I've recently had the priviledge of being interviewed by Ben Emlyn-Jones for his HPANWO Radio Show. I often get asked to share my thoughts on, and research into, Stanley Kubrick and this interview is no exception. In the course of the interview, we managed to cover quite a few diverse areas of non-Kubrick matter as well as discussing some Kubrickian aspects that I haven't had the opportunity to bring up in interviews until now. I really appreciate Ben giving me the opportunity to feature on his show and hopefully we will get the chance to talk about some other subjects in the near future. Strangely, without us even initially realising it, this show was numbered 237 in the HPANWO catelogue of interviews. Clearly, synchronicity was trying to say something... a message from Kubrick's Room 237 perhaps!?
The interview will air tonight (Thursday 18th May, 2017) at 8pm (UK time.) Details and links to listen to the full show are below.
http://hpanwo-radio.blogspot.co.uk/2017/05/programme-237-carl-james.html
Programme 237- Carl James
This Thursday evening on the HPANWO Show: Carl James, a researcher and author who explores mysteries, conspiracies and alternative knowledge. He is very interested in the esoteric messages in the works of the film director Stanley Kubrick, see: http://thetruthseekersguide.blogspot.co.uk/. Also: All the latest news, details of upcoming events and space weather. Tune in at 8 pm, UK time, on Thursday the 18th of May. Please go to this page to listen: https://www.spreaker.com/user/benemlynjones To talk to the host and other listeners, join the HPANWO Radio chatbox here: https://chatwing.com/chatbox/bdb05d70-3992-11e7-8d0e-17047dd3fe00.
I've recently had the priviledge of being interviewed by DJ, author and all-round alternative knowledge researcher Mark Devlin for his Good Vibrations podcast. In the interview, we discussed Stanley Kubrick and attempted to decode the man himself and the deeper truths hidden in his films. It was great to spend time discussing this fascinating subject with Mark and I truly appreciate him giving me the opportunity to talk about it on the Good Vibrations Podcast. Here is a brief synopsis of the interview:
Good Vibrations Podcast, Vol. 85: Carl James/ Decoding Kubrick.
"Surely the most fascinating and enigmatic of all film-makers comes under the spotlight, as British author, researcher and movie buff Carl James guests to discuss all things Stanley Kubrick. We consider the huge amount of symbolic clues cleverly encoded into Kubrick's canon of work to ask what messages he was trying to convey to those who had the eyes to see beyond the surface narrative, and whether there might be more hidden messages yet to decipher. Carl goes into specific aspects of many of Kubrick's key works - including '2001: A Space Odyssey', 'The Shining' and 'Eyes Wide Shut', examining how they seem to communicate different aspects of the 'elite' New World Order agenda. Kubrick himself certainly had affiliations with many key characters from this world, and may well have been privy to information reserved only for a select few. There's also the matter of his untimely death by 'heart attack' directly before the cinematic release of his final film."
The pocast is approx. 80 minutes long and can be found at the following link: https://soundcloud.com/mark-devlin/good-vibrations-podcast-vol-84-carl-james-decoding-kubrick
If you want to check out more of Mark Devlin's interviews or browse his own articles and overall research, I recommend checking out his blog / website here: http://djmarkdevlin.blogspot.co.uk/
Also, don't forget to check out Mark's excellent book "Musical Truth": https://www.amazon.co.uk/Musical-Truth-Mark-Devlin/dp/1910757489
Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html
Stanley Kubrick approached many controversial subjects within the context of his films. He often alluded to the power and corruption of the elite, as well as the mechanisms used to maintain their power. A common theme in his films, such as “A Clockwork Orange” and “Eyes Wide Shut”, is the notion of state sponsored, often trauma-based, mind control. Before I look at these films in a little more detail, it is important to establish some generic details regarding the mind control subject.
There exists a documented history of state sponsored mind control instigated by (although far from exclusively) the US Central Intelligence Agency (CIA). The CIA came into being, into 1947, as a direct result of the work and influences of The Tavistock Institute - specifically the CIA’s precursor - the OSS.
Thomas Powers, “The Man Who Kept the Secrets: Richard Helms and the CIA”, New York: Alfred A. Knopf 1979.
The CIA was forbidden from having any domestic police or internal security powers and was authorized only to operate ‘overseas’. In many regard, this rule of thumb was disregarded from the outset. Early examples of the agency’s involvement with mind control experiments include: Project Bluebird – believed to have been officially formed to counter Soviet advances in brainwashing. The extent and success of early forays is a little uncertain, although the mainstream belief has always been one of a “varied success rate” and “poor initial test results.” If this was the case, then it certainly didn’t stop the practice; in fact it flourishedhttp://www.wanttoknow.info/bluebird10pg
From the earliest stages, it appears that these projects aimed to study methods ‘through which control of an individual may be attained’. Experimentation included ‘narco-hypnosis’ which involved the use of mind altering drugs and hypnotic programming. Specialised teams were created in the CIA to travel all over the world, using newly developed interrogation and programming techniques. The practice also involved a variety of narcotics (heroin, sodium pentothal, marijuana, LSD, etc.)
Some degree of disclosure of these operations came to light in 1975 when the existence of MKULTRA was exposed by the Church Committee of the US Congress, and a Gerald Ford commission to investigate CIA activities within the United States. According to Wikipedia, “Investigative efforts were hampered by the fact that CIA Director Richard Helms ordered all MKUltra files destroyed in 1973; the Church Committee and Rockefeller Commission investigations relied on the sworn testimony of direct participants and on the relatively small number of documents that survived Helms' destruction order.” http://en.wikipedia.org/wiki/Project_MKUltra
"An Interview with Richard Helms" (Central Intelligence Agency – 05/08/2007):https://www.cia.gov/library/center-for-the-study-of-intelligence/kent-csi/vol44no4/html/v44i4a07p_0021.htm
FOIA MKULTRA Document Archive:http://www.abuse-of-power.org/foia-mkultra-document-archive/
Various Freedom of Information (FOI) requests eventually resulted in a small number of documents being released. MKULTRA came into being (apparently) on 13th April 1953 – although a number of insiders give an earlier date. CIA documentation describes MKULTRA as an ‘umbrella project’ with 149 ‘sub-projects’. These sub-projects include illegal and unsolicited testing of drugs, altered states of consciousness, and implementation of electronics components. Some experiments also involved “remote activation and control” of living organisms.
The phenomenon of state sponsored mind control programming does not begin and end with MKULTRA though. Although MKULTRA is perhaps the most well-known and documented, a myriad of project names (official and unofficial) have surfaced over the years, begging the question of just how far reaching these practices go.
Whilst it is believed by many that the overall goal of these projects was to brainwash individuals to become couriers and spies, some alleged accounts of extreme programming (such as Cathy O’Brien and Brice Taylor) involved examples of physical and sexual abuse and torture, as well as being subjected to occult and ritualistic ceremonies and practices. They loosely referred to their conditioning as “Monarch Programming”.
http://www.trance-formation.com/index.htmhttp://educate-yourself.org/mc/nwomcbturireview.shtml
There are claims that the practice encompassed out of body experiences, and time / space travel. It is also believed that (in some cases) the E.T. contact / abduction phenomenon is a result of some aspect of these programmes. Some victims alleged that part of their programming was conducted at NASA facilities.
There is also an area of study which analyses the behaviour and associations of people who occupy the public stage. Dave McGowan, author of “Inside the Laurel Canyon”, presents a compelling argument – which connects various “agenda players” to famous individuals (artists, musicians, actors, etc.) who lived in or frequented the Laurel Canyon region of California from the early 1960s onward. These connections include many hallmarks of the mind control phenomenon and counter intelligence operations of the period, as well as ritualistic and occult practices.http://www.davesweb.cnchost.com/
As a little aside, I found it interesting to discover that one particularly notable denizen of the Laurel Canyon region during this period was science fiction author Robert Heinlein. Heinlein was dubbed one of the “big three” – himself, Isaac Asimov and Arthur C. Clarke. His book “Stranger in a Strange Land” (1961) was hugely influential with many connected to the Canyon scene. (Riggenbach, Jeff. "Was Robert A. Heinlein a Libertarian?" - Mises Daily, June 2, 2010. Ludwig von Mises Institute.)
It is possible that much of what has been “disclosed” regarding mind control research may actually be a cover in itself – hiding techniques and practices that are unfathomable to the average person. These may encompass the deeper corners of the energy paradigm or extreme levels of consciousness and reality. Although some researchers have posed this hypothesis, it currently resides somewhat within the domain of speculation. Never the less, there are some worrying pointers that deserve our attention. Often times, research and development of technology from the likes of Lockheed Skunkworks and DARPA (Defence Advanced Research Projects Agency) – groups with an intricate association to the energy cover-up, for example - are baffling to say the least. Over the years, various agenda-driven agencies and groups have developed techniques such as “trans-cranial magnetic stimulation”, “microwave effects on the blood brain barrier” and “synthetic telepathy”.
On December 19th, 1971 – less than four years before the spectre of MKULTRA mind control first crawled into the mainstream spotlight - Stanley Kubrick unleashed “A Clockwork Orange” upon the American viewing public. It was released in the UK on January 13th, 1972. The film squarely tackled the paradigm of “free will” versus “state control” – in this case, the morality and dynamics of state sponsored behavioural modification and trauma-based mind control. The film’s science fiction trappings and futuristic settings are also mildly dystopian in nature.
“Alex (Malcolm McDowell), the main character, is a charismatic, sociopathic delinquent whose interests include classical music (especially Beethoven), rape, and what is termed "ultra-violence". He leads a small gang of thugs (Pete, Georgie, and Dim), whom he calls his Droogs. The film chronicles the horrific crime spree of his gang, his capture, and attempted rehabilitation via controversial psychological conditioning.”http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)
The film, adapted from Anthony Burgess' 1962 novella of the same name, presented a disturbing and violent image of a dystopian, future Britain. Kubrick, writing in Saturday Review, described the film as: "...A social satire dealing with the question of whether behavioural psychology and psychological conditioning are dangerous new weapons for a totalitarian government to use to impose vast controls on its citizens and turn them into little more than robots." http://seriouslyforreal.com/celebrities/a-clockwork-orange-1971-2/
In many regards, Kubrick played with the subconscious of the viewer. Malcom MacDowell’s narration of the film forced the viewer to become unwittingly sympathetic to the central protagonist. This is unsettling, given that the character is an inherently unsympathetic, guiltless, and violent psychopath, rapist and murderer. In fact, the design and tone of the film depicts an overall landscape that is largely metaphorically devoid of humanity. Such aspects underline Kubrick’s skill as a subtle and subversive director and storyteller.
The central concept of the film (and novella) is rooted in the notion of behavioural psychology (see: research of psychologists John B. Watson or B. F. Skinner’s eponymous “boxes” and the practice of “operant conditioning”) and made manifested via the films’ deux ex machina: “The Ludovico Technique”. As is usually the case, the suggestion of this technique existing outside the narrative framework (in other words, “in the real world”), was dismissed as being nothing more than a “parody” of Aversion Therapy treatment –“in which the patient is exposed to a stimulus while simultaneously being subjected to some form of discomfort. This conditioning is intended to cause the patient to associate the stimulus with unpleasant sensations in order to stop the specific behaviour.” http://en.wikipedia.org/wiki/Aversion_therapy
The work, upon which “The Ludovico Technique” was based, connects closely with the activities of those involved with The Tavistock Institute and Stanford Research Institute. A number of insiders have stated that “Ludovico” bears a striking resemblance to less publicised techniques once practiced by the CIA. Moreover, some state the technique (name and all) is a real one.
There is much controversy surrounding “A Clockwork Orange”. The realisation of the film was marred by the original state of Burgess’ novella, which originally included a final “hopeful” chapter to the story – where “free will” is shown as having triumphed over state intervention. The 21st (and final) chapter was omitted from the editions published in the United States prior to 1986. The UK version included the final chapter. It is often said that Kubrick allegedly based the film on the US version of the novella (leaving the film with a stark climax) and that he had been previously unaware of the original ending to the story. This was instrumental (perhaps intentionally) in creating a tone that manifested an infamous notoriety to the film. Following release, the UK press seemingly associated a number of instances of violent crimes to the film, claiming that individuals had aped the mannerisms and behaviour of Alex and his gang of Droogs. There was a fierce backlash against the film, often prompted by UK Parliamentary figures, mainstream media watchdogs and the various arms of censorship in the UK.
However, the origins of this furore seem to be mired in speculation. It is uncertain if there really ever were any crimes committed that were purely inspired by the film itself. In the 1999 UK documentary: “Return of a Clockwork Orange”, Robin Duval (then Director of the British Board of Film Classification”) said, “There were allegations it had invited or stimulated some yob gangs. What we don’t know, at this distance, is how true that was. I mean, there’s a… as a regulator – over a very long period of time – one thing I have learned is that it’s not uncommon for somebody who finds themselves in the dock to say ‘well guv’, it’s not my fault, I saw this movie or TV programme and I was lead to it by what I saw’… and it’s quite possible that there was an element of that with ‘A Clockwork Orange.’” (1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined
The producers of this documentary attempted to interview Edward Heath and Jack Straw (both allegedly, according to some researchers, may have helped in some manner to encourage the aforementioned ‘public outcry’), but they declined.
In the end, the film was withdrawn from circulation in the UK and it is from here on that the story becomes decidedly strange. For many years, fingers were pointed in numerous directions blaming all and sundry for the effective “banning” of the film. Even the then Home Secretary of the Conservative Government, Reginald Maudling, was alleged to have played a part.
Minister Demanded Clockwork Screening - http://news.bbc.co.uk/1/hi/entertainment/677288.stm
Furthermore, the whole affair seemed to stoke the fire of film censorship and classification, perhaps even playing a part in the eventual “video nasty” controversy of the early 1980s. It is known that many VHS “pirate” copies of the film were brought into the UK from France, where the film ban was not in place. The “video nasty” phenomenon itself was a decidedly murky affair, involving thinly veiled attempts by the UK government to police the burgeoning home video market, and playing a significant role in the legacy of 21st century copyright laws. It has also been claimed that the whole paradigm was actually an experiment in social engineering: designed to generate a cultural backlash that would actually encourage individuals to embrace greater degrees of depravity and violence in television and film. It is possible that Kubrick was utilised to further any and all of these agendas. However, there is no way to know this for sure.
After Kubrick’s death in 1999, it was reiterated by his family and associates that Kubrick himself was responsible for withdrawing the film. According to film critic Alexander Walker, Kubrick was visited by Hertfordshire police, warned about “the power of the film”, and how “real Droogs could turn up on his doorstep” to threaten his wife and children. It has even been suggested, by some sources, that it was the police who decided that a measure was needed to diffuse “public negativity” toward the film. Thus the decision to pull the film was made. 1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined
In the history of film, it is almost unheard of for the director to withdraw their own film. It only ever really happens if the film is a flop and, even then, the decision is usually made by the studio financing the film. “A Clockwork Orange” was a critical and commercial success, garnering numerous awards and lining the financial pockets of Warner Brothers very nicely. Britain, after America, has always been a key source of box office income for Hollywood. Are we to assume that Warners Bros. simply asked no questions and agreed to the ban? Any film maker that can achieve such a feat must carry a lot of clout in the industry. However, this is Stanley Kubrick we are talking about!
In the late 1970s, Anthony Burgess was interviewed about the negative reaction to the film. He maintained that he had been held partly responsible by critics. However, Burgess firmly blamed Kubrick - specifically citing the non-inclusion of the final chapter of the book as the cause. “I became associated with violence because of the film. If a couple of Nuns were raped in Berwick-on-Tweed, I would always get a telephone call from the newspaper… ‘Mr Burgess, what do you think of this?’ They would never telephone you Stanley… because you keep out of the way!” 1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined
The film remained withdrawn until Kubrick’s death. Almost three decades maintaining the “ban”, is a long time to allow public animosity to die. It was revealed by close friends that just before his death, Kubrick had discussed ending the ban with Warners, Of course, his untimely death followed and Warners decided to re-release the film anyway. A number of researchers have alluded that this may have, in some fashion, added to the oddities that surround his death. As with most of his films, “A Clockwork Orange” not only makes thematic nods to the world of hidden global agendas, it also utilises visual cues. Provided one understands the relevance of secret society symbolism, the significance of the subtle pyramid shape on the brick wall of the prison yard (precisely as Alex is recruited for “The Ludovico Technique”) or the semblance of pyramid motifs and the “Eye of Horus” in the movie’s publicity posters becomes clear.
Despite all this, perhaps Kubrick’s greatest folly was yet to come. When it did, however, it would turn out to be his last.
To be continued...
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-1.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-2.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-3.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-4.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-5.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-6.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-7.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-8.html
Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery - http://thetruthseekersguide.blogspot.co.uk/2014/11/updates-6th-annual-british-exopolitics.html
Foxes, Saturn, Kubrick, Doctor Who and The Singularity - http://thetruthseekersguide.blogspot.co.uk/2014/08/foxes-saturn-kubrick-doctor-who-and.html
A Movie About Kubrick Faking the Moon Landing? - http://thetruthseekersguide.blogspot.co.uk/2014/07/a-movie-about-kubrick-faking-moon.html
Stanley Kubrick - Updates - http://thetruthseekersguide.blogspot.co.uk/2014/04/stanley-kubrick-updates.html
Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html
Continued from Part 1...
Numbers
Numerology is a significant part of esoteric/alternative research, especially given the fascination that freemasonry and secret societies have with numbers. Numbers are a central “deux ex machina” to the overarching narrative of Lost. The first episode to focus heavily on the subject was called “Numbers.” It was here that the thematic progression of 4, 8, 15, 16, 23 and 42 was explored. Despite numerous references to these numbers and the specific order, they are not the only examples of number overuse in “Lost.”
In the pilot episode, Jack and Kate discuss counting to five when afraid. Why not ten? Sawyer counts to “five Mississippi” in season two. There are five number panels on the “hatch counter” located in the Dharma “Swan” station and five question marks on the same counter during Mr Eko’s vision. Jack’s tattoos (which are Mathew Fox’s own real tattoos) contain a large ‘5’ beneath a pyramid. In an interview, JJ Abrams, Damon Lindelof and Bryan Burk state that 5 was always in the early script drafts and had no idea what Mathew Fox’s tattoos looked like. The number five appears throughout the show and heavily in the first season finale episodes.
Dharma Station 5 (The Pearl) is a monitoring station designed to observe those carrying out other experiments on the island. The Pearl’s orientation video states “careful observation is the ONLY key to true and complete awareness.” Five is allegedly an important number in freemasonry, the same folk for which “careful observation” and “complete awareness” are something of an obsession.
The numbers 2 and 3 (masonry, Skull & Bones, “322”) appear frequently. The reward for capturing Kate was $23000, The 23rd Psalm is referenced, and 23 is one of the thematic six numbers. The main “Swan” hatch is the 3rd of 6 stations. You can only leave the island on an exact compass bearing of 325 (masonic 32 & 5?). When Ben is dying on the operating table, he says, “It wouldn’t hurt to give me 3 minutes, would it… seeing as how I’ve only got 27 left?” A second season episode is entitled “Three Minutes.” In one of the Dharma Stations is “Room 23” where mind control / subliminal messaging experiments are carried out. The sign on the roadside, to signpost the birth/start of Benjamin Linus’ journey to the island, reads “Portland 32.”
When Juliet is asked how long she has been on the island, she replies, “3 years, 2 months and 28 days.” In her first flashback, Juliet’s sister’s house has an abstract wall painting of the sun with two wavy lines and a large number 6. Benjamin Linus’ Swiss passport expires on April fool’s day, 2013. Daniel Faraday’s equipment used for his time travel experiments needed to be calibrated “to 2.342, oscillating at 11 hertz.” The initial plane crash was Oceanic flight 815 and the subsequent plane to land on the island was Ajira flight 316.
In the third season episode “Enter 77”, several characters discover a Dharma Station called “The Flame.” Here, there is a computer terminal (the initial use of which is to play Chess) which states that you should input “seven/seven”, if there is an incursion by “The Hostiles”. Throughout the episode, the number is referred to as “seven/seven” not “seventy seven”. The station explodes when 7/7 is inputted. Is this a sly reference to the events in London on July 7th 2005 or merely coincidence?
Trauma Based Mind Control
There is a prominent relationship between “Lost” and the trauma based mind control phenomenon. The character of Libby (interestingly the character is a psychologist, but formerly a psychiatric patient!) is witnessed assisting the character of Claire to uncover repressed memories (memories that were hidden by the “The Others”) and makes a claim that will be familiar to anybody with a passing knowledge of the mind control subject. Quote: “Sometimes, when something terrible happens to us, there’s a little switch in your head that flicks on to protect us from having to deal with it. Maybe your memories aren’t gone. Maybe you’re just blocking them.”
Interestingly, most of the characters are established has having “alters” – separate personalities, secrets kept, hidden lives, etc. Many of these facets are introduced via the “flashback” narrative device used in the earlier seasons of the show. At one point the characters of Ana Lucia Cortez and Christian Shephard knowingly use false names during their time together. The character of Kate Austin uses numerous aliases throughout her “flashbacks”. She appears with false names, hair colour and license plate numbers. It is worth noting that this theme has been used in several shows created by “The JJ Brigade”.
The main character of Sidney Bristow in JJ Abram’s earlier hit show “Alias” is an undercover agent who continuously uses “aliases” (hence the name of the show!) Another is the Sci-fi, parallel universe, time travel, mind bender: “Fringe”. The characters are all seen as having parallel universe doppelgangers, particularly the main protagonist, Olivia Dunham, who unwittingly switches lives with her red-haired alter ego during season three of the show.
In Lost, Country music is used a fair amount, particularly Patsy Cline songs in relation to Kate. Alleged mind control victim (and former MK “Presidential Model”) Cathy O’Brien has stated in the past that the country music scene was/is a hotbed of mind control victims and handlers. Kate also refers to herself as “damaged goods”.
Researchers of the practice often refer to triggers (an array of relevant words, images, sounds and symbols) that represent aspects of the process carried out, or actually activate or “top up” a portion of the victim’s “programming”. Disney liberally places these throughout their films, animations and TV shows, and “Lost” is certainly no exception. Here are some examples clearly apparent throughout the show.
Representations of Transformation, Trauma, Journeys or Experiences
In the first season episode, “The Moth”, Charlie Pace’s “journey” through a crevice in a collapsed cave wall is compared to his attempt to kick an addiction to Heroin. The overall narrative is analogous with a Moth cocoon (as in the episode title) – a transformation of sorts. Several of the Dharma hatches have hidden hatches and doors to pass through (a journey from one domain to another), “Once I open this door there’s no turning back.” (Ben to Locke outside Jacob’s cabin), keys also appear in the show (the keys to the guns, the failsafe key for “The Swan” hatch, etc.), Dharma Station 5 is called “The Pearl” (pearls “form and emerge” from a shell), the song played when new recruits arrive at The Dharma Barracks (“I wanna ride on your mystery ship”), “The Black Rock” sailing ship that was transporting slaves and cargo to “the new world”, and the arrival of Desmond’s sailing boat. Aaron’s bedroom has stars and planets above the bed. The refrigerator in Kate’s kitchen has Aaron’s artistic pictures on it. They include: a large orange butterfly, a ladybird, a fish, purple and orange flowers, and a night sky with stars and the moon.
Triggers Relating to Innocence, Fairy Tales and Mythology - often similar to Disney output
The character of Sun wears a “Princess Pink” dress as she is introduced in her first flashback episode and another of her episodes is entitled “Glass Ballerina”, Danielle Rousseau’s music box (revealing a dancing ballerina), the “lullaby” song “Catch a Falling Star” (used to menacing effect later in the final season), and the Dharma Barracks classroom has a large number of butterfly paintings on the back wall. The aforementioned caves contain a water fall, under which is discovered a consignment of girl’s dolls, all boxed, with white ghostly faces. Hurley watches “Xanadu” on the VCR in the Dharma Barracks. “Xanadu” has similar themes to “The Wizard of Oz.”
Confinement and Isolation
The show title “Lost” works on multiple levels. There is an episode entitled “…and found” (as in Lost and Found), another entitled “Abandoned”, Handcuffs feature heavily in early episodes, Kate and Sawyer are locked in Polar Bear “conditioning” cages that give you an electric shock when you incorrectly try to get food. There is also a “well” (water/rabbit hole) that leads to a “donkey wheel” that (when turned) dislodges the island from time and space, Desmond gets trapped down this well in a later episode (trapped down a well!), the survivors put messages in a bottle to throw into the sea, and the song “Beyond the Sea.”
Water
The water/waterfalls motif is recurrent. The caves contain a waterfall. Niagara Falls is seen in the flashback of characters Rose and Bernard. It is also the key moment of their character’s story arcs. Water is crucial to the “baptism/inauguration” of those who become “guardian” of the island – such as Jacob, Jack and Hurley. There is also rejuvenation ritual at The Other’s “Temple” involving the submergence of Sayid’s dying body in a pool of water. Rain also seems to occur at key transitional moments in the overarching story. There has been much written regarding the themes of Rain and Water in esoteric circles. I will leave you to research this subject yourself and draw your own conclusions as to its significance.
Various states of reality – disjointed, fractured and reflected
Quote: “We don’t know why, but going to and coming from the island… some people can get a little confused…the jumps between the present and the future… she eventually couldn’t tell which was which. She had no anchor… something familiar in both times. This is all ‘variables’. It’s random, it’s chaotic. Every equation needs stability, something known. It’s called a ‘Constant’” (Daniel Faraday)
Desmond begins to jump back and forth through time in the episode “The Constant” causing him to have a fractured perception of reality and question his sanity. His consciousness is displaced in time, but not his physicality. He experiences a similar effect toward the end of the series when he witnesses and influences the constructed “afterlife” scenarios being played out by characters of the series.
“Tabula Rasa” (meaning “blank slate”) is a season one episode title, Mittelos Biosciences – Mittelos is an anagram of “lost time”, the Dharma “orientation” films (designed to “programme” recruits who work in the Dharma stations), Jack describes punching the buttons in the hatch as “a mind game”- an experiment designed simply to see if someone will do it, and Charlie’s Tattoo – “Living is easy with eyes closed” (as in “Strawberry Fields Forever”) As the submarine departs the island, the last thing that the Captain says over the intercom is, “see you on the other side.” This phrase crops up a lot in popular culture – it is something of a slogan when travelling through the portal on the television show “Stargate” and also often relates to the “dark side of the moon” paradigm (Pink Floyd/Wizard of Oz, etc.) The character of Charlotte Staples Lewis was named after C. S. Lewis (creator of the “Narnia” books.) Whenever one passes through a portal to Narnia in the novels, there is no way of knowing in what time period you will arrive. Charlotte dies as a result of the fractured “time effect” on the island.
Many of the characters believe they are cursed, going mad, hallucinating and seeing dead people. The heart of Lost is the creation of Illusions. Of what is perceived to be real and what is not. Quote: “All of this is not what you think it is!” (Richard Alpert)
Secrets & Trauma
The notion of “keeping the secret” runs parallel with alleged mind control victims. Celebrities who are claimed to be “programmed” are sometimes snapped on camera with their index finger to their lips – as in “shush”, “keep quiet”. One or two also have “shush” tattoos. When Mr Eko has a hallucination showing figures from his traumatic past, he witnesses an altar (alter?) boy making a “shushing” gesture to him. Several of the characters witness a vision of the character of Walt making exactly the same gesture, whilst dripping with water.
The theme here is also one of child indoctrination. Research shows that almost all alleged mind control programming begins at a very early age, usually running concurrent with a traumatic event/continuing events in their lives. The pre-adolescent characters of Lost don’t come out of the experience well. The character of Walt is abducted (and experimented on) by the islands populace – known as “The Others”. This group are also responsible for abducting the children who survived the crash of the plane’s tail section as well as Danielle Rousseau’s baby daughter, Alex. Rousseau, in turn, kidnaps Claire’s baby boy, Aaron. When Claire subsequently sees her dead father in the jungle, she abandons Aaron (all alone) to follow her father. There is also an episode entitled “Raised by Another.”
The leader of “The Others”, Benjamin Linus, appears to have had a traumatic upbringing also. His mother dies immediately after giving birth to him. As a result, his father states that Ben “killed his mother”. In flashback, he is shown to have had an abusive upbringing at the hands of his father. His only friend is a young girl, whom he shares “wooden dolls” with – Pinocchio anyone?! Ben ultimately ends up murdering his own father using nerve gas and joins “The Others”. When Ben first becomes an “other”, Richard Alpert says that he must “sacrifice his innocence” and will “never be the same again”. Ben has his memories erased and cannot remember the events that triggered and proceeded his initiation.
I have written at length, in the past, detailing Disney’s obsession with the “fractured family” narrative device. Many of the “Lost” characters have similarly traumatic childhoods with dysfunctional family/parental relationships. There are too many examples to list here, however one most notable example is that of the character, John Locke. Abandoned by his mother and no clue as to who is father is, he eventually learns the truth only to be duped into donating a kidney to his conman father. His father then has nothing more to do with him. Later in the series, his “doppelganger” (the “Man in Black”!) describes Locke as “weak, pathetic and irrevocably broken”. Stranger still, Jacob (guardian of the island, with numerous religious undertones) is revealed to have been responsible for summoning those who survived the plane crash to the island as potential candidates to replace him. When asked why, he replies, “You were all flawed.”
Many of these themes will ring true for those who study, or claim to have suffered at the hands of, state sponsored trauma based mind control.
Continued in Part 3...
Part 3 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-3.html
Part 1 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-1.html
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Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html
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