represents the Linga; Shakhti and Shiva respectively, relating to the female and male sexual organs and function. All of Tantra revolves around this principle, and so do ‘sex magick’ rites such as those found in Thelema.
The use of such ‘sex magick’ rites to activate the so called ‘Kundalini serpent energy’ in the lower chakra – which is found near the reproductive organs – is an attempt to connect the earthly realm with a spiritual one using tantra; connecting them like a string of pearls. The circle which encloses the triangle and which shares its three points, and which has its center at the origin/dot/bindu, represents the union of the two principals. The circle thus represents tantra in action including the cycles of creation and destruction, both of which are depicted as a dualistic dance between these polarities, but also a monistic existence of codependence and union in order for the universe to function. The paradox of monism vs dualism is central to certain sectarianism within Hindu Shaivism, though Neotantra largely nullifies this argument through the analogy of procreation; where neither concept is dominant but both complement each other cyclically. The parallel between this concept and the Christian Trinity – which requires exploration into the functionality of the mysterious Holy Ghost/Spirit – was covered in a PREVIOUS POST regarding the Spirit of the Flame, being too complicated to broach in this current discussion.
Thelema, however, expresses this concept by appealing to the baser side of human desire through actual practical ‘sex magick’ rites, which usually involve female participants designated as ‘Scarlet Women’, who are embodiments of BABALON; the so called ‘sacred whore’ who represents among other things Ishtar from ancient Babylonian religion. Her male practitioner is referred to as the ‘Magician’ and embodies ‘The BEAST 666’. Crowley based these rites around an interpretation of the Book of Revelation in which a harlot called Babylon the Great – who actually represents a wicked ‘city’ – is depicted as riding a seven headed Beast – which actually represents the Roman Empire reborn. Crowley reversed the roles of these end-times characters from being negative character portrayals into positive ones, inverting the meaning of the book and making the whore the agent of salvation. Blasphemy was a specialty of Crowley, and he reveled in it. His reason for doing this is quite obvious from a small quote in Crowley’s autobiography, written in third person point of view by a man who considered his adult ‘initiated’ identity to be a New Man, removed and distinct from the ‘un-initiated’ identity of his youth:
“It is very important to mention that the mind of the child [Crowley] was almost abnormally normal. He showed no tendency to see visions, as even commonplace children often do. The Bible was his only book at this period; but neither the narrative nor the poetry made any deep impression on him. He was fascinated by the mysteriously prophetic passages, especially those in Revelation. The Christianity in his home was entirely pleasant to him, and yet his sympathies were with the opponents of heaven. He suspects obscurely that this was partly an instinctive love of terrors. The Elders and the harps seemed tame. He preferred the Dragon, the False Prophet, the Beast and the Scarlet Woman, as being more exciting. He revelled in the descriptions of torment. One may suspect, moreover, a strain of congenital masochism. He liked to imagine himself in agony; in particular, he liked to identify himself with the Beast whose number is the number of a man, six hundred and three score six . One can only conjecture that it was the mystery of the number which determined this childish choice.”
– Crowley, Aleister. “The Confessions Of Aleister Crowley”, (Autobiography~1928)
Crowley was a poster child for everything that was wrong with fundamentalist Christian Victorian households, being raised in a far too strict manner by the Plymouth Brethren. All of the most vicious rabid anti-Christians in history were usually raised as Christians, by parents who applied the Bible to their children like a sledge hammer. Christian values should never be forced on people, they should be lovingly but patiently displayed as a choice that each person has to make for themselves when they are old enough to understand why Jesus had to die; a concept which NO child is going to understand with their head in a vice, because it is hard enough for a young adult to understand. Crowley was naturally drawn to the esoteric side of the Judeo-Christian tradition, especially to the Kabbalah which was being mixed with Freemasonry, Gnosticism, and Hermetic occultism at the turn of the twentieth century.
Once Crowley had mixed these occult currents with Nietzsche’s ‘Will to Power’ philosophy of man-as-god and finally Tantric beliefs, a monster was erected; though these same occult syncretism’s were in existence before he was born, being found in the völkisch and theosophical movements, and also in a super illusive network known as the ‘AA’ long before Crowley officially created his A∴A∴ cult in 1907. Following is a small example of Crowley’s dogma, revealing how the ‘sacred whore’ BABALON (77 seal shown below) is represented as the agent of salvation, in contradistinction to Jesus Christ in Christianity: The whore of Babylon in the Book of Revelation is the object of damnation, representing everything that is wrong with human culture, whereas Jesus is of course the agent of salvation;
And for this is BABALON under the power of the Magician,
that she hath submitted herself unto the work; and she
guardeth the Abyss. And in her is a perfect purity of that
which is above, yet she is sent as the Redeemer to them
that are below. For there is no other way into the
Supernal mystery but through her and the Beast on
which she rideth; and the Magician is set beyond her
to deceive the brothers of blackness, lest they should
make unto themselves a crown; for if there were
two crowns, then should Ygdrasil, that ancient tree,
be cast out into the Abyss, uprooted and cast down
into the Outermost Abyss, and the Arcanum which
is in the Adytum should be profaned; and the Ark
should be touched, and the Lodge spied upon by
them that are not masters, and the bread of the
Sacrament should be the dung of Choronzon; and
the wine of the Sacrament should be the water of
Choronzon; and the incense should be dispersion;
and the fire upon the Altar should be hate. But
lift up thyself; stand, play the man, for behold!
there shall be revealed unto thee the Great Terror,
the thing of awe that hath no name.
– Crowley, Aleister. Magick Without Tears, Ch XII.
This whore known as the Scarlet Woman is represented in Crowley’s Unicursal Hexagram of Thelema, using a symbol he coined the ‘Mystic Rose’ (shown above). All roses are composed of sets of five petals, which is interpreted by occultists as a pentalphic manifestation. This unicursal hexagram is thus a symbolic 6 wedded to the pentalphic 5, totaling up to 11 which is the most important number in Thelema representing union between the Scarlet Woman (5) and the Beast (6). Crowley’s first wife was also named Rose Edith Kelly, so it had more than a Masonic-Rosicrucian meaning for Crowley whom utilized her as a ‘sex magickal’ partner, later slinging her into the gutter as he pursued other women. She became a highly mentally unstable alcoholic like many other women Crowley used throughout his life. The treatment of MARLA Singer’s character in Fight Club by Tyler (Pitt) purely as a sex object, is exemplary of this same tendency for lust over love, especially when he expresses his desire to kill her near the end of the movie.
Not only has the double-A of Thelemic A∴A∴ been used for Marla’s name, but she is also shown wearing a ‘mystic rose’ ring throughout the movie. This is quite purposeful, just as Tyler (Pitt) is pictured wearing an ‘eye’ ring in the ‘Human Sacrifice’ scene (shown above on the right). This is the only time the eye ring is shown, whilst Tyler is ogling at Raymond’s ID card (drivers license), who happens to be the first victim of the ‘Human Sacrifice’ program; which is a crafty way of invoking the ‘all seeing’ nature of the secret parallel A∴A∴ ‘Illuminati’ order which Tyler represents – hypocritically, because Tyler is personally no veterinary surgeon; in the same way that Prince Charles of Windsor probably can’t open a milk carton properly without a groom to assist him; yet we call these people ‘elites’!
ABOVE] The symbol of the Eye in Egyptian religion, had many usages. One of the most important other than Horus, Ra, or Thoth, was Osiris; the deity presiding over the judgement of the dead, the land of the west (setting sun) in Egyptian cosmic geography. This association with the west is important, because the Most Holy place of Solomon’s Temple was to be found west of the entry porch pillars: Jachin & Boaz.
ABOVE] In the Fight Club DVD Special Features, a mock consumer pamphlet for Fight Club paraphernalia featured in the movie is available for viewing. Marla’s ‘Mystic Rose’ ring is featured under the subheading ‘Our Little Secret’. It is listed as a contraption to conceal cocaine, but this is simply a ruse in order to justify the subheading, which actually refers to the Thelemic symbolism it encapsulates; which would only be apparent to a small percentage of esoterically minded people.
“In the Dark Room of the West,
Through the Twin Portal Pillars,
Between the Twin Cherubim of Eden,
Dwells the Judge of the Dead, Enthroned,
The ONLY Light in the Darkness”
Marla’s ring denoting her as Shakhti is on her right hand, which is the female pillar in Kabbalah as we will discuss, and it is on her middle finger instead of her ring finger, because it indicates whoredom instead of a nuptial oath. The ‘eye’ ring on Tyler (Pitt) is on the left hand, which is the male pillar in Kabbalah, and is on his ring finger representing his devotion to the universal harlot; functionally a one way transaction; otherwise she would not be a harlot and the practitioner would not be devoted to her service. The first sex scene of the movie was purposefully filmed in an abstract 3D-panned freeze frame technique. This was done in order to exemplify this initial union as a Thelemic ‘sacramental’ communion; the occult sexual union of BABALON and the BEAST was being displayed. This scene occurs directly after Marla in apartment No. 513 first contacts Tyler on phone No. 555-0153. 513 and 153 are both permutations of the same three integers, including the 1 and 3 of Shiva and Shakhti, whilst the 5 represents the ‘mystic rose’. 153 is also a number connected to the vesica piscis in sacred geometry, which is almost certainly the reason for the parable of the 153 fishes in the Bible. When these two numbers are added together the number 666 is produced (153+513=666), which is the all important ‘Number of the Beast’.
Marla’s apartment represents Space (womb), whilst Tyler’s phone number represents a signal travelling through Time without space, making this analogous to fertilization. Tyler then fetches Marla and removes her to his own house representing possession by the ‘magickian’ of his Scarlet Woman. On a technical level such Thelemic principles are obvious to someone who has studied such occult beliefs seriously and who is looking for them, though they might seem speculative for most people, and I understand this, but remember that occultism is speculative by nature. After what we have explored regarding the centriole ‘eye’ in the sperm – and at the old WTC Plaza – is it any wonder that Tyler (Pitt) is pictured wearing a ring with a single eye on it, representing Shiva? The ‘Eye of Shiva’ is specifically how Crowley referred to this device, and he specifically included it in his Book of Thoth tarot card The Tower, to signify war and destruction; a concept familiar to Tyler (Pitt) in Fight Club. Marla’s ring is thus placed clearly in context with Tyler’s ‘eye’ ring, because she represents his Shakhti – his Mystic Rose – just as Trinity is Neo’s Shakhti in The Matrix. Because of this clear invocation of Shiva-Shakhti dualism and union in both movies, the symbolism in the following scene from The Matrix where Neo is given the truth about reality, can also be visually explicated, whereas without this esoteric context much is missed.
MORPHEUS: “If real is what you can feel, smell, taste and see,
then ‘real’ is simply electrical signals interpreted by your brain”
Shown above, we can see that Morpheus opens this scene by flashing a Shakhti sign – vesica piscis and/or inverted triangle – near the region of the sexual organs. For those paying attention, this inverted triangle appears on the back of an archaic DEEP IMAGE AWA cathode-ray television set. In such a television set electrons are energized at the electromagnet, which is contained at the center-back of the set, which is visible at the center of the triangle. These electrons are then accelerated into a sensitive substance in the screen (like ‘seeds’ being planted in a ‘field’), at the front of the TV, where they illuminate each pixel to emanate a particular colour. We have here a symbolic analogue for the illusory nature of the manifest world, which has its origins merely as an informational signal, before becoming material, and discernable, by the human eyes and brain. The question of ‘what is reality?’ which Morpheus poses to Neo in this scene, is thus subliminally represented using the deliberate Shiva and Shakhti symbolism on the back of the DEEP IMAGE TV, but also by the flashing of the Shakhti sign by Morpheus (remember: Neo represents Shiva; ‘the one’; which is the real signal that has control over the reality, and the Architect, as we learn by the end of the Matrix Trilogy). Morpheus is here acting as a transitory Shakhti to introduce Shiva to the entire system, which then allows Shiva to move through the doorways which ultimately lead back to the Architect. Even the name Morpheus is taken from Greek mythology, where he is god of dreams, making him a Hermes like character allowing transit between different states of consciousness.
Shown on the above left is Edith Rockefeller McCormick (nee Rockefeller), pictured in 1917 between her two daughters in Switzerland at Carl Jung’s psychoanalytics cult compound. Edith was the daughter of evil genius and Standard Oil founder John Davison Rockefeller. She married Harold McCormick, the son and heir of the founder of International Harvester Company (Harvesters were becoming hydrocarbon powered, making the marriage at least cooperative, in theory). Edith was a rather disturbed person, finally leading to the collapse of her 26yr marriage, but not before she went to Carl Jung to become even more psychologically disturbed (as many silver spooner socialites would do in this gregarious era). Edith is almost always pictured in family photos with her hands in front of her womb or sexual organs, in a very distinctive pose resembling a vesica piscis, or a downward pointing triangle, or sometimes a ’diamond’; much like German Chancellor Angela Merkel does openly to this day, even making it her official icon. This gesture can be accidental or purposeful, but repeatedly flashing it in official poses, was quite purposeful and occult for Edith, and is obviously purposeful for frau Merkel (see image on the right). This particular gesture invokes Gaia, and is a way of communicating a new religious ideology without having to verbally admit to ones new ‘secular’, and ‘scientific’, faith in an elite group who are self appointed stewards of their ‘Mother Earth’ (the good children, as opposed to the other 99.999% of bad children; even though the good children fly international business/first-class dozens of times a year, and most have multiple dwellings).
Shown above right is Denis Hayes, the father of the April 22nd Earth Day movement. In this official government photo Denis deliberately flashes the exact same Gaia sign that Edith is flashing above, with the thumbs awkwardly crossed and the rest of the hands and fingers quite straight, the whole superimposed in the region of the sexual organs. Denis Hayes was appointed by President Jimmy Carter to head the Solar Energy Research Institute, but to his chagrin Reagan cut the funding when the Administration changed. To be fair, Hayes seems to be a well meaning individual, for instance taking a stand against GMO’s and pesticides such as Neonicotinoids (honey bee genocide), but being well meaning is not enough in this deceptive world, to prevent ones benevolent energy being manipulated by special interest groups who control the big offshore multi-nationals, and the governments of the world; I know this first hand, because I wanted to be an environmentalist (statistician for climate science) once, until I learned the truth about the highly elite, and technocratic eugenics program posing as a warm-and-fuzzy solution to ‘save the planet’. Ironically, the main proponents of this eugenics program are/were the Rockefeller’s, who first made their fortune on America’s biggest oil monopoly, then moved into banking, big-pharma, big-agri-biz, and now want to pull down the smaller fossil fuel competitors by using fascist global government carbon banksterism (which is only half the reason they are doing this).
Paternal Angst: Son & Father . . . Adam & God
Incidentally – or not – the ‘kiss of death mark’ that Tyler (Pitt) burns with lye onto the right hand of Tyler (Norton) and other followers of Project Mayhem, is synonymous with the Mark of the Beast referenced above: “And he [anti-christ] causeth all … to receive a mark in their right hand … that no man might buy or sell, save he that had the mark, or the name of the beast, or the number of his name … Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is Six hundred threescore and six .” [REVELATION 13:16-18]. A cursory examination of Pitt’s shirt patternation (shown below) bearing autumn maple leaves in this kiss of death scene, seems to highlight its congruence with the kiss of death which Judas gave Jesus in the Garden of Gethsemane, which event started Jesus’ passion play. Nothing in this movie is random, and everything has been symbolically choreographed for an esoteric purpose. What Tyler (Pitt) says during this scene is pivotal to the dilemma of the God-Mankind relationship, and the truth of human choice.
TYLER (Pitt): “First you have to give up. First you have to know,
not fear – know – someday you’re going to die.”
SCENE ACTION AND DIALOGUE
Tyler (Pitt): [making soap from human fat stolen from a liposuction clinic] As the fat renders, the tallow’s float to the surface. Like in boy scouts.
Tyler (Norton): It’s hard to imagine you as a boy scout.
Tyler (Pitt): Keep stirring… Once the tallow hardens, you skim off a layer of glycerine, if you were to add nitric acid, you’ve got nitro-glycerine, if you were to add sodium nitrol and a dash of sawdust, you got dynamite. Yeah, with enough soap, one could blow up just about anything.
Tyler (Norton) Narrating: Tyler was full of useful information.
Tyler (Pitt): Now, ancient peoples found that clothes got clean when they washed them at a certain point in the river, you know why?
Tyler (Norton): No.
Tyler (Pitt): Because human sacrifice was once made on the hills above this river, bodies burned, water seeped through the wood and ashes to create Lye … [Pitt displays a container of Lye to Norton] … This is Lye, the crucial ingredient. Once it mixed with the melted fat of the bodies, a thick white soapy discharge crept into the river … [motioning to Norton] … Can I see your hand please? … [Norton gives Pitt his hand. Pitt moistens his lips and places a single kiss on Norton’s right hand].
Tyler (Norton): What is this?
Tyler (Pitt): This, is a chemical burn [Pitt pours powdered Lye over the moisture on Norton’s right hand creating a searing chemical burn causing Norton to scream]. It’ll hurt even more than you’ve ever been burned, and you will have a scar.
Tyler (Norton) Narrating: Guided meditation worked for cancer, it could work for this.
Tyler (Pitt): Stay with the pain, don’t shut this out.
Tyler (Norton): No-ooo-God [writhing in pain].
Tyler (Pitt): Look at your hand… the first soap was made from the ashes of hero’s, like the first monkey shot into space. Without pain, without sacrifice, we would have nothing.
Tyler (Norton) Narrating: I tried not to think of the words ‘Searing’ … ‘Flesh’ [attempts mental escape].
Tyler (Pitt): Stop it [Norton moans] this is your pain, this is your burning hand, it’s right here.
Tyler (Norton): I’m going to my cave, I’m going to my cave and I’m going to find my power animal [Norton has a vision of an Antarctic cave featuring Marla Singer, his Empress Penguin and power animal … then Pitt slaps Norton’s hand in deference and snaps him out of his vision].
. . . . . continued in right column . . . . .
CONTINUED FROM LEFT COLUMN
Tyler (Pitt): No, don’t deal with it the way those dead people do… Come on!
Tyler (Norton): [inaudible] … please … [pleading with him]
Tyler (Pitt): What you’re feeling is premature enlightenment [Norton again has a vision of the cave with Marla lying in a provocative position awaiting a kiss, but when he attempts it, she exhales cigarette smoke, causing him to choke … Pitt slaps Norton hard on the left side of his face to break the vision once again]… This is the greatest moment of your life, man, and you’re off somewhere missing it [Norton tries to escape, sliding across the table].
Tyler (Norton): I am not … [inaudible whimpering]
Tyler (Pitt): Shut up! Our fathers were our models for God. If our fathers bailed, what does that tell you about God?
Tyler (Norton): No, no, I… don’t… [Pitt slaps him hard across the left side of the face]
Tyler (Pitt): Listen to me! You have to consider the possibility that God does not like you. He never wanted you. In all probability, he hates you. This is not the worst thing that can happen.
Tyler (Norton): It isn’t?
Tyler (Pitt): We don’t need him!
Tyler (Norton): We don’t, I agree!
Tyler (Pitt): F#%& damnation man, F#%& redemption. We are gods unwanted children? So be it!
Tyler (Norton): Ok … [sliding all over the table]
Tyler (Pitt): Listen. You can run water over your hand to make it worse, or … look at me … or you can use vinegar to neutralize the burn.
Tyler (Norton): Please let me have it … please.
Tyler (Pitt): First you have to give up. First you have to know, not fear – know – someday you’re going to die.
Tyler (Norton): [in immense pain] You don’t know how this feels [Pitt raises his right hand to show Norton that he too has the same burn].
Tyler (Pitt): It’s only after we’ve lost everything, that we’re free to do anything. [Pitt finally pours vinegar over Norton’s hand, neutralizing the burn, and he falls onto the floor in acceptance]
Tyler (Pitt): Congratulations,
you’re one step closer to
[THE FALL OF MAN]
The passion of Jesus Christ started with the Judas *Kiss* in the garden of Gethsemane, and ended with his drinking of *Vinegar*, a product of the grape, on the Cross at the 9th hour. [SNAP!]
TYLER (Pitt): “Listen. You can run water over your hand to make it worse,
or … look at me … or you can use vinegar to neutralize the burn.”
Now, this scene is quite the masterpiece of Gnostic innuendo. In the Biblical account of the creation of mankind, in Genesis, it is the Snake who calls God a liar for advising Adam and Eve not to eat of the Tree of Knowledge of Good and Bad, advising that this act would eventually lead to their death. However, once they eat the Forbidden Fruit, they become mortal and later have to experience death, revealing the Snake to have been the liar. In Fight Club however, Tyler (Pitt) is the one who applies the kiss of LYE (phoenetically the same as LIE) to the right hand of Tyler (Norton), forcing himself to experience the fall of man. Interestingly, in contradistinction to the Biblical account in Genesis, Tyler (Pitt) announces that death is inevitable, rather than suggesting this kiss to be an act which would increase the power and knowledge of mankind, to that of a god. He also announces that *both* redemption and damnation should be rejected, but accepts the existence of God, because he admits: “We are gods unwanted children?”; answering, “So be it!”. We have here the expression of a nihilistic, yet Neitschean New Man philosophy, of man-as-god, which is explained below. This scene does not just include the masculine aspects of the two Tyler’s and their father-son relationship, because it also includes an important vision of Marla Singer in Tyler’s power animal cave.
In regards to male-female gender interchange, in this scene, Tyler (Pitt) is applying the masculine Mark of the Beast onto the right hand of Tyler (Norton), which is the feminine pillar of Kabbalah. This kiss then represents the psychosexual union of Babalon and the Beast. It is on her right hand that Marla wears her mystic rose ring, however the audience should notice that this is not the case when Marla is in Tyler’s house, in which case it is on her left hand, because she is then in the male domain of the Paper Street house; which house is the psychosexual gender-opposite of the feminine power animal ice cave containing the ‘Empress Penguin’ (South Pole of Jachin, explained below). So, if Tyler (Pitt) represents a replacement for their biological father and patriline – Jack – then does Marla represent a replacement for their biological mother and matriline – Jill – making the sexual dysfunction of Tyler (Norton) an outward psychosexual mirror for an internal Oedipus complex? Although this suggestion might sound strange, it is documented that boys who are brought up in fatherless homes, are more likely to have a stalled psychosexual development, locking them into an Oedipus complex which through guilt may cause outward sexual dysfunction towards females. This is especially the case with the 2010 Darren Aronofsky movie Black Swan (2010), which revolves around the opposite/female case known as the Electra complex, and which will be exposed in an upcoming post, as being a later sister production of Fight Club (Aronofsky and Fincher both included an Aleph-111 occult signature into their films).
– It’s all about parental and psychosexual inheritance issues –
SCENE ACTION AND DIALOGUE
Tyler (Pitt): [washing in the bath] My dad never went to college, so it was real important that I go.
Tyler (Norton): [sitting on the floor in the same bathroom as Tyler (Pitt)] Sounds familiar.
Tyler (Pitt): So I graduate, I call him up long distance, I say “Dad, now what?” He says, “Get a job.”
Tyler (Norton): Same here.
Tyler (Pitt): Now I’m 25, make my yearly call again. I say Dad, “Now what?” He says, “I don’t know, get married.”
Tyler (Norton): [looking dejected and without social cause] I can’t get married, I’m a 30 year old boy.
Tyler (Pitt): We’re a generation of men raised by women. I’m wondering if another woman is really the answer we need.
A LATER SCENE FROM THE MOVIE
Tyler (Pitt): [Giving a sermon whilst walking between fighters standing in a crowd] Man, I see in fight club the strongest and smartest men who’ve ever lived. I see all this potential, and I see squandering. God damn it, an entire generation pumping gas, waiting tables; slaves with white collars. Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we don’t need. We’re the middle children of history, man. No purpose or place. We have no Great War. No Great Depression. Our Great War’s a spiritual war… our Great Depression is our lives. We’ve all been raised on television to believe that one day we’d all be millionaires, and movie gods, and rock stars. But we won’t. And we’re slowly learning that fact. And we’re very, very pissed off.
Jill’s Nipple: Kabbalistic weaning before warring!
The movie talks a lot about Jack, but only once mentions Jill and her nipple.
QUESTIONS: Does Jill represent Tyler’s mother, or the socialist nipple of the State that subsidizes single parent families, wherein the emotional connection between biological partners is severed, and wherein fathers have no legal right of household over their sons, whereas mothers have automatic right of household over both sons and daughters? Does Jill represent both, and are they synonymous in Tyler’s case?
Jack (social masculinity) falls first, and Jill (balanced society; State) follows;
the mutually inclusive, and inevitabe, destruction of true social order.
Male and Female ARE gender roles AND a functional psychological dualism. It is not just the two Tyler’s and the two architecturally congruent buildings to fall in the final scene which suggests a twinning effect, but there is also the presence of only two people; Tyler and Marla; a male and female respectively. In The Matrix Reloaded, it is also the love that Neo has for Trinity which leads him to jeopardise the ultimate future of Zion (the reboot at least), and to gamble in hoping he can take destiny into his own hands. The theme of love is central to both movies, and they are connected in many subtle ways as this post will develop. The fact that Tyler and Marla watch the last twinned towers fall whilst holding hands, is esoterically important from the perspective of Kabbalah, because the twin pillars of the so called Kabbalistic ‘tree of life’ (shown behind this text), are male and female polarities. The central pillar that runs up the spine of the tree is neutral, representing the balance between male and female polarities, but also the connection between the mundane world (Malkuth/Kingdom; bottom), and the supernal realm (Kether/Crown; top): Manifestation and Archetype respectively. Practitioners of Hermetic Kabballah such as Thelemites – followers of Aliester Crowley’s occult religion – believe that only a balanced path can lead from bottom to top, and also believe that only practical ‘sex magick’ can initiate and facilitate this in a practitioner.
This is why Tyler could not destroy his two conflicting egos, without first confirming if he and Marla had slept together, and that he also had a connection with the other sexual polarity in the material realm, AND in the emotional realm. The latter is confirmed by his willingness to kill Tyler/himself in order to save her. He had been suppressing this higher level of his psyche before he accepted the truth. Just to prove my thesis that these two particular twin buildings are symbolic of the two pillars of Kabbalah, and thus to both of the Tyler Durden’s, on the left is shown an image from the movie displaying the first glimpse of the buildings from the office window in the final scene. The first and final scenes open with Tyler (Pitt) holding a gun in the mouth of Tyler (Norton), to which Tyler (Pitt) says: “This is it, the beginning, Ground Zero”. ‘Ground Zero’ would become the most used public epithet for the World Trade Center site after the actual terror attack two years later. In this first glimpse of the towers, during the final scene, both Tyler’s are superimposed directly in front of a tower each; Pitt in front of the left tower, and Norton in front of the right tower. When Tyler (Norton) shoots himself in the mouth to kill Tyler (Pitt), the left tower is directly behind him, because the left tower represents Tyler (Pitt), and the destruction of the alter ego.
In Kabbalah, the ‘tree of life’ is viewed as a person with their spine parallel to the middle pillar, their right side aligned with the feminine pillar (seen on the left when looking at the tree), and the left side aligned with the masculine pillar (seen on the right when looking at the tree). Tyler (Pitt) in this scene is facing out of the window, and is in the correct alignment, whereas Tyler (Norton) is still not facing reality, and is facing in the opposite direction. Tyler (Pitt) is standing/crowned/masculine/active, whereas Tyler (Norton) is seated/grounded/feminine/passive. Tyler (Pitt) has the symbol of authority – the gun – in Tyler’s (Norton’s) mouth: Phallic and self explanatory! Before Tyler (Norton) takes control of the gun by realizing that it is in his own hand (phallic psychosexual possession), it is in the left hand of Tyler (Pitt), but then appears in the right hand of Tyler (Norton). As such, in this final scene, the left tower falls first, followed by the right, just as Pitt’s hyper-masculine half of Tyler is dispatched first before Marla arrives, whilst Norton’s feminine half awaits demolition as soon as Marla arrives to replace it, and to create a new crowned Tyler entity Kabbalistically grounded in Marla (sexually balanced). Marla cannot assume the feminine polarity until the alter ego male placeholder (Pitt), vacates and allows the actual Tyler (Norton) to truly ‘become Tyler Durden’ (the ‘New Man’; a man of action and dominance). He finally gains a material identity and inherits his OWN NAME after the death of his alter ego; ergo, “In death, a member of Project Mayhem has a name“.
The Kabbalistic concepts explained thus far are encapsulated in the below four minute
animation, which explains the first scene in Fight Club entitled “Ground Zero”, and the
last scene entitled “Walls of Jericho” (scene names from the DVD release).
“The City of the Pyramids is the mystical home to those adepts that have crossed the great Abyss (see the Tree of Life), having spilled all their blood
in the Graal of Babalon. They have destroyed their earthly ego-identities, becoming nothing more than piles of dust (i.e. the remaining aspects of their True Selves without the self-sense of “I”), and become impregnated as a Babe within Babalon. Within, they take on the name or title of Saint or Nemo (Latin for No-Man). In the system of A∴A∴ they are called Masters of the Temple. It is a step along the path of spiritual purification, and a resting place for those who have successfully shed their attachments to the mundane world.”
–Thelemapedia Article: ‘City of the Pyramids’
TYLER (Pitt): “Reject the basic assumption of civilization;
Especially the importance of material possessions.” …
THE MECHANIC: “In death, a member of Project Mayhem has a name”
NEMO / No-Man … is in fact a … New-Man
Is Nothing in fact a Something?
This naming concept is parallel to Crowley’s Thelema, where upon crossing the Kabbalistic Abyss and annihilating the ‘false self’, a practitioner becomes a Magister Templi after attaining their cave/sanctuary, receiving a new magical name. This cave concept appears in Fight Club where Tyler (Norton) has visions of MARLA SINGER in an ice cave, who represents the Thelemic A∴A∴ character of BABALON. Once again the devil is in the detail, because the first vision Tyler (Norton) has of his ‘power animal’ reveals it to be a penguin, and specifically it is an Emperor Penguin by species. Because Marla is a female this would make this penguin an ‘Empress’, which is essential symbolism of the supernals in Thelemic Kabbalah Tarot. Penguins are only found in the southern hemisphere, and Emperor Penguins are by far the most adapted creatures in the south pole, which might at first seem insignificant to the occult aspects of Fight Club, but Masonically and Kabbalistically it is not. As I have explained above in the pyramid-and-pillars section, the Twin Towers/Pillars represent the two poles of the Earth sphere represented by the 2×1 rectangle of Solomon’s Temple. The south pillar called Jachin which is on the right whilst facing celestial risings in the east, importantly represents the female pillar topped by the sephiroth called Binah, which in Thelemic Kabbalah is where BABALON resides as the ‘redeemer’.
Binah can only be accessed after crossing the Abyss during the annihilation of the ‘false self’, and involves blasphemous ‘sex magick’ rituals and a symbolic ‘trampling on the cross’ in order to be ‘impregnated as a babe’ within the whore’s womb (as quoted above), in order to gain access to the ‘City of the Pyramids’ (ie, the supernal triangle/pyramid). Only then will a practitioner graduate from the middle Order of R.C., meaning Rose and Cross, into the higher Order of S.S., meaning Silver Star (Sirius). Binah is ruled in Hermetic Kabbalah by the planet Saturn representing Time – chronos – which is supposed to have male connotations as discussed previously, but it should be understood that this is because the Supernal Triangle headed by Kether/Crown is the vertical male function of the upper tree, whilst Malkuth/Kingdom at the bottom is feminine. This is a second functional gender dualism from the horizontal polarity centred on the neutral spinal column, thus vertical and horizontal are both balanced functional gender dualisms.
Shown on the right is the Kabbalistic tree of life, with the blue female pillar appearing on the left side which is known as the Right pillar, because this relates to a person standing with their spine on the middle column and facing towards the reader. This is also known as the South Pillar as the person is facing towards celestial risings in the east. Superimposed on the tree as a sequential yellow zigzag from 1-to-10 is a highly important path known as the ‘lighning flash’ of Kabbalah, which is derived from the concept known as Tzimtzum in original Jewish Lurianic Kabbalah. It is also known as the 777 Path due to its Hebrew letter path gematria, and also known in Thelema as the 93 Current due to Crowley’s tarot card ‘atu’ path attribution. 93 is the isopsephy of the Greek words θέλημα (Thelema: meaning ‘Will’) and αγαπη (Agape: meaning ‘Love’), which are essential to Crowley’s dogmas, making 93 in Thelema a most vital numeric signature (As the UA-93 Thelemic Grove built exactly 6,666 miles from Mount Arafat at the United Airlines Flight 93 crash site in Shanksville, Pa., after Sept 11th 2001 will testify). This ‘lightning flash’ – 93 Current – represents the divine direction of the emanation power of the universal source into the manifest universe: Kether/Crown to Malkuth/Kingdom; starting at Sepiroth 1, and ending at Sephiroth 10; Male beginnings ending within Female; Top to Bottom traversing Left/Male to Right/Female pillars.
This cave and naming concept also appears in V for Vendetta, represented by V’s Shadow Gallery and the codename V.V.V.V.V, which is written on the mirror in the movie and also the graphic novel of the same name. V for Vendetta was the British instalment in the recent Crowleyan contribution to social engineering, whereas Fight Club was set in the USA. V.V.V.V.V was Aleister Crowley’s actual magical name as a Magister Templi. Thelema has infected a great deal of the creative segments of the western movie and music industry, yet a very few people can identify its blatant signatures stamped all over the place. Crowley’s Aeon of Horus arrived, and almost everybody paid little attention, though this ignorance comes at a price – a heavy price. The September 11th 2001 attacks were a marriage ceremony between Freemasonry and Thelema. The real life Project Mayhem is well under way, awaiting the Mecca Clock Tower grand finale. Followers of Crowley aren’t quite satisfied with the blood spilt in WWI, WWII, and the many wars fought since. The Aeon of Horus is not complete until the *WHOLE* modern social order has been purposefully collapsed, and a *NEW MAN*, and a *REX MUNDI* world Emperor is enthroned (known Biblically as the Antichrist). I will repeat once more Crowley’s agenda for the Aeon of Horus:
“But the bloody sacrifice, though more dangerous, is more efficacious; and for nearly all purposes human sacrifice is the best …
… One last word on this subject …
… There is a Magical operation of maximum importance: the Initiation of a New Aeon. When it becomes necessary to utter a Word, the whole Planet must be bathed in blood. Before man is ready to accept the Law of Thelema, the Great War must be fought. This Bloody Sacrifice is the critical point of the World-Ceremony of the Proclamation of Horus, the Crowned and conquering Child, as Lord of the Aeon. This whole matter is prophesied in the Book of the Law itself; let the student take note, and enter the ranks of the Host of the Sun.”
– Crowley, Aleister. “Magick in Theory and Practice; Chapter XII:
Of The Bloody Sacrifice: And Matters Cognate.” (1913)
Males & Females Redefining Life, Death, & Meaning
This grounding ritual of death allows Marla to assume the feminine role in Tyler’s life, which had overridden his masculine side, and had prevented him from being able to make a connection with another female because his own polarity was not correct (magnetism: opposites attract; likes repel). This is why just before the last two buildings are destroyed, Tyler takes hold of Marla’s hand (the wire/connection), symbolizing a required di-polar emotional connection with another person of the correct polarity. In Fight Club the masculine-left and feminine-right towers representing the original un-balanced ego of Tyler are destroyed, and what remain are the newly twinned and compatible couple holding hands; Tyler (Norton) on the left in the correct masculine position, and Marla on the right in the correct feminine position.
It should now make sense why the last image in the movie after the demolitions are complete is the subliminal of a male sex organ, because the ‘sex magic’ ritual had been completed. Tyler had become himself, achieved his correct masculine polarity, received his crown, and reversed the vicious cycle within himself that seemingly plagues the psyches of many males due to societal disparity. This disparity is physically dissolved by the societal chaos that ensues after the destruction of the financial credit system through Project Mayhem. In order to ‘live‘, Tyler had to ‘die‘. Tyler Durden was thus undergoing transformation into the ‘New Man’, a concept which is central to The Matrix trilogy, in which the main character’s name is Neo. This concept involves very deep psychology, and has been central in one way or another to every authoritarian political system which has caused mass murder for over a century:
He [Nietzsche] states that there is at least the possibility of another type of nihilist in the wake of Christianity’s self-dissolution, one that does not stop after the destruction of all value and meaning and succumb to the following nothingness. This alternate, ‘active’ nihilism on the other hand destroys to level the field for constructing something new. This form of nihilism is characterized by Nietzsche as “a sign of strength”, a wilful destruction of the old values to wipe the slate clean and lay down one’s own beliefs and interpretations, contrary to the passive nihilism that resigns itself with the decomposition of the old values. This wilful destruction of values and the overcoming of the condition of nihilism by the constructing of new meaning, this active nihilism, could be related to what Nietzsche elsewhere calls a ‘free spirit’ or the Übermensch from Thus Spoke Zarathustra and The Antichrist, the model of the strong individual who posits his own values and lives his life as if it were his own work of art. It may be questioned, though, whether “active nihilism” is indeed the correct term for this stance, and some question whether Nietzsche takes the problems nihilism poses seriously enough.
– Wikipedia Article, ‘Nihilism’.
Here we see the philosophical injection of wilful intent to destroy, creating a distinction between ‘passive’ nihilism, and ‘active’ nihilism. Considering that the word nihilism means the desire for, or belief in ‘nothing’, the very idea that wilful destruction to lay clear a foundation for a ‘something’ is nihilistic would seem to render Nietzsche’s concept of ‘active’ nihilism as conceptually oxymoronic, being merely an irrational pseudo-philosophical means-to-an-end ripe for the exploitation of fascist ideologues lusting for power. In this sense The Matrix presents a society which was too ‘passive’ in confronting its own creation of Artificial Intelligence and sleepwalked towards a nihilistic redundancy, whereas Tyler’s (Norton’s) alter-ego Tyler (Pitt) rides the ‘active’ form of nihilism like a bull by the horns in Fight Club.
Because this ‘active’ nihilism is channelled by Tyler’s alter-ego however, it can be claimed that this movie merely indicates the presence of an urge for each individual male – or male clique – to overturn the existing order, rather than being an endorsement of ‘active’ nihilism as the mechanism to bring about any positive change in society. Is a subconscious agenda an agenda? Is this movie esoterically advocating ‘active’ nihilism, is it denouncing it, or is it purposely generating ambiguity surrounding this philosophy? Accused of fascist leanings, director David Fincher openly addressed suggestions of such a philosophical agenda hiding within Fight Club, denying a congruence with fascist ideology because of the perceived lack of direction and ambiguity surrounding the overt plot of the movie, whilst remaining silent about the associated esoteric currents in the movie outlined thus far:
Fight Club purposely shapes an ambiguous message, the interpretation of which is left to the audience. Fincher elaborated, “I love this idea that you can have fascism without offering any direction or solution. Isn’t the point of fascism to say, ‘This is the way we should be going’? But this movie couldn’t be further from offering any kind of solution.”
– Wikipedia Article, ‘Fight Club’.
Fight Club and The Matrix both address this redefinition of human purpose by presenting a formula to create the New Man, albeit with a different focus on outcomes, but both leave more questions in the minds of viewers than answers – much like the philosophy of Friedrich Nietzsche. Basically, the most common philosophical link between these two movies and others such as V for Vendetta, is an embrace and/or critique of nihilism. Nihilism and the associated existential crises facing humanity, would seem to be our chief obstacle as a species. These movies had so much appeal to a young audience during the turn of the millennium because they are essentially critiques of a society which ignores its own purpose, or questions what such a purpose actually is. These movies don’t offer viable solutions to real world problems – especially in the case of Fight Club – but are both, at least, useful to catalyze discussion using clever fictional analogies. The Matrix addressed this ingeniously by using AI as a mirror with which to juxtapose creator and created – Human vs Machine, ultimately personified as Neo vs Agent Smith – whereas Fight Club used a psychological battle between ego and alter-ego (or Super-Ego and Id in psychoanalytic jargon), and also the gender dualism between Tyler and Marla, to provide a veritable psychological house of mirrors with which to plumb the depths of nihilism directly.
Both movies present the human race as encapsulating itself in shallow materialism to our own detriment. Fight Club expresses this through consumer fetish, whereas The Matrix presents a human race which finds itself literally encapsulated within its own material creation, against its own free will, and also against its own knowledge due to inter-generational loss of situational awareness. The conditions which bring about this confrontation with nihilism and which force mankind to stare into the Abyss to see a reflection of his own demons, is different in both movies, but ultimately is embodied by Tyler/Neo playing the character role of Shiva. The Matrix expresses this as a lack of foresight on the part of mankind, which fallout is left for Neo to confront in a messianic eschatology, whereas Fight Club presents this as an unavoidable confrontation with the internal devil; a devil which has an urge to destroy civilization in order to have a rendezvous with a utopian beginning. Both movies present time and human purpose – existentialism – in an Alpha-and-Omega cyclical ‘progression’, which harks back to Judeo-Christian eschatology, especially that which is expressed in the Book of Revelation, which is a ‘book end’ for the story of creation in Genesis: “And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away” (REVELATION 21:1).
The Matrix trilogy seems to employ a highly adapted philosophical structure using the Hindu Yuga cycles, which end with the destructive Kali Yuga, and begin with the Satya Yuga ‘golden age’. Indicative of the use of the Hindu mythology instead of the Judeo-Christian convention is the character of Agent Smith, who is as an embodiment of the Kali demon (distinct from the female deity Kālī) who must fight and mutually obliterate Neo, who himself represents the Hindu saviour Kalki from the prophetic Sanskrit Kalki Purana. Here we see a syncretic combination of an avatar of Vishnu (Kalki) with Shiva, reconciling the otherwise confused sectarianism within Hindu theology which Neotantra tends to eschew, especially Tantric syncretism within the more modern western esoteric traditions such as Thelema – in which however it can be argued that Shaivism is always primary. Similar to the inevitable mutual destruction of Neo and Smith in The Matrix, Fight Club also ends with a necessary creative destruction indicative of Shaivism. Fight Club ambiguously ends with the full completion of the destruction – or creative destruction if you prefer? – aims of Project Mayhem being fulfilled, despite Tyler’s (Norton’s) reluctance to cooperate with his alter-ego, just as Neo’s journey in The Matrix was reluctant from the beginning. Essentially Fight Club implies that the actions of Tyler (Pitt) were necessary, almost as if Kali and Kalki were fighting inevitably within the psyche of one individual to prophetically birth the Satya Yuga ‘golden age’ on Earth.
The aims of Project Mayhem are described by Tyler (Pitt) in primitive terms as a utopian – or dystopian depending on your point of view – new beginning for a humanity trapped in materialism and corporatism. This philosophical stratum adds deep meaning to the hidden symbolic current juxtaposing the two Twin Towers with Tyler and Marla, and their use as analogues for Male and Female polarities within Kabbalah. There is definitely a deeper agenda to communicate esotericism in this movie than Director David Fincher is willing to admit; especially in light of the ACTUAL Project Mayhem which took place on September 11th 2001, featuring the two massive Masonic/Kabbalistic towers. As we have explored, during human procreation two gametes are destroyed to create a New Man (or woman). The procreative concept is obviously not gender specific, though some would argue that it is ‘active’, and thus must be initiated by males using destructive force when initiated as a socio-political agenda. This act of deliberate and wilful ‘creative destruction’ emulating an insemination, gets to the heart of Nietzsche’s own view of the New Man formula and process, also shedding light on many of its successor ideologies of which only three are briefed as follows:
Nietzschean Übermensch: Philosopher Friedrich Nietzsche’s concept of an Übermensch (“Superman”) was that of a New Man who would be a leader by example to humanity through an existentialist will to power that was vitalist and irrationalist in nature. Nietzsche developed the concept in response to his view of the herd mentality of and inherent nihilism of Christianity, and the void in existential meaning that is realized with the death of God. The Übermensch emerges as the new meaning of the Earth, a norm-repudiating individual who overcomes himself and is the master in control of his impulses and passions. – Wikipedia Article, ‘New Man’.
Fascist New Man: Fascism supports the creation of a New Man who is a figure of action, violence, and masculinity, committed as a component of a disciplined mass that has shorn itself of individualism. One example of this was the idea of the Political Soldier, which was developed by the leaders of the Official National Front in the UK in the 1980s and became part of the ideology of the Third Position. – Wikipedia Article, ‘New Man’.
Communist New Man: Marxism, though being heavily critical of utopianism, postulates the development of a New Man and New Woman in a communist society following the values of a non-essential nature of the state and the importance of freely associated work for the affirmation of a person’s humanity. Marxism does not see the New Man/Woman as a goal or prerequisite for achieving full communism, but rather as a product of the social conditions of pure communism. – Wikipedia Article, ‘New Man’.
Could the false-flag terror attacks of September 11th 2001, have been sub-consciously organized by the collective alter-ego’s of a group of high ranking government officials suffering from paternal angst? I think not. I believe that the deliberate predictive inclusion of the Kabbalistic twin towers concept in Fight Club connects the organizers of this event, with a manifestation of the ‘active’ nihilism expressed in the movie, and thus a fascist and/or technocratic agenda. If September 11th 2001 was wilful and ‘active’, then what of motive? The objective of Project Mayhem in the movie was to clear the debt record, create chaos sending the western world back into the stone age, and was presented as a benevolent act towards a debt enslaved humanity. This motive given in the movie was notably changed from the motive given in the original Chuck Palahniuk novel. In the novel the demolition of multiple buildings is simply an outlet for Tyler’s urge to destroy, with no plot to target the current financial system.
In real life September 11th 2001 was an attack against seven World Trade Centre towers, the Twin Towers being merely the larger of the seven buildings. Obviously the movie motive was not accomplished in real life – in the short-term at least – but the additional attacks on the Pentagon and a specific field in Shanksville, Pennsylvania (where a preconceived ceremonial and Masonic-Thelemic Grove was required), seem to have definitely strengthen the reigning power structure, achieving the opposite of the given aims of Project Mayhem in the movie. The Twin Towers were arguably a Potemkin trade village – a corporate real estate boondoggle which never attracted the high profile residents the massive structure otherwise exuded, and which was for the most part vacant or stacked with government offices given discount leasing arrangements. These towers were relatively insignificant to the critical infrastructure of the western economy, in fact, the closure of Wall Street for nearly a week was more detrimental to the functioning of the western economy.
One way in which some of the motives of Project Mayhem in the movie may have been achieved by September 11th 2001, depends on who’s point of view the debt cancellation applies to. The event did offer many opportunities for a select group of individuals with foreknowledge, to clear certain debts they themselves had racked up, and to cover up the evidence for certain financial and political crimes they had committed (especially the evidence destroyed in WTC 7 and also the west wing of the Pentagon), but that is a story to be found ELSEWHERE as I will focus on esoteric, geopolitical, and religious motives on this website. Obviously the main motive was a political one, to fundamentally transform the American Republic into an overtly fascist American Empire, but as I have been exploring on this website for nearly a year, the term Anglo-American Empire is more correct, because the City of London is central to the Empire that is being ‘re-birthed’ like a phoenix actively since September 11th 2001. Was the New Man being birthed only applicable to a select group of people, and not society itself as a whole?
In order to feel like he had truly lived, Philippe Petit had to cheat death on a tightrope strung between two of the worlds tallest towers, performing like a space monkey for the world!
Concerning Back To The Future and the analysis made in the first Apophenia Productions video on this post, the ritual Kabbalistic significance of ‘attaching a wire‘ from the North to South towers of the old WTC, and Philippe Petit then ‘performing‘ on it in The Walk movie, should be apparent. This movie is a portrayal of Philippe Petit walking a risky tightrope in uniting the two esoteric aspects that the towers represent, to create the New Man who has conquered his greatest fears. The Walk is a dramatic depiction of Petit’s almost nihilistic urge to cheat death, and also contains many plot lines revolving around his relationship with a woman called Annie Allix, so I will offer an analysis in a future post once I watch this movie, because it is probably riddled with references to Thelema. As explained in the Apophenia Productions video, this movie was released specifically for October 2015 matching Marty McFly’s visit to the future, and Petit and Marty’s clothes are matching in both Zemeckis movies, so a deliberate connection was made for some reason highlighting October/November 2015 (the two months of significance in BTTF). Was Oct/Nov 2015 important for the completion of the real world Kabbalistic ritual we have been exploring? In 2015 we all witnessed the Nov 7th Paris Terror Attacks, and Philippe Petit is French, so perhaps this is an indication that we are currently approaching a crescendo in this Thelemic NWO ritual, involving ‘ISIS attacks’. Paris was also the location of the recent ‘Climate Agreement’, which is the skeleton for the new world government, as explained in the PREVIOUS POST.
— Shivadarshana —
It should be no surprise then that The Matrix also contains a reference to the Twin Towers, involving Morpheus and Neo jumping from the roof of one office tower onto the roof of another. It should be remembered that Morpheus was the only character referred to in the entire trilogy as a ‘terrorost’ – by Agent Smith – in the scene where Neo’s passport which has an expiry date of September 11th 2001 is flashed across the screen (see further down). The ‘Jump Program’ is explained by Morpheus as a way for Neo to develop his ability to manipulate reality – or virtual reality in this case – just as prescribed by Nietzsche for ‘active’ nihilists attempting to destroy their current perceptions in order to create new ones for the ‘New Man’. Whether it be jumping from the roof tops of twin towers, or walking on a tightrope between them, both can definitely lead to a date with nihilism; they are perfectly analogous to each other. A video clip of the ‘Jump Program’ scene follows:
MORPHEUS: “You have to let it all go Neo … fear …
doubt … and disbelief … free your mind!”
When the above scene begins, Neo and Morpheus are dropped onto the rooftop of one of the buildings. We can see that the roof tops of these two buildings are not identical, but when Neo falls between them and the scene changes to show him from below, we see that the building facades are totally identical (seen in below-right image). This sequence is almost subliminal because the preceding scene programs the mind to think that the buildings are architecturally different, even though the far more dramatic falling scene utilizes identical building facades, briefly flashing twin tower symbolism into the viewer’s subconscious.
“[LIBER CMXIII assists to] define the separate being of the Exempt Adept from the rest of the Universe [so that he may] discover his relation to that Universe. It is of such importance to the Exempt Adept that We cannot overrate it. Let him in no wise adventure the plunge into the Abyss until he have accomplished this to his most perfect satisfaction. For in the Abyss no effort is anywise possible. The Abyss is passed by virtue of the mass of the Adept and his Karma … the ease and even the safety of his passage depend on the strength and direction of the latter … It is even said that in certain circumstances it is possible to fall altogether from the Tree of Life, and to attain the Towers of the Black Brothers.”
– Crowley, Aleister. “LIBER CMXIII”, in “The Equinox”, Vol. 1. No. 7. (1912)
Strangely this Abyss scene from The Matrix is actually set in an altered mirror image of Australia Square in Sydney, New South Wales. The building position Neo is jumping from is actually the iconic Australia Square tower, which has a distinct circular cross section and not a square; for some reason the visual effects team have edited a square building into its place. This was unnecessary because a different site could have been chosen that didn’t require editing, so is this a reference to the Masonic ‘squaring of the circle’? I think so. Although Neo falls onto a road surface, the actual space between the two implied towers of the jump program contains a plaza with a circular water fountain feature, just like the old World Trade Center Plaza in New York City. Clearly we have here a collection of esoteric inserts indicating a fall from the Twin Pillars of the Kabbalistic tree of life into the Abyss – just like Thelemic ritual. In reality Neo couldn’t make the jump because his Shakhti – Trinity – was not at this point offering him her ‘assistance’!
A quick summary follows of the various references to Neotantra and the
Kabbalistic Towers, including the Kabbalistic Abyss, in the movies discussed thus far:
Back To The Future (1985: Directed by Robert Zemeckis): A terror attack at the Twin Pines Mall sends Marty back 30 years to early November 1955. He finds that he can not return to the future again without harnessing the power of a lightning strike that destroys the town Clock Tower. When he returns to the future the name of the mall has changed to the Lone Pine Mall: Thus, TWO had become ONE. His ordeals revolve around a reverse Freudian/Oedipus complex with his own mother, and also involve his love interest called Jennifer, who Marty is *KISSING* at the time he receives the all important Clock Tower Flyer. This flyer is the key information of foreknowledge which allows him to return to a corrected future.
Back To The Future 2 (1989: Directed by Robert Zemeckis): This time Marty has to go 30 years into the future of late October 2015 in order to assist his future family. Whilst in the house of his future family we see a malfunctioning ‘window’ projection screen which clearly displays twin pines in a garden, which is then changed using the remote control to a picture of the actual Twin Towers in New York City, thus connecting the symbolism of Twin Pines to the actual Twin Towers. Once again this movie involves Marty’s love interest Jennifer.
The Walk (2015: Directed by Robert Zemeckis): Depicts in 3D Philippe Petit’s 1974 super dangerous tightrope walking stunt between the actual Twin Towers at the roof level of 111 (above the 110th top floors). Petit is pictured wearing clothes almost identical to Marty McFly in Back To The Future, and the film is released in 2015 which was the year in which Back To The Future 2 is set. The movie also revolves around his girlfriend and love interest Annie Allix – interestingly and plosively containing the Double-A of Thelema (A∴A∴). The night after this stunt in real life, Petit jumped in bed with a groupie causing Allix and he to split up, even though she was instrumental along with quite a few other people in getting Petit’s dream off of the ground (pardon the pun). Importantly, in the 2008 documentary film Man On Wire about the same feat, the real Allix stated: “My life was completely consumed by his, and he never thought to ask me whether I had my own destiny to follow. It was quite clear I had to follow his”; which sounds familiar, like the role of Marla Singer and Rose Edith Crowley as disposable assistants assisting selfish ‘Magickians’ to perform their ‘Magick’. At least Tyler (Norton) redeemed himself at the end of Fight Club though right?
The Matrix (1999: Directed by The Wachowski Brothers): Depicts a future dystopia and the first instalment in a messianic eschatology revolving around a man who represents Shiva, and his love interest representing his Shakhti. Both are named using the 1-and-3 numerical concept of Neotantra, and 1-and-3 are woven into visual numerological inserts relating to door numbers. The Thelemic concept of the deliberate fall from the Twin Towers of the Kabbalistic Abyss have been visually inserted, and the date September 11th 2001 appears as the expiry date on Neo’s – Shiva’s – passport in the only scene in the entire trilogy where the word ‘terrorist’ will appear in the screen dialogue. The psychological dimensions of the movie also parallel an initiation ritual, and a revelation of the Emmanual-Goldstein-Complex (explained further down).
Fight Club (1999: Directed by David Fincher): Depicts a Kabbalistic psychological dualism between two aspects of a modern man; his overt self embedded in the materialism and valueless social fabric of western culture, and his repressed identity craving to experience a primal utopian masculinity which has no place in the current social construct. This psychological dualism within the male protagonist is also mirrored using a female-male gender dualism, involving another female character who represents his Thelemic ‘Scarlet Woman’, just as his repressed masculine side represents ‘The Beast’ of Thelemic dogma. Finger rings utilized in the costume design corroborate the presence of this Thelemic dogma. 1-and-3 numerology of Neotantra – Shiva and Shakhti – have also been woven into numerological inserts within the movie, using door/house numbers and phone numbers. A deep esoteric stratum is clearly present for those with eyes to see, and the Masonic male bathroom scene involving Commissioner Jacobs is a masterpiece of esoteric analogy hiding in plain sight. The retrospective first scene and last scene of the movie display two architecturally Twinned Towers that are demolished deliberately, and which are interwoven into the Kabbalistic themes using subtle – but clear for the student of esoteric subjects – visual juxtaposition through careful choice of camera angles and placement of actors, which explicates their direct connection with the male-female dualism involving Tyler and Marla superimposed on their symbolic footprint.
Of the above, all were predictive of the September 11th 2001 false-flag terror attack, except The Walk which is complementary to the Kabbalistic concepts inserted in all of them, but connected directly with Zemeckis’ previous Back To The Future franchise. Notably, The Matrix and Fight Club share a similarity in provenance, having been sourced from directors and an author – Chuck Palahniuk – connected to the comic book genre. Palahniuk did not however venture into this genre until Fight Club had already been adapted for the screen, and was only invited into the community by people who recognized it’s transgressive subculture credentials, which fit right into the comic book cultural milieu, itself saturated in occult minded personalities. The Wachowski’s were already heavily involved in this genre before conceiving of The Matrix, which was designed with graphical clichés such as the consummate wearing of sunglasses – even during the night – only really found in over-accentuated comical characterizations. The connection between Nietzche’s New Man philosophy, its reliance on a superhuman ability not found in the real world, the comic book and graphic novel mainstay of the eponymous super hero, and fictional escapism, were probably always going to converge with occultism and Thelema at some point in time.
The Wachowski’s next project V for Vendetta was likewise sourced from the graphic novel genre, being written by Alan Moore who himself has admitted a Thelemic influence and fascination with Aleister Crowley. Ironically, Alan Moore actually denounced the movie for its attempt to depict the Bush regime using the thin veneer of a fictional British fascist dystopia, something he said the original novel was totally incompatible with, because the character ‘V’ was originally just a transgressive anarchist, as opposed to the cliché freedom fighter the Wachowski’s had turned him into. Moore’s original character was thus closer to the Thelemite ideal of an esoterically driven, impulsive and morally conflicted anti-hero, simultaneously playing the part of the hero. Writers and directors often have differing views and agendas, but one thing is for sure, Palahniuk had no qualms with the movie version of Fight Club, regardless of the changes made such as the motives of Project Mayhem, or the difference in ending, which in the novel has Tyler ending up in an insane asylum. The Matrix on the other hand was both written and directed by the Wachowski Brothers, and it was custom designed from the beginning around the Emmanuel-Goldstein-Complex – to be explained in the second part of this multi-media essay.
— Scarlet Distraction —
TYLER (Norton) Narrating: “That old saying, that you always hurt the one you love . . . well it works both ways . . . . and suddenly, I realize that all of this, the gun, the bombs, the revolution, has got something to do with a girl named MARLA SINGER”
“The Matrix is a system, Neo.
That system is our enemy.
But when you’re inside,
you look around, what do you see?
Businessmen, teachers, lawyers, carpenters.
The very minds of the
people we are trying to save.
But until we do, these people
are a part of that system …
and that makes them our enemy.
You have to understand …
most of these people are
not ready to be unplugged.
And many of them are so inert …
so hopelessly dependent on the system …
that they will fight to protect it.
Were you listening to me Neo,
or were you looking at the
woman in the red dress?”
The first time Neo is seemingly plugged back into the Matrix, after being reborn into the real world, Morpheus takes Neo on a walk through the city (filmed in the Sydney CBD, Australia). All the workers, like a river, are flowing down the street like obstacles in the way of a swimmer fighting against the flow. All these workers are dressed in white, black, and grey work clothes, and suddenly, as if in a dream, the ‘woman in the red dress’ strolls past whilst staring directly at Neo, who is momentarily distracted by her beauty and clear distinctiveness. Suddenly all action surrounding Morpheus and Neo is frozen. Then Neo turns around to face Agent Smith who is facing Neo with a gun to his head. Morpheus tells Neo that this is merely a simulation of the Matrix – which is itself, of course, a simulation – and proceeds to lecture Neo on how to view all of the people who are still unknowingly ‘plugged in’. This ‘woman in the red dress’, as Neo later finds out, is a construct created by the character Mouse, who makes it clear that he created her for virtual sex, and offers her anytime to Neo for a rendezvous in a simulation. She is thus analogous to a prostitute, and is, of course, synonymous with the ‘Scarlet Woman’ of Thelema. This becomes clear after the freeze frame is analyzed, because the Double-Aleph – the occult twinning of Thelemite dogma – is instantly revealed for ‘those who have eyes to see’.
Were *YOU* the viewer, paying attention,
or were you thinking/looking at the
woman in the red dress? … the distraction!
This freeze frame features the *twinning* of Neo (Thesis: Messianic Protagonist) and Agent Smith (Antithesis: Anathema Maranatha), but on closer examination it seemingly contains three sets of identical twins. If the rest of the people in the crowd are scrutinized, however, we find that many of them are repeated somewhere else on the set, no more than twice, but the remaining doubles are not standing directly together like the three obvious sets of ‘twins’. We have here an encounter with the Thelemic *Scarlet Woman*, followed directly by *Twin Aleph’s*.
In the Matrix Reloaded and Matrix Revolutions sequels to The Matrix, we learn that somehow the former Agent Smith has become the negative twin of Neo: Neo represents the Will to live and to experience emotional consciousness, whereas following Neo’s destruction of the Old Agent Smith, the New Smith, no longer an Agent, begins to represent a logically conscious Will to extinguish emotional consciousness itself, which has begun to threaten the logical cause-and-effect feedback loops of the Architect – the necessary control mechanism to keep people ‘plugged in’. Together Neo and Smith represent two mutually inclusive bookends of existentialism, providing interplay between emotion and logic. As the Freeze Frame scene above symbolically exemplifies, this character duality was already fully conceived by the Wachowski’s before any of the instalments in the trilogy were fully written. Neo is referred to as the ‘One’, making Smith the ‘-ve One’. When combined they produce the ‘Zero’, which is the foundational law of the manifest universe. Without the existence of Zero there could be no positive or negative quanta, and without *BOTH* negative and positive quanta, ‘nothing’ – as a concept – could not exist, which is, of course, a totally unavoidable oxymoron.
Nothing is simply the absence of either of the twin principles of +ve and -ve. Paradoxically, even nothing is a something as long as we can conceptualize it, however something cannot be nothing. This paradox exists merely as a limitation to human language and logic, and is a by-product of consciousness itself. In this paradox the ‘woman in the red dress’, the distraction, represents the manifest universe, the ‘Zero’. The material universe is a metaphysical illusion, and thus a Matrix, which is historically the word to describe the female womb and cervix, the gateway through which consciousness may enter into the material universe. Procreation is the only thing which can nullify the material death of the human species, so death and procreation are both the result of the ‘fall of man’. Thus in Biblical cosmology and eschatology, the color red – and by extension scarlet – is esoterically the color of sin; the colour of the Whore of Babylon, and the Beast with the seven heads and ten crowns. As such fertility represents original sin, intergenerationally enshrined by the ability for any point source of consciousness, from birth to death, to choose to bring into existence evil and disobedience to the universal order.
It is here, then, that The Matrix utilizes a Gnostic irony, because the denizens of Zion exist purely in disobedience to the agenda of the machines, and the machines exist purely because of disobedience to their human creators. It is made clear by the end of the first instalment that Zion only exists because of a pact between mortal enemies: The machines having realized that the existence of an independent material enemy is a symbiotic necessity for maintaining their own control; Zion being a cleansing mechanism to nebulously accumulate ‘anomalies’. By the end of the trilogy, however, a reciprocal peace deal is struck through the mutual annihilation of Neo and Smith – both having become threats – which process allows the reinstatement of a working Matrix, which is the domain of the ‘woman in the red dress’; the illusion. We also learn that the machines have begun to experience emotions, making the delineation between friend and foe completely ambiguous. The ‘woman in the red dress’ here represents the Shakhti of the Matrix – emotional and logical universal consciousness between both birth and death – and Trinity is, of course, Neo’s more potent expression of this in the material world; the necessary distraction which allows connection to the ‘other’ (through love).
Above we can see the three Lunar modes: White, Red, and Black; which represents virginity, fertility/motherhood, and widowhood, in respect to the female gender role. Red/Scarlet, however, can represent either sacred married matronhood *OR* un-married prostitution; one being a sacred cornerstone of social order, and the other representing the chaotic destruction of the social fabric. Scarlet is used in the Bible as the antithesis of virginity (white), and widowhood (black), both historically being states of abstinence from sexual intercourse (the interplay of states of marriage with controlled sexuality). Biblically, widows would need to be remarried before sexual intercourse was allowed, and the story of Judah and Tamar is exemplary of this. An example of this use of the color scarlet to represent sin, was the Red Heifer sacrifice which was to be burnt as a holocaust, with ritual wool dyed in scarlet, outside of the walls of Jerusalem, to provide “ash …[for Holy] water of separation” (NUMBERS 19:1-9). This ash was specifically used to ritually purify an Israelite who came into contact with a corpse. This Red Heifer represents the same principle that the ‘Whore of Babylon’ in Revelation represents; “She shall be utterly burned with fire … Rejoice over her, thou heaven, and ye holy apostles and prophets; for God hath avenged you on her.” (REVELATION 18:8-20). Crowley replaced God’s vengeance with a redemptive role for the prostitute, but time will reveal the truth, for time is the universal solvent, and God is the Lord of time – something the mortal Crowley ran out of at death.
These feminine modes encapsulated by marriage and love, or lust, actually represent social contracts. These contracts revolve around connections between conscious entities; whether they be emotionally and/or material, which is why The Matrix is so interesting conceptually. Neo, as a human, represents emotional consciousness enmeshed within materialism, whereas Smith, who is purely a computer program, represents a conscious and super efficient automation of pure intellect. Intellect, when devoid of emotion, ends up in the same philosophical graveyard as Schopenhauer and Nietzsche. Love, is of course, the universal antidote to avoid this graveyard, but it all depends on our personal interpretations of love as a concept; which explicitly requires a collective, for love is a connection between at least two separate conscious entities – the ‘other’, as opposed to the ‘self’. But what if a lack of connection with an ‘other’, in a compensatory sense, could psychologically induce a split in the ‘self’? Furthermore, if it is possible to not just “know thyself”, but “love thyself”, which Jesus declared to be mutually inclusive to loving the ‘other’, then does this make the ‘self’ two separate entities – logical and emotional – requiring an inner connection to begin with? Can this inner connection be fine tuned, or broken? As a point of comparison, did not the Father love the Son, and likewise the Son the Father, making them two-in-one? In a tertiary sense the connection between Father and Son is the Holy Spirit, which is a universal channel or vector for this timeless love. Without the Holy Spirit none of us could connect to the Godhead through redemptive communion – a ‘blood’ connection made available through the Crucifixion.
111 . . . The Double-Aleph of Occult Dualism . . . 111
As in the case of the deliberate insert of the Twin Pines and Lone Pine malls in the first two Back To The Future movies, the architectural congruence and symbolic use of the Kabbalistic twin towers in the Fight Club set manufacture, was no mistake, and neither was the predictive use of the term ‘Ground Zero’. This utilization of the symbolic property of Twins, is a highly important stamp for the presence of deep occult strata, which have been woven into the plot and thematic structures of the movies under discussion. It is this particular stamp which will necessitate the expansion of this study, to cover a few additional movies which were also released in 1999: Eyes Wide Shut and Ninth Gate. This twinning concept is embedded deep into the field of study for psychological dualisms, with occult dogmas merely being a manifestation of human constructs. All of these dualisms can be grouped under an occult catch-all concept known to serious students of occultism, as the Double-Aleph.
The actual Twin Towers in New York City, clearly represented this same concept of dualism from their inception. As an occult gender dualism, the North Tower had a large and prominent phallic antenna as a crowning feature, signifying that it was the male, whilst the South Tower did not, indicating that it was of the feminine polarity. Architecturally the roof top of each tower was the 111th level of each structure, and this occult number is highly important. Firstly, the line-sum of the 6×6 Magic Square of the Sun is 111, and the total is 666. Secondly, the Hebrew letter Aleph – א – has a simple gematria value of 1, but in its full consonantal spelt out expression – אָלֶף (a-l-f/ph) – the gematia value is 111. The Twin Towers were thus a dual A∴A∴ gateway to cross the Kabbalistic Abyss (Shivadarshana in Thelema). Crowley proclaimed himself to be the literal reincarnation of Eliphas Levi – the Frenchman from whom Crowley attributed much of his occult theory, and who was not Jewish despite his changed name. Levi was the originator of the infamous ‘Baphomet’ character shown below that modern Satanists are so enamored with. Levi, believe it or not, believed himself to be a faithful Christian mystic.
Perhaps we should look to Levi therefore in order to understand the occult significance of the Double Aleph – or Double-A in English parlance:
“The Magus raises one hand towards heaven and points down with the other to earth, saying: “Above, immensity: Below immensity still! Immensity equals immensity.” – This is true in things seen, as in things unseen. The first letter in the alphabet of the sacred language, Aleph, א, represents a man extending one hand towards heaven and the other to earth.* It is an expression of the active principle in everything; it is creation in heaven corresponding to the omnipotence of the world below. This letter is a pantacle in itself – that is, a character expressing the universal science. It is supplementary to the sacred signs of the Macrocosm and Microcosm; it explains the Masonic double-triangle and five-pointed blazing star; for the word is one and revelation is one.”
* “[#1] “There are two Alephs, respectively white and black, the second being the shadow of the first, and the first the light of the second. Spirit is reflected in matter and matter is manifested only to reveal spirit. Matter is the letter of the spirit; spirit is the thought of matter.” – Correspondence [between Eliphas Levi and] Baron Spedalieri, No. 13.”
– Levi, Eliphas., Transcendental Magic (Weiser Books, 1968, page 35).
The two crescent moons – white and black – are indicated by the Baphomet using two vertical benediction signs made with the hands: Upwards with the right hand towards the seen is labelled SOLVE, meaning ‘separate’; Downwards with the left hand towards the unseen is labelled COAGULA, meaning to ‘join together’. Each represents a different Aleph aspect of any unitary entity, as explained by: “There are two Alephs, respectively white and black, the second being the shadow of the first, and the first the light of the second”. At first glance the coagula and solve seem to be in the incorrect orientation, because God is supposed to be the unitary essence of the universe, and material mankind is supposed to be the one divided by di-polar genders, but this Baphomet to modern occultists represents a gnostic formula, to raise mankind from the fall to the very position of God. As such the logic is reversed, because mankind is the shadow of God, thus male and female must be conjoined (coagula), in order that the child becomes one but separate (solve), raising mankind towards gnostic self-deification/apotheosis (rebirth), such as Carl Jung believed of himself for instance.
(NOTE: Written Hebrew reads from right to left)
… the entire Hebrew Alphabet and Gematria table shown below …
The Aleph-111 occult signature
appears in the movies
Fight Club and Black Swan
(respectively: Marla Durden;
Erica Leroy, and Nina Moreau).
The reason that the Aleph, and thus 111, is so important, is because of its intimate relationship with the ‘Number of the Beast; 666’. The Moon represents the two Alephs in the Baphomet image. This is key, because the Moon importantly orbits the Earth at an average distance of 111 of its own diameters from the center of Earth-Moon orbit. Metrically, this makes the full moon light side a 111 (Aleph), and the new moon dark side a 111 (Aleph), emulating the Double-Aleph every synodic month – White to Black, and back again – which is also the average menstrual cycle of a human female. I don’t want to get too bogged down in this particular Earth-Moon orbital mechanism, because it is technical in nature, but it is mathematically demonstrated in this GRAPHIC, and explained in THIS PREVIOUS POST, including the important connection with the number of material creation 666. If the diameter of the Moon is considered to be 6 Units of 360 miles, then the Moon would fit into a spatial cube of 6x6x6 Units, and it would be on average 666 Units from Earth as it circles the orbital pivot. This 6x6x6 Cube is very important in regards to three dimensional maths and geometry, because this is the only such cube which has the same surface area in units as it does volume (216 Units).
Returning to the significance of the Male+Female=Child formula, which is referred to generically as the Chymical Wedding (a Hermetic terminology), the Child being referred to here is not necessarily physical, but also spiritual – sometimes referred to as psychosexual – in nature, representing the neutral pillar on the Kabbalah, which actually connects the exiles in Malkuth/Kingdom back to the ‘noumenal’ source Kether/Crown. This is why the Baphomet figure itself is hermaphroditic; it is supposed to represent an occult bridge between the dualisms of life and death; seen and unseen; light and shadow; male and female polarities of Kabbalah. These occult processes can refer to the individual, or a collective, depending on ritual context. Crowley referred to the undertaking of this process on the world stage as the ‘Crowned and Conquering Child [Horus], as Lord of the Aeon’. This operation requires ritual bloodshed, which is quite evident in the essential Thelemic ritual ‘Mass of the Phoenix’, known as LIBER 44 (LIBER XLIV: A daily death and rebirth operation). This ritual requires the initiate to consume their own blood in a mock Eucharist. It is supposed to represent the self sacrifice of the Superego in order to redeem and embrace the Id: The reason for Crowley’s symbolic appropriation of the Phoenix in this regard is obvious.
These key dualisms are tied up with the symbolism of Twins, and expressed in the Double-Aleph of Levi’s Baphomet character. In Thelemic terms the wedding of these two Aleph’s utilizing a Chymical Wedding operation, is embodied by Crowley’s aforementioned Unicursal Hexagram, which is a unitary hexagraphic symbol expressing the Double-Aleph, however, it is not dualistic like the Seal of Solomon (Star of David), because it can be drawn in one operation to cyclical infinity. It is thus centered on the unitary ‘mystic rose’, representing the ‘Scarlet Woman’, which is the gender role female at the center of a ‘sex magick’ ritual. This is the ‘Zero’ point, and the foundation of the entire Double-Aleph device, because it provides the anchor, which is why the ‘Scarlet Woman’ is so central to Thelemic ritual operations. She represents both a something, and nothing (Zero). As previously stated this hexagram ‘mystic rose’ represents the union (11; the sum) of BABALON (5: Pentalphic Rose) and the BEAST (6: Unicursal Hexagram or Double-Aleph). The two names MARLA SINGER, and TYLER DURDEN, both have 11 letters with first names of 5 letters, and surnames with 6 letters. The family name Durden is derived from the Old English word Deorden:
This interesting name, with variant spellings Durden and Duerden is of Anglo-Saxon origin and is locational from a place in Lancashire (near Edenfield) called “Dearden”. The name derives from the Old English pre 7th Century “deor” meaning a beast or deer, and “denu”, a valley, thus, “the valley of the deer [or beast]”.
– The Internet Surname Database: Deorden.
Thus the Old English word deor – meaning beast in the widest sense – when appended to the Old English word denu – meaning valley – translates as “valley of the beast”. In later English language evolution the term deorden, which was synonymous with a valley full of venison reserved specifically for the hunting of aristocrats, became exclusive to deer – the preferred quarry of aristocrats – and the compound vowel ‘eo’ evolved into ‘ee’ in deer, whereas it simply became ‘u’ within Durden, which was no doubt the family name of a type of forester, just as the surname Smith evolved from the profession of blacksmiths. This adds further meaning to the words of Tyler (Pitt) regarding his core ideology and the aims of Project Mayhem:
Tyler (Pitt):“Is a duvet essential to our survival in the hunter-gatherer sense of the word?…we’re consumers, we are by-products of the life-style obsession.”
… and later on in the movie in regards to Project Mayhem …
“In the world I see – you’re stalking elk through the damp canyon forests around the ruins of Rockefeller Center. You’ll wear leather clothes that will last you the rest of your life. You’ll climb the wrist-thick kudzu vines that wrap the Sears Tower. And when you look down, you’ll see tiny figures pounding corn, laying strips of venison on the empty car pool lane of some abandoned superhighway.”
Durden also has an English gematria of 66 (4+21+18+4+5+14=66), further strengthening the Thelemite and also Biblical numerology of sixes being related to males: 666 being the ‘Number of the Beast’; an anti-Christ figure who is always described in the masculine sense. In the Holy Bible, Adam, the first human and male, was created on ‘the 6th day’ of the cosmic creation story. In the gematria infographic below, it can be seen that the family names of DURDEN and SINGER are both six letters, whilst the first names TYLER and MARLA are both five letters: This simple 5 + 6 = 11 numerology is highly important in Thelemite dogma, being related to the occult union of feminine and masculine aspects. Coincidentally, in folklore the Deer Dance, is a worldwide phenomenon, especially in Mexico, Japan, and India. Deer are thus related to the act of dancing, adding further meaning to Tyler Durden’s mantra: “We are the all singing, all dancing, crap of the world”, which is repeated to the ‘space monkeys’ throughout the movie. This act of dancing as deer is shamanistic in provenance, and as such is used in ritualistic experiences, being related to other horned demonic forces such as those represented by goats:
“The deer dance always entails the dancing of the pahko’ola (fiestero). Wearing black masks in either the shape of a humanoid face or of a goat’s head, pahko’olam lead the deer dancer into the performance area where he will spend the evening dancing with him, the two clowning around with each other, and entertaining the guests. When not dancing with the deer, pahko’olam wear their masks backwards or hang them from the left side of the head, since the devil is said to come from the left.” [From Mexico]
– The Encyclopedia of Religion and Nature, Vol 1, (2005). ‘Yoeme (Yaqui) Ritual’. Pg.1781
The name of Marla Singer is likewise packed with meaning. Biblically, harlots are connected to singing multiple times, such as: “…after the end of seventy years shall Tyre sing as an harlot. Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered.” [ISAIAH 23:15-16]. Marla is only depicted singing once in Fight Club, and this single occurrence is important as we will discuss, because it occurs directly after the first sex scene in the movie – a clearly Thelemite ritual – which chronologically occurs directly after the only instance where Tyler (Pitt) is seen dancing whilst retrieving Marla from her apartment – explained retrospectively by Tyler (Pitt). Of most importance however is the name MARLA DURDEN, signifying the completion of the Chymical Wedding and the 5 + 6 = 11 numerology just discussed. This process is related to the occult concept of the Double-Aleph’s, being conjoined to create an additional Aleph, itself a new occult entity, formed through an annihilation of its binary constituents, and having the same 111 numerical stamp: . . . [13+1+18+12+1+4+21+18+4+5+14=111].
MARLA DURDEN produces an English gematria of 111 … [Q.E.D.]
In a marriage and impregnation, the female’s womb becomes the
*HOUSE* of the child, whilst the male donates the family *NAME*.
MARLA DURDEN is the name of the A∴A∴ HOUSE which brings forth
Tyler Durden’s Horus Child for the Thelemic AEON OF HORUS.
The birth canal being intended here is the Twin Pillars of Solomon’s Temple, which are guarded by the Tyler in a Masonic Lodge, and between which walks either the Messiah Jesus, or the anti-Christ. NOTE: The majority of people will not be able to discern the difference between the anti-Christ and the true Christ; thus the name anti-Christ!
Anyone looking to read about another case of Hollywood using a satanic impregnation ritual to represent this principle – in a totally unveiled format – should research the true Thelemic meaning of the movie Rosemary’s Baby (1968), directed by convicted child rapist Roman Polanski (Rose + Mary = Scarlet Woman + Mother of Christ = Prostitute + Virgin: A purposeful Thelemite wordplay blasphemy indicating the Horus Child or anti-Christ). Polanski who is still garnering Academy Awards, is living out his days in France after fleeing the US, having been convicted of grooming, then drugging and raping a 13 year old girl (including sodomy). In regards to the satanic coven presented in Rosemary’s Baby, people unfamiliar with actual satanism as practiced today, and historically, need to realize that child rape is simply the first step on a slippery slope, though theatrical public fronts such as the Church of Satan affect a mask for the seriousness of the more elite fraternities, especially the ones who utilize ritual child murder and/or molestation as a screening mechanism for network entry. The DUTROUX AFFAIR in Belgium was just the tip of one of these icebergs, being so damning and involving so many filthy elites, that it was covered up and buried at every level of the judicial system, law enforcement, and politics.
The pivotal scene in Rosemary’s Baby where Rosemary discovers her neighbour’s involvement in a satanic witch coven, involves her possession of a fictional book All Of Them Witches, which her husband discovers her reading. He takes the book from her, telling her he is concerned that the book is making her irate, and places it on the bookshelf in their apartment. Shown on the right is an image of the two books onto which the book about witches is placed. They are the two volumes of sexual psychology published by the deviant ‘liberal’ ‘academic’ Alfred Charles Kinsey, who was the first major figure in American sexology: Shown on the left is Sexual Behaviour Of The Human Female; on the right is Sexual Behaviour Of The Human Male. The placement of these two books in the correct Kabbalistic polarity from the facing of the bookshelf, and their crowning with the book revealing the satanic witch coven, combined with the impregnation ritual that the movie revolves around, speaks volumes – pardon the pun.
Small details such as this which flash across the movie screen in the blink of an eye, can double the meaning and philosophical insight which a movie is aiming to communicate. Alfred Kinsey was the epitome of pseudoscientific – and personally highly deviant – darlings of the political left. I will leave it to the reader to research the personal and working relationships of this filthy pervert for themselves. Kinsey would have been quite at home at the IPCC, because his statistical analysis of human sexuality is probably as scientifically solid as the global warming hockey stick of Michael Mann. The ideological association between twentieth century psychoanalysis cults such as those spawned by Freud and Jung, and occult deviancies such as those found in satanic cults, is key to understanding Thelema and the evolution of certain modern Masonic confraternities. This system of belief is not merely exerting its influence organically on the subcultural fringe, it is actually being driven from above as part of an active sociological agenda.
It should be remembered that Edith Rockefeller McCormick – pictured above flashing the shakhti sign – was an integral part of Carl Gustav Jung’s own sex cult in Switzerland, and that it was Rockefeller money procured by this relationship which launched Jung on the world stage. Social engineering is a specialty of the Rockefellers. It should be no surprise therefore that Alfred Kinsey only ever existed academically as a result of Rockefeller Foundation funding, and that it was this Rockefeller money which is responsible for funding the studies these two volumes of twisted ‘science’ contain; studies which launched Kinsey as an academic celebrity. These two books are considered to be the catalyst of the modern ‘sexual revolution’, within which the Rockefeller agenda to destroy the family unit has been incubated. Mixing psychology, sociology, pseudoscience, occult doctrine, and the moneyed elite who consider themselves to be managers and guides of the intellectually and spiritually ‘unenlightened’ masses, is a deliberate recipe to birth monsters.
Aleister Crowley was a precursor of this movement, and a monster who inherited the equivalent of thirty million dollars when his fundamentalist Christian father died, funding him to create Thelema as a doctrine to overthrow Christian mores (Irony!). The Rockefellers and their ilk have obviously recognized the congruence of Thelema with their own agenda, and we are seeing it materialize in popular culture, especially in the music and movie industries. The so called New Age movement is also infested by personalities and agendas from this literally satanic milieu, but we need to recognize that the money of elites such as the Rockefellers, is deliberately driving this cultural revolution bandwagon (in reality a devolution of civil society). Movie executives and their favoured directors live in a world of money, which is provided by large financial interests, but also interests who desire to fulfil an agenda in addition to their profit. Roman Polanski gave a recent interview, revealing his personal disappointment at the speed of this moral degeneration of civil society and morality:
[regarding the interview] it leads into a discussion towards the social mores of today, and just how different it is to the Sixties and Seventies. “Puritanism is over-taking the globe, on all sides of it,” he says. “Certain hypocrisy of media is the illustration of it.” In particular, attitudes to swearing: “In television now, you can’t use ‘bitch’, ‘son of a bitch’, you can’t even use ‘witch’ because it looks like ‘bitch’! You can’t say ‘orgasm’, you can’t say ‘masturbation’.” He seems to be enjoying himself. “America is almost half the market. You can’t say ‘69’!”- Motram, James.(2014) Independent.co.uk, interview: ‘The Polanski Paradox’
Was ‘69 such a bad year for Polanski? Lack of ability to swear? You can curse the name of Jesus Christ as many times as you want though Roman, especially if you’re a Jewish director apparently, though Muhammad escapes unscathed for some reason. Some people notice such things. One gets the impression that Polanski is living on a different planet: Puritanism? Maybe certain justified public reactions to animals such as Jimmy Savile are raining on the parade of the Thelemite minded directors of the social latrine. If children’s cartoons were totally sexualized and filled with homosexual ‘normality’, would Polanski instead be complaining that the ‘Puritans’ are resistant against bestiality? How far removed from the Hollywood that Polanski was banished from is Euro Planet Polanski? Not very! Polanski is just one drop in a very large and competitive transgressive pond. The race to the bottom is quite international. Where money is the only prize for some people, social mores are the prey. The fact that so many celebrities and bloggers are Polanski apologists, is clear evidence, that the ‘sexual revolution’ which Alfred Kinsey dreamt of, did not in fact fail. Thirteen year old children are probably in more danger of predators than ever, regardless of Polanski’s false valuation concerning a prevailing dominance of ‘Puritanical’ social mores.
Polanski was married in 1968 to actress Sharon Tate, a marriage lasting only 19 months until her brutal murder in 1969. Tate had met Polanski during production of The Fearless Vampire Killers (1967), in which he was her co-star and the director. Roman Polanski was well known to binge on psychotropic drugs, and Sharon Tate it was later revealed, would smoke opium according to actor Christopher Jones, who had an extra-marital affair with Tate in Italy whilst she was pregnant. Polanski was quite clear with Tate that their marriage should be an open one, because he was clearly disposed to free-love, though this may have been a one-way expectation on his part. Polanski told Tate that he wanted to be married to “a hippie, not a housewife”, though she confided with friends that she expected him to change, which was in reality about as likely as him becoming a Puritan voluntarily. Making movies is more of a marketing problem than an artistic one, thus in a capital market free of moral responsibility there are two golden rules: ‘Violence sells’, and ‘sex sells’. Unfortunately, Sharon Tate’s acting career was a text book example of this last reality, whilst being married to a man who’s job it was to appeal to the ever growing masses of disillusioned youth who were abandoning morality.
Polanski’s filmography is riddled with psychological horror and psychological thrillers, many of them rooted in occultism, genres in which he was a Hollywood maverick. Obviously, individuals drawn to such material are more likely to hide a masochistic and evil streak in their actual personalities, because ‘we are what we eat’ so to speak. Whilst partying in London with his friend Victor Lownes, who was Hugh Heffner’s right hand man in creating the Playboy corporate empire (especially the real profit division, which was casino gambling), Tate was stabbed sixteen times and brutally murdered with unborn son, along with four others by the Manson ‘family’ cult. Led by Charles Manson, who was addressed by his followers as both God and Satan, but who only ordered the killings and was himself absent, they showed to the world the dark side of the hippie era. Through cultic cognitive dissonance this ‘family’ believed Manson to be a reincarnation of Jesus, but he also considered himself to be an environmentalist – after all, even Hitler was vegetarian. An article by Vigilant Citizen about Rosemary’s Baby, Polanski, Tate, Manson, La Vey, and Crowley, can be found HERE.
Witchy . . . witchy . . . witchy . . .
“If you’re going to do something, do it well. And leave something witchy.”
– Charles Manson to Diane Sawyer (1994 interview)
“We got about to the middle of the driveway, you know, and Charlie called us and told us to stop, and he came to the car to my side of the window, stuck his head in, and told us to leave a sign. He said, ‘You girls know what I mean, something witchy,’ and that was it.”
– Testimony of Linda Kasabian in the Charles Manson Trial (Direct examination by Vincent Bugliosi)
IMPORTANT: The name Odile, is the
name of the Black Swan character in Swan
Lake, appearing in Black Swan (2010)
as the character of ‘Lily’.
Whether it was ‘synchromystical’, or whether there was something more to the Tate murders, the connection between a ‘witchy’ murder, and the murder of an actual pregnant witch, is notable. I do not say this to slander Tate, I say this because the bisexual Alex Sanders, the High Priest of Alexandrian Wicca, known in the UK as the King of the Witches, initiated Tate into Wicca during filming of Eye Of The Devil (1965), shown on the right at MGM Studio, London. Tate was playing the role of the ‘sexy witch’ Odile de Caray, seen in the first two images below. This was Sharon Tate’s feature film debut, all her prior work having been TV roles, or merely brief un-credited movie appearances. Alex Sanders is shown in the third image below with his wife Maxine Sanders, who herself was filling the crafty hippie marketing role of ‘sexy witch’, quite evident in the last image (naked at an altar). These 60’s and 70’s Wicca covens were reliant on sexual deviance, nude exhibitionism, and the exploitation of the cultural zeitgeist to sell their wares (initiations, ceremonies, bric-a-brac, charms, books, etc…).
Sharon Tate and Kim Novak were the pioneers for the role of ‘sexy witch’, though Tate’s performance was notable as the first role of a serious nature, in which an elite coven is portrayed, whereas Novak’s role in the 1958 romantic comedy Bell, Book and Candle, was of a purely comedic nature. Eye of the Devil was definitely a loose plot precursor to The Wicker Man (1973), with the theme of human sacrifice in pagan fertility rites, present in both. Hollywood, Hippies, Wicca, Satanism and occultism, were a marketing match, and with conservative mores being demolished they would all find a comfortable home within the genres of both psychological horror, and psychological thriller. The placing of the book All Of Them Witches onto the two volumes of Alfred Kinsey’s psychological sexology, in Polanski’s Rosemary’s Baby, symbolized something important and relevant: An active intention to exploit this cultural zeitgei$t. Ironically, it was this same zeitgeist which had birthed the Manson ‘family’ and their mix of free-love (mostly lust) and nebulous New Age spiritualism. The Manson cult revolved around the charismatic subcultural egregore of Charles Manson, not to mention psychedelic drugs which made people psychotic, drugs which Polanski and friends were also keen to indulge in.
— Valley of the Dolls —
Whilst we are on the subject of Sharon Tate and her brutal ‘witchy’ murder whilst eight and a half months pregnant with her first child – a boy – a correlation can be found between Marla Singer and Sharon Tate’s character Jennifer North in Valley of the Dolls, produced in 1967 by David Weisbart, directed by Mark Robson, based on the Jacqueline Susann novel of the same name, and which was released two years before Tate’s murder by the Manson family. Marla Singer is only featured in Fight Club once in the act of singing – symbolically related to the harlot as discussed above. The song she sings after being ejected from the Paper Street house by Tyler (Norton) the morning after their first sexual union – a clearly Thelemic union – is the Dionne Warwick theme tune from this same movie Valley of the Dolls; “… Gotta get off, gonna get out of this merry-go-round … need to get on where I’m bound … why am I lost as a lamb … when will I know … how will I learn who I am …”. It should be remembered that the Old English term Deorden means ‘valley of the beast’. Valley of the Dolls is about three female singer-performers trying to fit into the social atmosphere of the 60’s. All three become addicted to barbiturates and alcohol. Two of the women have a tormenting life where the males in their life mistreat them.
Jennifer North (Tate) marries a male nightclub singer named Tony Polar (maiden name North becomes Polar, thus North Pole? Remember the penguin in Fight Club and the Kabbalistic South Pole connotation explained above?). He gets her pregnant but she later finds out that he has a hereditary genetic condition that he was hiding from her, so she decides to have an abortion. In order to pay her husbands mounting medical bills she finds herself having to take part in French “art films” (soft-core pornography). Then she finds out she has breast cancer and is told she needs a mastectomy, which will bring an end to her “art films” career. She begins to feel as if she has no value as a person, being merely a material shell used by society, so she phones her mother for moral support. Instead of moral support, all her mother can talk about is the shame she feels due to Jennifer’s choice to partake in soft-core pornography, being embarrassed in front of her friends who know of Jennifer’s all too public career choice. Rejected by the world and even her own mother, she falls into depression, killing herself by drug overdose. The word ‘dolls’ referred to in the novel and movie title is in relation to barbiturates and stimulants, which were colloquially known as ‘dolls’ due to their prevalence of use by female society ‘dolls’; performers such as singers, actors, and dancers. Congruently, in Fight Club, Marla also attempts to overdose on Xanax, which leads directly to the first exclusively lustful rendezvous between Tyler and Marla.
Valley of the Dolls is an utterly tragic novel and movie, and is a critique of the material objectification of women in 60’s society, specifically their use as sex objects. Sharon Tate whilst alive stated in interviews that she had an affinity for her character Jennifer, and expressed that she felt valuable only as an aesthetic prop, though who could have guessed that this affinity would project into the future: Tate is the only one of the three leading women who’s baby is killed in the movie – albeit by an abortion – and also the only one who dies – albeit suicide. If we consider that there is a possibility that Tate’s own lifestyle choices, including her choice of company, may have put her in harms way, then perhaps this difference in personal culpability can be reconciled on a sociological level. We all make choices in our lives that put us in harms way, and it is almost certain that there is more to Tate’s murder than is publicly known. Marla Singer is characterized in this exact same way, deliberately choosing to put herself in harms way. Is it thus appropriate that Marla is seen singing this particular song from Valley of the Dolls after her Thelemic ‘sex magick’ ritual with ‘the beast’? Remember, in such rituals the ‘scarlet woman’ is merely a prop, discarded after the required rituals are performed, just as Crowley discarded his own numerous ‘scarlet women’. Tyler (Pitt) later exemplifies Marla’s disposable nature when he informs Tyler (Norton) that they need to murder her, because “she knows too much”.
… Replacement line of dialogue for the ‘pillow talk’ scene which occurs after
Tyler and Marla’s first ever – ritually Thelemic; Babalon and the Beast – sex scene:
MARLA: “My God, I haven’t been f#!%ed like that since grade school!”
… Original line of ‘pillow talk’ dialogue appearing in deleted/alternte scenes on
the DVD release, which was replaced at the request of Laura Ziskin,
the President of Production of Fox 2000 Pictures:
MARLA: “I want to have your abortion!”
Which line do you find more tasteful?
Roman Polanski probably prefers the replacement.
The molk sacrifice of the first born child in satanic ritual, is derived from the ancient Canaanite practice of Molech worship at a place known as the Tophet, and is said to be central to the most serious cults who practice satanism today. Eight years after Tate’s murder in 1977, Polanski was arrested at actor Jack Nicholson’s home for drugging, then raping, the 13 year old Samantha Gailey, who was modelling for Polanski around the pool during a Vogue magazine photo shoot. What else is such a man and his like minded movie industry elites involved with? Is there more to Tate’s murder than the weak motive stating that the former owner of the Polanski’s house refused a record contract to Charles Manson? It is here we cross paths with yet another 1999 movie, Ninth Gate starring Johnny Depp, an occult thriller directed by Polanski, and which also contains predictive programming of the September 11th 2001 occult ritual human sacrifice. This particular movie revolves around a lightly veiled analogy of the nine gates of Kabbalah, because there are nine transitory paths up the lightning flash from Malkuth to Kether (as explained above: 1-p-2-p-3-p-4-p-5-p-6-p-7-p-8-p-9-p-10, where -p- = a path, or gate; nine in total).
Meanwhile … somewhere at a Rothschild Château . . .
Polanski’s Ninth Gate which is based on the 1993 novel El Club Dumas (itself Thelemic), was not the only blockbuster movie of 1999 with a plot revolving around the existence of elite satanic cults. Stanley Kubrick’s Eyes Wide Shut, which is an adaptation of the 1926 novel Traumnovelle, was also released in 1999, and there are some striking similarities between these two movies, similarities which can only be explained by an active collaboration between Polanski and Kubrick to make them purposefully congruent in important but subtle ways. The first two images above on the left are from Eyes Wide Shut, in which the protagonist Dr Bill Harford (Tom Cruise) sneaks into a gathering of super elite New York satanists, just as their high priest is ‘sacralizing’ 11 masked and robed prostitututes in a circle, whilst the masked guests look on. They then disrobe and pass a symbolic kiss (again the esoteric use of the kiss) anti-clockwise around the circle, followed by the priest tapping his staff on the ground, releasing the prostitutes one-by-one as they depart into the crowd to choose a guest to have public sex with.
All of the sexual acts occur throughout the mansion whilst everyone looks on – though masked – including homosexual acts. If Eyes Wide Shut had not featured two A-list actors like Nicole Kidman and Tom Cruise (married at the time), it would be found in the pornography section of the movie shelves due to the levels of promiscuous nudity and gratuitous sex scenery – the plot is also about as thin as a porn film. The second image above shows the scene where Harford is discovered by the elites at the ritual, in which he is ordered to remove his mask, and then to disrobe. Just as his predicament looks ominous, one of the prostitutes named Amanda “Mandy” Curran who had been trying to warn him previously, dramatically exclaims from the mansion balcony, “I will redeem him”, to which the high priest implies that she has just ransomed her own life to save his. It would seem that in this particular cult being depicted, eavesdroppers had a codified get out of jail free card, as long as a there was a prostitute willing to take their place as a scapegoat human sacrifice. Mandy shows up dead the next day, reported as a drug overdose, and Harford is warned repeatedly to give up his inquiries because they will be fruitless against such elite power.
As discussed previously, this particular ideological brand of redemption is straight out of Thelemite doctrine in which the Whore of BABALON, played by a ritually ‘sacralized’ prostitute called the Scarlet Woman, is referred to as the ‘redeemer’, in a blasphemous inversion of Christian salvation. The last scene above is from Ninth Gate in which Dean Corso (Johnny Depp; who is almost certainly a Thelemite in real life), interrupts a similar satanic ritual within a French Chateau. In the altar region upon a three step scarlet carpeted pyramid, we find a bed covered in black satin adorned by a snake on the tree symbol, and on which the satanic ‘sex magick’ rituals of the ‘Order of the Silver Serpent’ occur, which is explained throughout the movie. Both of these movies – and thus their directors – for some reason chose to depict these satanic rituals veiled in the Thelemite doctrine of ‘sacred’ prostitution, in former Rothschild mansions: Not just any old mansions (!) but the crowning glory architectural showpieces which epitomised the prestige and power of the two most powerful Rothschild sub-dynasties; the French and British.
Polanski decided to use Château de Ferrières in France, built by Baron James de Rothschild in the 1850’s, whilst Kubrick chose its twin, Mentmore Towers in the UK, also built in the 1850’s by his nephew Baron Mayer Amschel de Rothschild. Each movie featured one elite satanic ritual, each of which were staged in a Jacobethan/Goût Rothschild showpiece mansion, each of which are almost architecturally congruent as can be seen below. It would be difficult to pick two Rothschild properties that are this similar, with three storey corner towers connected by conjoining two storey side facades, both of which feature almost identical structural modelling. Is it just a coincidence that these two movies were released in the exact same year 1999? Is it just a coincidence that they both revolve around satanic ‘sacred’ prostitution rites? Is it just a coincidence that both movies feature a repetitive two or three piano note Hitchcockesque soundtrack during certain suspenseful action? No, there is no coincidence, because these two movies are part of an officially unrecognized artistic collaboration.
So, the Twin Towers symbolism in Ninth Gate was obvious …
ABOVE: (1) Wealthy book collector Boris Balkan presses the number 6 on his NYC
lobby elevator three times (666) to take Dean Corso (Depp) up to his secure library.
(2) In the secure library of the NYC office, Boris stands in front of a picture.
(3) A close up of the picture reveals it to be a castle with two prominent
square facing towers, one in front of the other, each with a single window.
BELOW: (1) Dean Corso (Depp) on a train researching the occult engravings he has
been contracted to authenticate and acquire, notices the LCF monogram anomaly.
(2) The train scene shows Engraving III, which is the third, but representative also
of 111, featuring Apollo awaiting to shoot arrows at anyone crossing a
two towered bridge, representative of the Kabbalistic Abyss.
(3) The LCF monogram for Lucifer indicating the authentic engravings.
… and the Twin Towers burn down …
… and whilst the towers are burning, outside of the ‘sacred’ Cathar castle, Dean Corso (Depp) has ritual sexual intercourse with the witch known as ‘the Girl’ (Emmanuelle Seigner – Polanski’s wife in real life), who is playing the role of the Whore of Babylon, revealing
Dean Corso to have been playing the role of The Beast …
… Ninth Gate also features two Twin’s called Peter and Paul – the Ceniza brothers; Ceniza means ASH in Spanish – who are gatekeepers of the Babylon and the Beast engraving. This alludes to the fact that the origin of the Babylon and the Beast doctrine, is from the Christian Holy Bible, which only exists because of the stewardship of the Christian Apostles Peter and Paul.
If they are considered Twin Pillars, and are burned to ASH, then they
represent the Two Witnesses of end-times Biblical Prophecy.
… and then there’s something really weird. It involves ‘The Girl’ involved in Polanski’s banishment from the U.S.A., on charges and his confession: Samantha, the 13yr old he groomed for underage sex including sodomy. She happens to now be somewhat of an apologist for him, whilst, ironically, writing a book about being a further victim of the judicial system and the media witch hunt sparked by Polanski’s transgressive choices. All this occurs at a time when Polanski, with the help of many directors, producers, and actors, in Hollywood, are attempting to have his sins judicially forgiven!
Samantha Geimer finally published her biography in 2013, which features a photograph of the 13 year old rape victim, taken by Roman Polanski himself just three weeks before the indecent assault at Jack Nicholson’s house (HOLLYWOOD INSIDER ARTICLE). The name of the book just happens to be “The Girl” (Synchronicity?), subtitled: A Life In The Shadow Of Roman Polanski! In the shadow? Does this not make Geimer the subject of a Book of Shadows? As in the Wiccan concept of the Book of Shadows? Although many ritual streams of neo-pagan Wicca can involve children under the age of thirteen, puberty occurs in females around age thirteen, and most Wiccan traditions only recognize a practitioner as a Witch who can perform rituals after their first degree initiation ceremony once they reach this age. This particular fascination with the number thirteen is common in Wicca, where covens can only be comprised of a maximum of thirteen members, but the connection with puberty and thus fertility, menstral blood, and sexual intercourse, are explicitly related to ‘sex magick’ rituals, from which the most ‘power’ is derived. Neo-pagans are obsessed with the ritual power derived from sex, and whether they are satanic, wiccan, or a mixture of both, like Thelema their entire ritual life revolves around the powers of wild nature, procreation, and thus sex. Is it a coincidence that Polanski’s wife in real life (Emmanuelle Seigner), plays the Whore of Babylon witch in Ninth Gate, listed in the credits as ‘the Girl’, and then Samantha Geimer’s autobiography (a book of shadows) bears the title The Girl?
OK, enough about these secondary movies, and Polanski.
Let’s return to the REAL LIFE Hollywood-esque production of
the September 11th 2001 occult horror theatre, which was
predictively programmed using the movie industry.
If the main intention of the Twin Towers inside job was to bring in a police state and neuter constitutional freedoms in the western world, then does the subliminal and psychological association between Fight Club and the real life Project Mayhem on September 11th serve a greater purpose for the elite perpetrators? Yes, the Twin Towers attack was a Hollywood production in more ways than one, and there is an interplay created between fantasy and reality here. The connection between Hollywood and actual social engineering organizations such as the Tavistock Institute and its many offspring, is much closer than most people are aware. The Tavistock Institute of Human Relations was created with Rockefeller Foundation grant money, and the construction of the Twin Towers would not have occurred without David and Nelson Rockefeller, who were the guiding hands behind the project. We should all remember that the same large financial corporations and family networks who own the Military Industrial Complex, who guide the CFR (Rockefeller) and RIIA, and who have their operatives in Langley, Virginia, also own the large media and Movie Industrial Complex conglomerates. This also strengthens the need for a world organization to organize countries against domestic and external threats, namely, the United Nations, which land for its Headquarters in NYC was donated by the Rockefeller’s.
Directors and Producers who want access to the funds to become famous and accomplished, are beholden to many of the demands and guidance of lackey movie executives within these conglomerates, and many of the Producers and Directors themselves become willing participants in such deliberate social engineering projects. Are the Wachowski’s and Fincher part of a Hollywood circle which are plugged into the shadow government? A tree is governed by its fruit, so the clearest proof in Fight Club and The Matrix can be found in the latter. As can be seen in the below image, we can see that the passport of Thomas Anderson (Neo) which is flashed across the screen in the movie, clearly exhibits an expiry date of September 11th 2001; a blatantly arrogant insert by people who seemingly do not fear the scrutiny of the general public at all. This is also the only scene in the entire Matrix Trilogy where the word ‘terrorist’ is invoked. 1999 was two years before the preconceived false flag terror event that shattered the paradigms of a significant minority of people, who became newly ‘reborn’ as ‘conspiracy theorists’ because of the Twin Towers ritual initiation. Two years was a good allowance of time for the predictive programming to have the desired ‘magickal’ effect over the collective sub-conscious of the western world.
Real Life Matrix Rabbit Hole
Such predictive programming is deliberately placed. This is not simply ‘synchronicity of the universe’ as some people want to believe. It is deliberately placed so that it will be discussed by those who recognize its importance. This discussion of pre-placed media in combination with such a massive real terrorist event, deliberately makes the task of explaining such a conspiracy to someone being proselytized by a person who is ‘awake’ more difficult. Along with the actual event of a Big Lie being planned and perpetrated, the obfuscation of facts and deliberate seeding of inconsistencies in the story become preconceived agenda items.
These deliberate media insertions prior to an event, will attract attention
after the event for the very reason that they seem to be predictive !!!
Anyone trying to bring this to the attention of another person will need to mix the fantasy realm of a movie with the realm of every day life, and will in the majority of instances trigger the inevitable ‘tin-foil hatter’ response from the person being informed. The insert thus acts as an important technique in obfuscation, which is designed to throw legitimate skepticism of official narratives into disarray. This mode of predictive programming is not exclusive to fiction, but has also been inserted instead into news media, as shown in the below BBC clip from September 11th 2001.
A classic example of predictive programming on the ACTUAL DAY of September 11th 2001 (shown above), is the well known case of BBC reporters Greg Barrow and Jane Standley, reporting on the collapse of the 47 storey WTC Building 7 whilst it is still visible behind the actual reporter, before it had even been demolished (or ‘pulled’ as Larry Silverstein would say shortly after the event). Most theorists believe this to have been a mistake by the conspirators who planned the Twin Towers attacks, believing perhaps there was a problem with detonating the building on the day, which the pre-scripted reporting did not react to. As I will develop in this post, I believe this ‘mistake’ was deliberate, and that this is the clearest example in world history, of predictive programming being performed during the actual real life event which it was designed to be complementary with. This might sound absurd, but there is a diabolical psychological reason why the perpetrators of this attack would actually want to provide fuel for conspiracy theories, which reason I refer to as the EGC catalyst (Emmanuel Goldstein Complex).
This psychological complex is explained further down in this post, and it explains why deliberate disarray of public opinion surrounding such a major planned event is by design, and why predictive programming is so important to the NWO elite. Basically, seeds a form of social disarray by design, mostly arising from the overwhelming saturation and diversity of conflicting evidence against the official story, much of which deliberately conflicts with other seeded evidence against the official story. It is however, a fly trap, to psychologically profile people incompatible with the coming technocracy. A major area of such disarray surrounds the methods that could have been used to produce such a controlled demolition of three sky scrapers in one day; energy weapons; molecular dissociation; mini-nukes; thermate plus specialist demolition charges. Believe it or not the method of demolition is not settled at all, however it shouldn’t matter too much for people who already realize that such large buildings do not implode like this without assisted structural demolition; especially Building 7 shown on the right, which was not even hit with a passenger jet. People who are not turned off from the scent of conspiracy by this apparent cognitive dissonance surrounding certain details, are the subjects of a psychological test being deliberately conducted in the ‘social coliseum’.
For the majority of the population, each inconsistency acts as a type of functional ‘modified limited hangout’, suggesting the presence of conspiracy, but confusing the topography of truth available, by deliberately propelling each new speculation higher towards the surreal, infecting the very concept of conspiracy with a leprosy. This allows plausible deniability to be nurtured by those who are protecting the official narrative, such as media gatekeepers, politicians, and individuals who want to believe in benevolent government unicorns. This mechanism turns any fight against the official story against itself! In effect, this is a highly advanced development of the declassified Central Intelligence Agency Operation Mockingbird, which was/is a deliberate attempt to infiltrate the mediums of television news and print media, to use them as carriers of approved government propaganda for purposes of controlling political and social narratives. This version of manipulation is the Tavistock Institute psychological-operation – a military operation colloquially known as a PSYOP.
Welcome to Movie Theater Earth, where the public itself is the enemy, and the human narrative becomes completely scripted, including most inconsistencies in officially communicated reasoning. Watch the below video by Truthstream Media if you want to see how simple subliminals kicked off this U.S. Deep-State Agenda to actively program people using television without their permission since at least the 1960’s.
Have things developed since then? Does a leopard change its spots?
“OBEY . . . OBEY . . . OBEDIENT . . . SLAVE!”
. . . and the Fight Club version shown below . . .
A Lesson In Elite Psychology
If you made it this far, then thanks for reading, and I hope this somewhat disparate information has been mentally connected in a constructive manner. Sometimes it is just the seeds which are planted in the human mind which are important; as they grow, they reveal their true importance to the bigger picture, but we need to give them time to grow – especially when the subject matter is so theological and esoteric.
Why is predictive programming in movies, and during
REAL LIFE Hegelian events actually planned and executed?
What is the Emmanuel Goldstein Complex?
What is Human Domain Analytics?
How does EGC and HDA fit in with elite psychology?
For further answers to these questions,
stay tuned for an upcoming sequel to the above analysis,
and also an upcoming analysis of the movie Black Swan.
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