Sunday, 16 February 2014

Richplanet TV - Richard D. Hall 2014 UK Tour

For those of you in the UK, Richard D. Hall will be commencing his first tour of 2014 over the next few weeks.                                                    "Continuing on from the previous 2013 talks, Richard presents his ongoing research in another 2 part lecture. In the first part we will be looking at "The Alternative Media" and the decline (including the pulling of Richplanet) of alternative information from UK television. I have discussed manchurian candidates and mind control in previous lectures and will continue by looking into some cases and also exposing the propoganda being used to make such activities seem not credible. Apparently psychiatrists are not allowed to discuss or postulate on the possibility that mind control is being used. In the second lecture I will report on further UFO cases reported to Richplanet. Animal mutilation cases have continued throughout 2013 in the UK and Richard will give an overview of recent cases. Are we any nearer to knowing what is giong on? In addition the story of the builder in South Wales who discovered an ancient buried pyramid under a building site. Many more subjects will be covered including some surprises. As usual there will be plenty time set aside for questions and discussion. The events will finish around 10:30pm."
For more information and booking tickets, visit:
Great Yarmouth - Sat 22.2.2014  1:00pm (Over 18s only)
Grosvenor Casino, Marine Parade, Gt Yarmouth, NR30 3JG
Doncaster - Sun 23.2.2014  7:30pm
The Regent Hotel, Regent Square. Doncaster, DN1 2DS
Manchester - Mon 24.2.2014  7:30pm
The Premier Suite and Lounge, 40 Corporation Road, Audenshaw, Manchester, M34 5LP
Birmingham - Thu 27.2.2014  7:30pm
Alvechurch Sports & Social Club, Radford Road, Alvechurch, B48 7LD

Newcastle - Fri 28.2.2014  7:30pm
Newcastle Irish Centre, 43 Gallowgate, Newcastle upon Tyne NE1 4SG
Hastings (SOLD OUT) - Sat 1.3.2014  7:30pm
Royal Victoria Hotel, Marina, St Leonards On Sea, Hastings, East Sussex, TN38 0BD
Cardiff - Wed 5.3.2014  7:00pm
Parkway Hotel, Cwmbran Drive, Cwmbran, Newport, NP44 3UW
Tickets are £10.50. 50p covers the paypal charge. After purchasing your ticket(s) you will receive an email within 7 days which will include your tickets which you can print out or write down the reference number to gain entry. This event has been re-scheduled from October 2013, if you have already paid for an October/November ticket you can get it re-issued free of charge by emailing and we will email you new tickets.

The Stanley Kubrick Conspiracy - Part 8: The Clues Were Always There

In February 1993, the legendary alternative knowledge researcher Bill Cooper discussed “2001: A Space Odyssey” on his radio show. Cooper described the Monolith as a symbolic catalyst for the beginning of the programming / control of humanity and how the Monolith effectively imparts “forbidden knowledge” to humanity, dismantling “paradise” in its wake. As witnessed in the “Dawn of Man” sequence of the film, the “forbidden knowledge” leads to the death of one ape at the hands of another. Cooper believed that the ape, “Moonwatcher”, was a symbol of the first priest or initiate of the mystery school teachings – instrumental in guarding the secrets of the ages, astral theology, the study of the Sun, Moon and Stars, etc. Cooper also highlighted the six transformations that Bowman goes through in the finale of the film, the sixth level of attainment in the mystery school teachings, and the associated “666” paradigm of occult teachings.

There are also further subtle indications of 666 embedded in the film:
“It also appears that the "monoliths" in the movie appear for 666 seconds. The time between the first appearance and final disappearance of each of the four "monoliths'," the four times added together, is 666 seconds. Additionally, there are apparently 666 camera shots starting from "The Dawn of Man" (the first shot after the opening credits) to "The End" (the last shot of the closing credits.) The running time of the film in seconds, from the beginning of the "Overture" to the end of the "Exit Music" (total exhibition time), is allegedly equal to the number of moon orbits contained in 666 years (8903). Alternatively, the running time in seconds, from the beginning of the MGM lion logo to the fade-out of the story, is equal to the number of moon phases contained in 666 years (8237). Everything before and after the movie proper, that is, the "Overture," end credits, and "Exit Music" times, adds up to 666 seconds. For an "added bonus", the director Stanley Kubrick was reported to have died 666 days before the year 2001, on March 7, 1999.”

Other esoterically important numbers also appear prominently within the film. The masonic trinity or “3” is most obvious.
• The numbers 2001 (2 + 0 + 0 + 1) equal three.
• There are three words in the title after the 2001 – A, Space, Odyssey
• There are three eclipses in the film.
• There is an eclipse of three celestial bodies at the beginning of the film.
• The story takes place on or around three celestial bodies – the Earth, the Moon and Jupiter
• HAL consists of three letters –H,A,L
• There are three “conscious” entities on the ship – Dave, Frank and HAL
• There are three astronauts in hibernation
• The 'World Riddle' theme plays three times.
• It is also worth taking the time to count the sections, engines, pod bay doors, and the number of “triangular” (another “3”)  shaped “ribs” that form the spine of the Discovery spacecraft.

Jay Weidner has proposed that Kubrick created “2001: A Space Odyssey” as a “visual and alchemical initiation into the on-going transformation and evolutionary ascent of man to a so-called Star Child destiny.” The obvious analogies are the celestial alignments that precede each of the alchemical transmutations in the film. The second main allegory is the monolith or “black stones” that initiates these transmutations. Again this mirrors the alchemical lore about the black stone (known under numerous monikers – most notably “The Philosopher’s Stone”) causing the transmutation of the alchemist. The film itself (the dimensions of the movie screen) shares the same dimensions as the monolith, prompting some researchers to consider the act of viewing the film as part of a greater ritual or working.

“Kubrick completely reveals that he understands the Great Work. The monolith represents the Philosopher Stone, the Book of Nature and the Film that initiates. Stanley Kubrick has truly made the Book of Nature onto film. Using powdered silver nitrates, that are then glued onto a strip of plastic, and then projected onto the movie screens of our mind, Kubrick has proven himself to be the ultimate alchemist-artist of the late 20th century.” (Jay Weidner, “Alchemical Kubrick 2001: The Great Work on Film”, 1999)

It is rare that I consider a Hollywood insider to have any sizeable degree of integrity or adherence to positive values and principles. However, where it matters, I consider Stanley Kubrick to be an exception to the rule. Despite clearly being on the inside (and obviously a Hollywood “illusionist”), his films have told us more about the hidden global agenda than any other Hollywood endeavour – albeit largely in the form of allegory and metaphor. Was Kubrick’s decision to enact a form of disclosure prompted by guilt or some twisted sense of dark humour? Did he become a prisoner of an industry that he once loved, and decided to articulate the things he came to see and know? We may never know for sure.

It is possible that there have always been clues indicating the predicament that Kubrick became trapped in. His reclusive nature has been attributed to the controversy surrounding “A Clockwork Orange” and his disdain for the way in which society was generally heading (he cited the crime culture of New York City as an example on one occasion), yet Kubrick displayed many obsessive compulsive traits throughout his entire life. His often bizarre behaviour (he was known to wander around his estate brandishing a shotgun at all hours of the day and night) should also give cause to wonder. Was he fuelled by a degree of justified paranoia, rather than mere reclusive tendencies?

Stanley Kubrick gave very few filmed interviews. Shortly before his death, he was given the D.W. Griffiths Lifetime Achievement Award at The Director’s Guild of America Awards and surprised the audience by giving a short “filmed message” of appreciation.

"I think there's an intriguing irony in naming the lifetime achievement award after D.W. Griffiths, because his career was both an inspiration and a cautionary tale… Griffith was always ready to take great risks in his films and in his business affairs. He was always ready to fly to high and in the end, the wings of fortune proved for him (like those of Icarus) to be made of nothing more substantial than wax and feathers... and like Icarus, when he flew too close to the Sun, they melted. And the man whose fame exceeded the most illustrious filmmakers of today spent the last seventeen years of his life shunned by the film industry he had created. I've compared Griffiths' career to the Icarus myth, but (at the same time) I've never been certain whether the moral of the Icarus story should only be, as is generally accepted, don't try to fly to high... or whether it might also be thought of as 'forget the wax and feathers and do a better job on the wings!'"

This was a deeply significant observation for Kubrick to make in one of his final public appearances… and perhaps his most prophetic one. It may well be that (after years of metaphorically ‘playing with fire’) Kubrick ultimately got ‘burned’. His widow, Christianne, once said, "All Stanley's life he said, 'Never, ever go near power. Don't become friends with anyone who has real power. It's dangerous.'” It is ultimately tragic that his artistic genius became so badly infected by his association with the agenda. However, at the end, he never (unlike most others in the industry) tried to hide the truth from the public. For that, we are indebted to him.
The Truth Seeker's Guide.

Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery -
Foxes, Saturn, Kubrick, Doctor Who and The Singularity -
A Movie About Kubrick Faking the Moon Landing? -
Stanley Kubrick - Updates -

Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One -
Science Fiction and the Hidden Global Agenda - Volume Two -
What Really Happened at the London 2012 Olympics -

Wednesday, 12 February 2014

The Stanley Kubrick Conspiracy - Part 7: Saturn and the Black Cubes

The larger “Saturnian” context of Kubrick’s films cannot be overlooked. Saturn Worship (also known as “The Saturn Cult”) is seemingly based upon the once overbearing deification of the planet we have come to know as Saturn. A number of researchers assert that the ringed planet may once have occupied a closer position to Earth in the solar system (according to mythology, Saturn was brightly visible from the Earth, occupying a relatively fixed polar north position in the sky), that the Earth and Mars may have orbited Saturn (and that this group of celestial bodies may have once existed outside of our current solar system), that Saturn may once have been a small sub-brown dwarf star, etc. Some researchers claim that a period of (possibly catastrophic) upheaval reconfigured the solar system into its current alignment. Troy D. McLachlan has written an interesting series of articles on this subject:

Conventional science would have us believe that such large scale events haven’t occurred since the initial formation of the solar system. However, the research of Immanuel Velikovsky (as well as several others) suggests this is perhaps not the case. Notions such as “The Electric Universe” model and the effects of plasma physics and (even) hyper-dimensional energy suggest the possibility that our solar system is in a constant state of change. “The Immanuel Velikovsky Archive”

For an alternative scientific examination of all things Saturn, Norman R. Bergrun’s “The Ringmakers of Saturn” is also an interesting read.

Whatever one makes of the various notions regarding Saturn, the powerful interpretation of this planet in ancient mythology and early religion seems to indicate that Saturn was revered highly above other deified celestial bodies (perhaps even more than the Sun and Moon). Modern celestial deification (in the form of the imagery and metaphor portrayed in advertising, art, music, Hollywood and so on) has pushed the significance of Saturn further into the background, favouring the Sun, Moon, and other planets like Mars and (particularly) Jupiter.

However, some elite and secret society belief systems quietly continue to look upon Saturn as a supreme deity. Saturn Worship is often personified by the significance of a black stone or cube. This object has been interpreted as everything from the alchemical “Philosopher’s Stone” to the mythological “Pandora’s Box”. “Literal” black cubes are visible in numerous worldwide locations – ranging from the Apple 24-7 Store in New York, to the Black Cube of Kabba or Mecca.

The current incarnation of the “Black Cube” appears subtly, cryptically, yet widely in contemporary popular culture. The “Allspark” cube of the “Transformers” film franchise, “Lemarchand's Box” (also known as the "Lament Configuration") in the “Hellraiser” movies, the Borg vessels in the “Star Trek” franchise, and so on, are all potential cyphers indicating the black cube concept.

One particular science fiction franchise – the contemporary revival of “Doctor Who” – appears to have a fascination with the imagery. Recent series included several “black cube” prisons designed to incarcerate Matt Smith’s “Doctor” (“Day of the Moon” and “The Pandorica Opens” – the later cube is called “The Pandorica” as in “Pandora’s Box”), as well as a strange episode (called “The Power of Three”) involving a “slow invasion” by billions of small black cubes. The Saturnian clues in “Doctor Who” were perhaps always there. One incarnation of Saturn (in mythology) is “Kronos”. The latter term is usually associated with “chronology” and “time”. The concept of “time” was allegedly created in Mesopotamia by Sargon. Sargon has also been interpreted as “Saturn”. The Doctor is, of course, a “Time Lord”. The TARDIS’ central control console has always assumed a relatively hexagonal configuration. The hexagon is used in Saturnian symbology as it is a two dimensional representation of the three dimensional “cube” shape.

Bizarrely, NASA has taken photographs showing a huge hexagonal feature that encompasses Saturn’s north-polar region!

Obviously, the central motif and plot-driver of Kubrick’s “2001: A Space Odyssey” is the black monolith artefact. Whilst the monolith is certainly a “black stone”, it does not technically extend to being a “cube”. The monolith’s shape is closely analogous though. The film’s screenplay co-writer, Arthur C. Clarke, allegedly had a fascination with the beliefs of The Brotherhood of Saturn. There are various examples of Saturnian symbolism in many of his novels. Some people consider Saturn to be the apex of Gnostic theology and it is worth noting that Clarke’s ground-breaking work “Childhood’s End” is considered by some to be a “Gnostic thesis”. Although the overlap between Gnosticism and Saturnian beliefs does deserve some scrutiny, I tend to view each as a separate paradigm.

The study of Gnosticism has definite merit, at least in my opinion.

Saturn Worship is fascinating and may (I say tentatively) have its origins in more benign rituals and practices. It does appear to have been ultimately usurped by certain elite parties and perverted and twisted for seemingly agenda-related purposes. For this reason, some researchers have branded all aspects of the Saturn paradigm as evil, deviant, and so on. I have tried (equally with “occult” practices and the like) to avoid weighing in on such arguments and try to stick to what is quantifiable.

Before I move away from the Gnostic subject, I have noticed that researcher John Lash has made some observations about “2001: A Space Odyssey” – not in relation to the Saturn aspect, but rather the role of the computer HAL as a symbol of the destructive nature of Artificial Intelligence, and the increasingly reverential, salvationist or submissive attitude that some humans have toward technology. “This objection comes from my studies of the Gnostic teachings that warn about HAL, simulation, artificial intelligence - AKA the Archon factor so clearly described in Gnostic Coptic texts.” "Take Back the Planet" by John Lamb Lash, 2009 -

There is some controversy over the “original” setting of the story of “2001: A Space Odyssey” – was Jupiter really the intended locale (as seen in the released film) or was it Saturn (as featured in Clarke’s novel)? Arthur C. Clarke wrote the novel “concurrently with the film version and published it in 1968, after the film's release.” Arthur C. Clarke, “The Lost Worlds of 2001”, 1972, Signet

Interestingly, in Clarke's novel, the specific destination of the “Discovery” is the Saturnian moon Iapetus (which Clarke spelled with a 'J'). I have often wondered why Clarke chose this bizarre celestial body as the specific location. The NASA Cassini photographs of Iapetus revealed a perfectly linear equatorial ridge (actually three parallel ridge lines) three miles high, which span half the moon’s circumference. The moon also has an odd polygonal curvature to its surface. These abnormalities have prompted some individuals to suggest than Iapetus may be somehow “artificial” in nature. The curious similarity with George Lucas’ Imperial “Death Star” battle station (from the “Star Wars” films) has also earned Iapetus the moniker “the death star moon”.

According to Frederick Ordway, “2001: A Space Odyssey” began production with Jupiter as the intended destination of the “Discovery” mission. In his piece “2001: A Space Odyssey in Retrospect”, Ordway states that Kubrick decided (in September 1965) to change the setting to Saturn.
Kubrick apparently:
“persisted, pointing out the beauty of the Saturnian ring system and the spectacular visual effect of the Discovery’s travelling near or even through it. Would I do some investigation and prepare a memo outlining the latest knowledge of Saturn, its rings, and its moons, he asked? And would I focus on anything that seemed out of the ordinary, something intriguing and unexplainable that Arthur Clarke might weave into a revised screenplay? I prepared the memo, Kubrick was delighted, and Clarke backed the change with great enthusiasm. He brilliantly wrote Jupiter out and Saturn in. Everyone was happy, except for Wally Veevers, Doug Trumbull and others in the Special Effects Department. Despite their wizardry, they felt uncomfortable with the thought of having to accommodate the Discovery's moving within the Saturnian ring system. On top of all their problems, they were not in the mood to tackle a new one that might prove intractable. Anyway, they were all under severe time restraints on myriad other parts of the film.Special effects carried the day as far as the motion picture was concerned. But Clarke was so delighted with Saturn that he maintained it as the target planet in the novel version.”

By this account, the Saturn premise was ditched due to time limitations and the restrictions of the available effects technology and the film returned to the Jupiter setting. According to Ordway, an atmosphere of tension lingered over the remainder of the production (particularly from Kubrick) following the return to the Jupiter locale.

It has also been suggested that Saturn was always the intended target and that the effects team did attempt to realise Saturn, but that “the production was unable to develop a convincing rendition of Saturn's rings; hence the switch to Jupiter.” The film’s special effects supervisor Douglas Trumbull continued to work towards resolving the technical problems involved in reproducing Saturn's rings. In 1972, he directed the film “Silent Running” and employed “effects developed but not completed for 2001.” 

As an interesting aside, Trumbull employed actor Bruce Dern as his lead man for the Saturnian eco-epic “Silent Running”. Dern was a firm fixture of the Laurel Canyon scene and one of a group of Canyon actors (including the likes of Peter Fonda, Warren Beatty, Jack Nicholson, Dennis Hopper, Jane Fonda, etc.) known as “The Young Turks”. Researcher Dave McGowan describes the Canyon scene as one that was once associated with “Masons, the FBI, the OSS, the CIA, the secret society known as ‘Skull and Bones’, the Rothschild family, military intelligence of every conceivable stripe, the O.T.O., the RAND corporation, the ‘Neocon’ cabal and just about every other nefarious group that regularly pops up in ‘conspiracy’ literature.”

Interestingly, Bruce Dern’s paternal grandfather was FDR’s secretary of war and defence.

He also had a maternal uncle (Archibald MacLeish) who was FDR’s Director of the War. Department’s Office of Facts and Figures (War Propaganda).

MacLeish was also a member of the Skull and Bones secret society (class of 1915, one year before Prescott Bush.)

During a March 6, 2011 interview on Red Ice Radio, Jay Weidner disputed the claim that the limitations of the available special effects technology had scuppered Kubrick’s intention to realise Saturn. He asserted that Kubrick was pressured to make the changes by highly placed occultists “worried that the film was too blatant in its depiction of the role played by Saturn in their occult human transmutation agenda.”

Some researchers have suggested that these possible “high placed occultists” may have also had NASA connections, given the documented connection between the film’s production and the agency. There may be other subtle clues to the Saturn Worship/NASA crossover – such as the naming of the “Saturn” rockets that were intricate to the Apollo programme.

According to Troy McLachlan, “In dealing with these occult NASA insiders while faking the Apollo 11 landings, Kubrick would have been initiated into their perception that humanity’s destiny is inextricably linked to an occult and metaphysical understanding of Saturn.”

To be concluded...

Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery -
Foxes, Saturn, Kubrick, Doctor Who and The Singularity -
A Movie About Kubrick Faking the Moon Landing? -
Stanley Kubrick - Updates -

Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One -
Science Fiction and the Hidden Global Agenda - Volume Two -
What Really Happened at the London 2012 Olympics -

Tuesday, 11 February 2014

Weather Modification in the UK?

Periodically, I have written about the existence of weather medication methods and technology on this blog. We have had a truly bizarre winter of weather, here in the UK, this year. For the last several months it has simply rained and rained, pretty much day after day. Streets of houses (in various locations around the country) have been engulfed in several feet of water – either caused by excessive rain fall, rivers bursting their banks, or huge coast tidal surges.Whilst this has been going on, the powers that be have done next to nothing to address the problem. Weeks have gone by and nobody has really heard a peep out of the politicians.

I had an interesting conversation with a friend (a few days ago) where he said that it seems odd that the last several UK winters delivered a huge dollop of snow. Inevitably, that weather brought the country to a seemingly screeching halt – curiously, other countries don’t appear to have the same problems when it snows! My friend wondered if the huge amount of rain this year had been “arranged” by the powers that be to stave off another such Arctic-style winter.

Cloud seeding to create rain has long been practiced in the UK (as well as the rest of the world) and there have been times when this “weather tampering” has had adverse effects. You only need examine “Operation Cumulus” and the flooding of Lynmouth, Devon in 1952 for evidence of this.

Yesterday, after weeks of p***ing about and doing nothing, the politicians finally decided to get off the backsides and launch a P.R. stint – so as to appear to be doing something about the problem. This was probably prompted by three dozen severe flood warnings given by the environment agency – that and, perhaps, the flooding of several Greater London / River Thames regions known to be preferred residence of certain elite figures.

Perhaps by sheer coincidence, I looked out of my window today to see a blizzard of snow falling from the sky – the first snow, I might add, that the bulk of the country has had since early 2013. As per usual, the talking heads appearing on the mainstream news have done nothing but spout on about “climate change”. One chap was corrected when he used the term “global warming”. The latter term was re-branded several years ago by agenda-driven purveyors of propaganda to fit (pardon the pun) the changing climate. “Global Warming” implies warmer winters and wetter summers, something which has been contradicted over the last couple of years. The so-called “experts” would dismiss this phenomenon as a “blip”. However, “climate change” seems to a more fitting piece of jargon. The label suits the circumstances – particularly if you get up one day and decide to wear your shorts to take the dog for a walk, and the next you are wearing a hat and scarf, and freezing your buster-browns off!

I don’t know what to make of this sudden change in the weather. Perhaps it is nothing more than a coincidence – albeit it a big one – and my suspicion (that this sudden weather shift is possibly by design) is based on nothing more than looking out the window! However, given what I know about the global agenda players and their propensity for playing with nature, I suppose anything is possible.

Below is a video, I posted on YouTube a while ago, which highlights a few points about weather modification. The song is my own version of a Kate Bush song, recorded and performed by yours truly.

Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One -
Science Fiction and the Hidden Global Agenda - Volume Two -
What Really Happened at the London 2012 Olympics -

Monday, 10 February 2014

The Stanley Kubrick Conspiracy - Part 6: Eyes Wide Shut

Kubrick’s final film, “Eyes Wide Shut”, has been meticulously analysed by many alternative knowledge researchers. It is considered that the film is the closest a Hollywood production has ever come to metaphorically “spilling the beans” about aspects of the global agenda. The film alludes to elite collusion, secret societies, ritualistic and occult practices, and mind control programming.
Apparently, the film’s origins date back to the late 1960s. "The plot of EWS is based on Arthur Schnitzler’s 1926 novella entitled Traumnovelle (Dream Story), and Stanley Kubrick had wanted to make this story into a film way back in 1968, when he first read the novella, while making his magnum opus 2001: A Space Odyssey. The novella wrestles with issues that are germane to today’s world, such as the issue of being spiritually asleep versus being spiritually awake."

The central characters are Bill and Alice (Through the Looking Glass…) Hartford, a married couple who mix with elements of New York’s social elite. The characters are portrayed by agenda notables and then-married couple Tom Cruise and Nicole Kidman. Perhaps coincidentally, the couple immediately divorced after their participation in the film.

The story follows Bill, who learns that his wife has considered cheating on him. This leads him on a journey – encountering a large gathering of masked individuals who are partaking in a secret society ritual, involving all manner of naked sexual debauchery. Bill learns of this gathering from his old friend “Nick Nightingale”, who performs music (whilst blindfolded) at these events. It appears that Bill has witnessed things he shouldn’t have. This leads him into a dark world of elite controlled intimidation, perversion and murder – a world that is ordinarily hidden from the larger public.

The exterior locale of the secret society gathering (Somerton, Long Island – in the film) was actually shot at Mentmore Towers in the UK. Dating from the 19th century, Mentmore was a country house built for members of the elite Rothschilds family. It has been suggested, by some researchers, that (by selecting this location) Kubrick was trying to show his audience an example of the “real world” equivalents of the elite figures witnessed in the film.

Rare documentation shows that masked “events” were held by the Rothschild family at this location. Mainstream historians claim that these types of events allegedly date back to the Italian Renaissance, where elite figures would don elaborate masks so as to retain their anonymity at social events, whilst simultaneously indulging their inhibitions without fear of reprisal or social denunciation. However, as I understand it, such practices appear to predate the Italian Renaissance by a substantial amount of time.

In the infamous “murder by phallic art” scene of “A Clockwork Orange”, the character of Alex hides his identity with a disguise that is worryingly reminiscent of the masonic “plague doctor” mask. Similar masks are also noticeable in the ritual scenes of “Eyes Wide Shut”.
One example of a masked event at Mentmore Towers was held in 1972 by Baroness Marie-Hélène de Rothschild and Baron Alexis de Redé. Photographs from the event show some guests wearing Venetian masks (actually quite similar to some witnessed in the film), whilst images of the invitations reveal that the text was printed in reversed writing – a theme common in occult and ritualistic practices.

There is an interesting similarity with this practice in “Eyes Wide Shut”. When Bill enters the gathering, “the song heard in the background is called 'Backwards Priests' and features a Romanian Orthodox Divine Liturgy played backwards. The reversal or inversion of sacred objects is typical of black magic and satanic rituals.”

It is also claimed that certain street names and characters names in the film take on additional esoteric meanings when spelt backwards. In the film, Bill witnesses a “High Priest” (dressed in red) performing a ceremony at the centre of a circle formed by several young women. The High Priest sits on a throne which features an “Egyptian Uraeus Serpent with the two heads on the back of the chair. This relates to the Sun, and the two heads -- which face and East and West, relate to the rising and setting of the Sun.” In the story, the identity of the High Priest is unknown. The High Priest is played by actor Leon Vitali (born Alfred Leon), a long time Kubrick collaborator. Vitali played Lord Bullingdon in Kubrick’s 1975 film “Barry Lyndon” and served as casting director and personal assistant to Kubrick on “Full Metal Jacket” (1987) and “Eyes Wide Shut”.

Research into trauma-based mind control has revealed a possible type of programming that utilises women for sexual slavery, abuse and sacrifice (amongst other things). The practice is extensively alluded to in popular culture – film, television, music, fashion, the pornographic industry, and so on. Those who have studied “Eyes Wide Shut” in this context have suggested (given the various analogous references throughout) that the women seen at the ritual are probably based on the model of “Beta Sex Kitten” slaves. Adam Gorightly has written an interesting article entitled “An Interpretation of Kubrick's Eyes Wide Shut” that explores this theme.

Upon being exposed, Bill is placed in the centre of another ritualistic circle awaiting judgement from those gathered. Kubrick loves this imagery. Witness the circular table in “Dr Strangelove”, around which are gathered the global elite deciding the fate of the world. In “Eyes Wide Shut”, the “magic circle” is affected when the character of Amanda appears on an upper balcony, telling the High Priest that she wants to “redeem” Bill. The Priest replies, “Are you sure you understand what you’re taking upon yourself in doing this?” The next day, Bill reads in the newspaper that Amanda was found dead in a hotel room due to an overdose. Ritualistic deaths (particularly in the entertainment Industry) are often “disguised” as simply “untimely” or “accidental” deaths.

Closer inspection of the on-screen newspaper (which reports her Amanda’s death) reveals (shown only fleetingly, in typical Kubrick fashion) the story of a woman who was “emotionally troubled” as a teenager and underwent “treatments”, that she had “important friends in the fashion and entertainment worlds”, and that she had an “affair” with a powerful fashion designer who got “wowed by her private, seductive solo performances”. These are also behavioural traits of those allegedly subjected to Beta Sex Kitten programming. The news article also names the “powerful fashion designer” as “Leon Vitali” – the same “Leon Vitali” who is listed on the credits of the film as playing the “High Priest”. What is Kubrick trying to tell us?

The film makes further allusions to the mind control phenomenon. The costume rental store where Bill rents his mask is named “Rainbow” (“The Wizard of Oz” - See Chapter Nine). There is another store located directly beneath “Rainbow” named “Under the Rainbow” ("As Above, So Below"). Kent Daniel Bentkowski, in his detailed article “Eyes Wide Shut: Occult Symbolism”, has also noted that “the building directly adjacent to the Rainbow Costume shop is a Freemason Lodge, which can only be seen with the DVD player's ZOOM feature.”

Going “over the rainbow” is a term that recurs in mind control literature, referring to those whose conditioning causes them to dissociate from reality. Bill’s wife, Alice, hints that she may have lost recall of some of her memories and refers to certain memories and thoughts as “dreams”. The last scene of the movie takes place at a toy store, where a number of the toys appear to symbolically represent aspects of mind control and ritual practices – one such item is called the “Magic Circle”.

The pool room scene remains a key revelatory moment in the film. Bill confronts one of the members of the group - an associate of his named Ziegler. Although Ziegler “appears” to be openly candid with Bill, it is clear that he is dissembling and confounding the truth. He chillingly hints at the scale of the situation: “I don’t think you realize what kind of trouble you were in last night. Who do you think those people were? Those were not just ordinary people there. If I told you their names – I’m not gonna tell you their names – but if I did, I don’t think you’d sleep so well.”

Kubrick completed his final cut of “Eyes Wide Shut” in March 1999. Within the first several days of the month, the film was viewed by the key actors involved, some of Kubrick’s friends and family, and certain Warner Brother executives. Kubrick died days later, on the 7th March. It is widely claimed that the “Kubrick cut” of March 1999 was almost an hour longer in length than the publically released film. The cut material also allegedly included dream-like sequences of a mind-bending, reality-distorting nature. Why was this material removed from the film?
The myriad of continuity errors, particularly the pool room scene, indicate heavy editing that is inconsistent with Kubrick’s style and standard. Kubrick loved to edit his films with meticulous precision. “Editing is the only aspect of the cinematic art that is unique. It shares no connection with any other art form: writing, acting, photography, things that are major aspects of the cinema, is still not unique to it, but editing is.” Kubrick’s “final” edit was witnessed (and approved by Warner Bros.) and seemingly differs dramatically from the released film. Why?

Ironically, Kubrick’s contract with Warner Bros. stated that “Eyes Wide Shut” was to be released on July 16th 1999, exactly thirty years to the day of the Apollo 11 “landing”. Is it possible that the claims of his involvement with the Apollo hoax (along with the revelations of his last film) came back to haunt him in the final days of his life?

The reason “Eyes Wide Shut” became Kubrick’s final film remains a constant source of speculation. Kubrick allegedly died of an unexpected heart attack at the age of 70. Most biographies of Kubrick unsurprisingly maintain that he “died in his sleep of natural causes”. A number of friends and family described the sudden death as shocking, given that he was apparently in good health. Although unexpected and sudden deaths do not necessarily constitute suspicious circumstances, a number of people now believe that Kubrick was assassinated in light of the film’s revelations about the ritualistic practices and secretive collusion of the elite.

It is worth remembering that Mozart, a noted freemason, died soon after revealing aspects of the masonic “mystery school” teachings in his opera “The Magic Flute”. "Author Stephen Knight, whose book, Jack the Ripper: The Final Solution (1975) revealed Victorian London's Whitechapel Murders as the work of ritual masonic killers, also died mysteriously. And William Morgan, author of Freemasonry Exposed (1836) was kidnapped and allegedly murdered by masons."

However, “Eyes Wide Shut” was not the first attempt made by Kubrick to examine the nature of secret societies and cover-ups. At some point during the 1980s, he began investigating the possibility of mounting a cinematic adaption of “Foucault's Pendulum” – from the book by Umberto Eco. The plot involved “three book editors decide as a joke to invent a worldwide conspiracy theory. The game turns deadly when they start to disappear one by one. Foucault's Pendulum is Italian semiotics professor Umberto Eco's satirical take on conspiracy theories, the illuminati and secularisation of religion in the modern age.” Kubrick was allegedly one of a dozen filmmakers who attempted to option the novel. Kubrick never got much past the preliminary production stages though. (The Kubrick FAQ)

The film “Rosemary’s Baby” was another Hollywood movie that explored ritualized practices. After the movie was distributed, Sharon Tate (the wife of its director Roman Polanski - along with several other people) was savagely murdered at Polanski’s home. The murders were eventually attributed to The Manson Family and displayed many hallmarks of “occult” and “ritualistic” practices. This whole affair unfolded amongst the hills of Laurel Canyon, amidst multiple agenda players. A number of claims of sexually inappropriate behaviour have also been heaped upon Polanski.

“Rosemary’s Baby” is also noted as an almost ritualized recreation of Aleister Crowley’s Babalon/Amalantrah Working. A similar observation has been made about “2001: A Space Odyssey”. In the film, there are a succession of lunar/solar/planetary alignments (prompted by the appearance of the Saturnian/”Black Cube” Monolith) that create “eclipses”. These prompt the eventual appearance of the “Starchild” entity. Some researchers discuss the “Moonchild” in relation to the “Sunchild”/Sun-King/Horus/etc. The Sun is, of course, a star. So, the natural progression of the Moonchild/Sunchild is the “Starchild”. Is the film an analogy for the evocation ritual? In this regard, there may be a few “degrees of separation” that connect back to Kubrick’s final film. Crowley’s ritual connects to L. Ron Hubbard, who founded Scientology, which was avidly supported by Tom Cruise (who is their “poster boy”) and Nicole Kidman, who both starred in “Eyes Wide Shut”…

Kubrick’s expose of the sexual nature of elite ritualistic and occult practices also cannot be overlooked. The overt sexualisation of children is very much a part of these practices. Kubrick vaguely alluded to this in “Eyes Wide Shut” and featured it as a central plot device in his earlier work “Lolita”. Interestingly, “Lolita” departs from the notorious book, on which it was based, on one significant plot point – the role of Peter Sellers’ character, who hints at the existence of a paedophile network.

Associated allegations were once levelled at Kubrick’s “2001:  A Space Odyssey” collaborator Arthur C. Clarke. These allegations, combined with Clarke’s eventually disclosed homosexual orientation, have prompted a wealth of discussion on the internet. However, the allegations made against Clarke remain impossible to evidentially quantify. Some researchers have suggested that these claims were made in order to discredit Clarke's character. Others have speculated about how extensive his "agenda" connection were. Should we read something into the timing of these claims - as Kubrick was heavily involved in the production of "Eyes Wide Shut", and roughly a year before his death?

Some vague details of the allegations appear on Clarke’s Wikipedia page: “On 26 May 2000 he was made a Knight Bachelor "for services to literature" at a ceremony in Colombo. The award of a knighthood had been announced in the 1998 New Year Honours, but investiture with the award had been delayed, at Clarke's request, because of an accusation, by the British tabloid The Sunday Mirror, of paedophilia. The charge was subsequently found to be baseless by the Sri Lankan police. According to The Daily Telegraph (London), the Mirror subsequently published an apology, and Clarke chose not to sue for defamation. Clarke was then duly knighted.”

Here are more details of the accusations made by The Sunday Mirror:
Here are the details following Clarke being cleared of sex charges:
Sci-fi novelist cleared of sex charges -
“Child sex file could close on sci-fi writer” -

There are also opaque thematic references to ritualistic sexualisation of children in the film that Kubrick planned to make after “Eyes Wide Shut” – “A.I. Artificial Intelligence”. The film centres on the concept of artificially-created children being manufactured as substitutes for childless couples or grieving parents trying to come to terms with the loss of a human child. However, “Eyes Wide Shut” became Kubrick’s last film and “A.I.” was eventually completed by Steven Spielberg. It is said that Kubrick’s plot was radically darker in tone than the final film – more deeply examining why people would want to create life-like children that never grew up.More alarmingly, Saturn Worship (along with other aspects of elite belief systems) is also allegedly connected with the sexual abuse of children – the act of which is viewed by many twisted and depraved agenda participants as a ritualistic “sacrifice of innocence”. Troy D. McLachlan (author of the website asks, “Is the greater body of Stanley Kubrick’s films an exposé of a hidden elite obsessed with dark Saturnian sexual rites, paedophilia and the planned ritualistic transmutation of mankind?”

To be continued...

Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery -
Foxes, Saturn, Kubrick, Doctor Who and The Singularity -
A Movie About Kubrick Faking the Moon Landing? -
Stanley Kubrick - Updates -

Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One -
Science Fiction and the Hidden Global Agenda - Volume Two -
What Really Happened at the London 2012 Olympics -