Carl James on The Divine Truth Radio Show - 20/8/17

For those interested in listening to tonight's live show, I will be speaking on Revolution Radio's The Divine Truth show - hosted by Taj & Nyssa. We will be discussing at all things Disney and dispelling the myth that The House of Mouse is all sunshine and smiles! We will also discuss the works of filmaker Stanley Kubrick - one of the few industry insiders who dared to point a finger at those things that go unseen in our everyday world. The show will be approximately two hours long and kick off at 11pm UK time (6pm US EST).
To find tonight's show click the following link:
http://freedomslips.com/schedule.htm
Then scroll down the "Sunday" column to 6pm (11pm UK time) and click "The Divine Truth" link: (This is the embedded link: http://freedomslips.com/studioa.htm)
If you want to catch previous shows, visit the YouTube channel Taj Investigates at: https://www.youtube.com/tajinvestigates
Hope you are able to tune in!

Disney Darkside - High Wycombe Paranormal Meet-Up Group - 28/06/17

For those of you in the UK, I will be presenting my most recent talk - "Disney Darkside" - at High Wycombe Paranormal Meet-Up Group this Wednesday (28th June 2017.) Here is an overview of the talk.

"Disney is synonymous with wholesome values, memorable stories and films that will put a smile on the faces of all the family. But is there something far more sinister lurking beneath the surface of the “House of Mouse”? In this presentation, alternative knowledge researcher and author of the book “Science Fiction and the Hidden Global Agenda” will examine the long-known “dark side” of Disney – looking at its documented relationship with the military / industrial complex, and their use of embedded sexual and arcane symbolism, social engineering and fragmentation, alleged mind control programming, and so on. Carl will also recount how his research brought him into contact with a prominent Disney insider and how this contact set him off on an even darker investigation – one that involves the likes of J.J. Abrams, Star Wars, Saturn worship, energy, consciousness, transformation, and the very nature of reality. In asking the question – what are Disney really up to? – Carl may have uncovered a startling answer with implications for all of humanity."

The talk will begin at approx. 7.30pm and conclude approx. 11pm. The venue address is The Bricklayers Arms, High St, Downley, High Wycombe, Bucks, HP13 5XJ. Admission is £5. For more details, visit the High Wycombe Paranormal Meet Up Facebook group at https://www.facebook.com/groups/415462125205125/ or email the group organiser, Neil at neil@geddesward.co.uk You can also contact Neil on his FB page at Neil Pagan Artist.

Hope to see you there!
Carl (The Truth Seeker's Guide)

Carl James @ Birmingham Truth Juice - Disney Darkside

Hey folks, hope you are all well and looking forward to a happy and healthy 2017. I know I am! 2016 wasn't a particularly good year for me so I am really glad that the calendar has turned - a fresh chapter! I have been incredibly busy over the last few weeks - with research and writing. I am in the early stages of some new projects and devoting as much time and energy as I can to them. I don't want to say too much at this point - I jumped the proverbial "gun" in 2016 by announcing various projects and then health problems scuppered pretty much all of them! Suffice to say, at this point, I am researching and writing a new book on the subject of the power of the media - although I imagine this will be something of a middling to long-term project. I am also working on adapting several chapters from my "Science Fiction and the Hidden Global Agenda" books into videos for my YouTube channel. I will keep you posted on that.

In the more immediate future, I will be giving a talk at the Birmingham Truth Juice gathering on Tuesday 14th February 2017. If you are in the area and fancy coming along, I really look forward to seeing you there. Birmingham Truth Juice has a great audience filled with very open minded, interesting and friendly people. The title of this talk is "Disney Darkside". I postponed doing this talk for nearly a year due to health problems in 2016 and in many ways I am glad I did - as it allowed me to bring the subject fully up to date and incorporate my contact with several very well connected individuals.

All the details of the talk are below. Full details are also available on the Truth Juice website: http://birmingham.truthjuice.co.uk/index.php/2016/10/carl-james-in-birmingham-on-140217/

Hopefully see you there.
All the best wishes for now,
Carl.

“Disney Darkside” – A Talk by Carl James

Disney is synonymous with wholesome values, memorable stories and films that will put a smile on the faces of all the family. But is there something far more sinister lurking beneath the surface of the “House of Mouse”? In this presentation, alternative knowledge researcher and author of the book “Science Fiction and the Hidden Global Agenda” will examine the long-known “dark side” of Disney – looking at its documented relationship with the military / industrial complex, and their use of embedded sexual and arcane symbolism, social engineering and fragmentation, alleged mind control programming, and so on. Carl will also recount how his research brought him into contact with a prominent Disney insider and how this contact set him off on an even darker investigation – one that involves the likes of J.J. Abrams, Star Wars, Saturn worship, energy, consciousness, transformation, and the very nature of reality. In asking the question – what are Disney really up to? – Carl may have uncovered a startling answer with implications for all of humanity.

Related show

• Artist: Carl James
• Date: 14/02/17
• Time: 8:00pm
• Venue: E57 Social Club
• City: Birmingham , West Midlands
• Address: 699 Alcester Road South, B14 5EY
• Country: United Kingdom
• Admission: £5 or £3 Concessions on the door. Truth Juice is NON PROFIT MAKING, and ALL monies are put back into the organisation of future talks/presentations.
• Age restrictions: No Minors

Science Fiction and the Hidden Global Agenda - 2016 Edition - Volumes One and Two - NOW AVAILABLE!

Since the first publication of my book "Science Fiction and the Hidden Global Agenda", I have continued to study the book's subject matter at length. This research eventually prompted the need for numerous updates and revisions to the original book, along with the incorporation of brand new research material on the subject. The latter includes a wealth of new material on Stanley Kubrick, George Lucas and Ridley Scott, new material incorporating the Laurel Canyon scene and the "death" of Sharon Tate into the context of the book, the connections between the Back to the Future film franchise and 9/11, the role of Doctor Who as a mass purveyor of arcane and predictive programming symbolism, the increasing prevalence of Saturn symbolism in film and television, and much, much more. The resulting 2016 edition of the book weighed in at almost 800 pages long! As a result, I have now published "Science Fiction and the Hidden Global Agenda" - The 2016 Edition as a split / two-volume work. As with the first edition, these books are being produced, printed and published via Lulu Publishing. Volumes One and Two of the 2016 Edition are now available to purchase in paperback format from their website. All of the relevant information and links are below.

Science Fiction and the Hidden Global Agenda - 2016 Edition Volume One
"In Volume One of this comprehensively updated 2016 edition of "Science Fiction and the Hidden Global Agenda", alternative knowledge researcher Carl James explores the formative years of science fiction via the pioneers of the literary genre and their myriad of connections to the global power elite. He also examines how future "space exploration" came to be depicted in the genre and exposes how science fiction acted as a perception management mechanism for the likes of the extra-terrestrial paradigm and the escapades of organisations such as NASA, JPL, the U.S. Department of Defense, and the CIA. This research exposes all manner of secret military and intelligence experiments, cover ups and conspiracies of silence, and a larger global agenda mechanism."
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 - 2016 Edition Volume Two
"In Volume Two of this comprehensively updated 2016 edition of "Science Fiction and the Hidden Global Agenda", alternative knowledge researcher Carl James explores how science fiction has been used by the global power elite to shape mass perceptions of reality. He also examines the "mind control" phenomenon, the culture of fear, false flag events and the media's growing obsession with embedded arcane and occult symbolism and themes. This research exposes all manner of secret military and intelligence experiments, cover ups and conspiracies of silence, and a larger global agenda mechanism."
http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html

Free downloadable PDF versions of the books are available from Andrew Johnson's website http://www.checktheevidence.com
See the links below:

Science Fiction and the Hidden Global Agenda - 2016 Edition - Vol 1.pdf (3 MB) (Modified: Aug 20 2016 09:14:41 PM)

http://www.checktheevidence.com/pdf/Science%20Fiction%20and%20the%20Hidden%20Global%20Agenda%20-%202016%20Edition%20-%20Vol%201.pdf

Science Fiction and the Hidden Global Agenda - 2016 Edition - Vol 2.pdf (2.8 MB) (Modified: Aug 20 2016 09:14:30 PM)

http://www.checktheevidence.com/pdf/Science%20Fiction%20and%20the%20Hidden%20Global%20Agenda%20-%202016%20Edition%20-%20Vol%202.pdf

The original first edition of the book is no longer available as a paperback version from Lulu, however a free PDF version of the original version is still available to download from checktheevidence.com. Click the link below to download this version of the book:
http://www.checktheevidence.com/pdf/Science%20Fiction%20and%20the%20Hidden%20Global%20Agenda%20-%20Carl%20James%20-%201st%20Ed%20-%202014.pdf

As always, many thanks for all your continuing support and I hope you enjoy my new books. Please spread the word far and wide!!
Best wishes,
Carl James. (http://thetruthseekersguide.blogspot.co.uk/)

The Force Awakens Odd Symbolism in Teaser Trailer#2

Hey folks. My apologies for the lack of articles recently. Although I feel myself starting to sound like a scratched record, my reasoning is simple lack of time! Although I pride myself on having very little adherence to the hands of the clock, I do feel like there really aren’t enough hours in the day at the moment. The “slavery to time” manufactured mechanism (of which I am well versed, believe it or not) has prompted several severe curses from me lately! I am actually in the process of putting some new blog material together, but I unfortunately have only had the odd hour here and there to make any headway. Please persevere with me – normal transmission will hopefully resume again soon!
I felt it necessary to post a couple of images that relate to the growing frenzy of interest in the forthcoming Star Wars film: Episode VII – The Force Awakens. As my regular readers will know, I have extensively researched Star Wars, George Lucas, J. J. Abrams and the output of Disney and discovered a mountain of esoteric strangeness and elite agenda connections. I hold firm to my belief that the new film (released this December 2015) will offer many glimpses into the dark side (no pun intended!) of Hollywood’s subversive and esoteric symbolism and themes. Perhaps far more than any previous offering from the “galaxy far, far away”…
Interestingly, the images below were highlighted by a friend of mine who is not an alternative knowledge researcher per se, but does have a keen eye for odd imagery. The two images are taken from the second teaser trailer for the film and my friend believes that that they (respectively) contain subliminal nods to 9/11 (combined with an existing masonic motif in the Star Wars films) and a number of subliminal recurrences of the word “sex”. It wouldn’t surprise me if the latter (as anybody who has looked into the darker nature of Disney will recognise) were accurate. I remain neutral as to the possible veracity of the former as the similarity is only vaguely comparable. Again though, it wouldn't surprise me. As I noted in a previous blog entry, the poster for Abrams' previous film Star Trek: Into Darkness indulged in similar symbolism - although, in that case, there was a direct narrative nod to 9/11. As of yet, I am unaware of such of a theme being included in the narrative of the forthcoming Star Wars film. Even without a narrative connection, the imagery can still exist - see: Super Mario Brothers, The Wiz, Trading Places, the season two finale of Third Rock from the Sun, the list goes on and on. These points of note are never the less interesting and tie into much of the research I have done over the last two years.
As always, I will leave you to draw your own conclusions.
Until next time!
Carl.


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

Star Wars: The Force Awakens – Official Teaser Trailer

In the last few days, the first official teaser trailer for Star Wars: Episode VII – The Force Awakens has been released to the general public. I remember a far more naïve time in my life when the mere mention of this would have created goose bumps on my skin: yes, I was raised and indoctrinated by “The Force”! Given my valid concerns about the output of Hollywood (particularly that of Disney), I was immediately raising an eyebrow when it was announced that Disney had acquired Lucasfilm, the Star Wars franchise, would be making a new “Wars” film shortly and that it would be helmed by Disney stalwart J.J. Abrams. I have no doubt in my mind that these new films will not feel like previous Star Wars efforts. There will be an “undercurrent” of something untoward, perhaps somewhat indefinable but it will be there never the less. I base this conclusion on what I have come to understand about the way Disney produces its material. I have written a fair amount on this subject in the past and included some links below for further reading.
Here is the link to the Star Wars: The Force Awakens teaser trailer. Make of it what you will. Obviously there is little yet to glean visually from this teaser, but the voiceover itself says much.
"There has been an awakening. Have you felt it...? The dark side... and the light."
Star Wars: Episode VII - The Force Awakens Official Teaser Trailer #1 (2015) - J.J. Abrams Movie HD - https://www.youtube.com/watch?v=OMOVFvcNfvE

Further Reading:
Disney Darkside Blog Series:
Part 1: http://thetruthseekersguide.blogspot.co.uk/2012/11/disney-darkside-part-one.html
Part 2: http://thetruthseekersguide.blogspot.co.uk/2012/11/disney-darkside-part-two.html
Part 3: http://thetruthseekersguide.blogspot.co.uk/2013/01/disney-darkside-part-three.html
Related Disney material can be found in my Lost Conspiracy Blog Series:
Part 1 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-1.html
Part 2 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-2.html
Part 3 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-3.html

Science Fiction and the Hidden Global Agenda

Science Fiction and the Hidden Global Agenda - 2016 Edition - Volumes One and Two - NOW AVAILABLE! Since the first publication of my book "Science Fiction and the Hidden Global Agenda", I have continued to study the book's subject matter at length. This research eventually prompted the need for numerous updates and revisions to the original book, along with the incorporation of brand new research material on the subject. The latter includes a wealth of new material on Stanley Kubrick, George Lucas and Ridley Scott, new material incorporating the Laurel Canyon scene and the "death" of Sharon Tate into the context of the book, the connections between the Back to the Future film franchise and 9/11, the role of Doctor Who as a mass purveyor of arcane codes and predictive programming, the increasing prevalence of Saturn symbolism in film and television, and much, much more. The resulting 2016 edition of the book weighed in at almost 800 pages long! As a result, I have now published "Science Fiction and the Hidden Global Agenda" - The 2016 Edition as a split / two-volume work. As with the first edition, these books are being produced, printed and published via Lulu Publishing. Volumes One and Two of the 2016 Edition are now available to purchase in paperback format from their website. All of the relevant information and links are below. Science Fiction and the Hidden Global Agenda - 2016 Edition Volume One "In Volume One of this comprehensively updated 2016 edition of "Science Fiction and the Hidden Global Agenda", alternative knowledge researcher Carl James explores the formative years of science fiction via the pioneers of the literary genre and their myriad of connections to the global power elite. He also examines how future "space exploration" came to be depicted in the genre and exposes how science fiction acted as a perception management mechanism for the likes of the extra-terrestrial paradigm and the escapades of organisations such as NASA, JPL, the U.S. Department of Defence, and the CIA. This research exposes all manner of secret military and intelligence experiments, cover ups and conspiracies of silence, and a larger global agenda mechanism." 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 - 2016 Edition Volume Two "In Volume Two of this comprehensively updated 2016 edition of "Science Fiction and the Hidden Global Agenda", alternative knowledge researcher Carl James explores how science fiction has been used by the global power elite to shape mass perceptions of reality. He also examines the "mind control" phenomenon, the culture of fear, false flag events and the media's growing obsession with embedded arcane and occult symbolism and themes. This research exposes all manner of secret military and intelligence experiments, cover ups and conspiracies of silence, and a larger global agenda mechanism." http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html Free downloadable PDF versions of the books are available from Andrew Johnson's website http://www.checktheevidence.com See the links below: Science Fiction and the Hidden Global Agenda - 2016 Edition - Vol 1.pdf (3 MB) (Modified: Aug 20 2016 09:14:41 PM) http://www.checktheevidence.com/pdf/Science%20Fiction%20and%20the%20Hidden%20Global%20Agenda%20-%202016%20Edition%20-%20Vol%201.pdf Science Fiction and the Hidden Global Agenda - 2016 Edition - Vol 2.pdf (2.8 MB) (Modified: Aug 20 2016 09:14:30 PM) http://www.checktheevidence.com/pdf/Science%20Fiction%20and%20the%20Hidden%20Global%20Agenda%20-%202016%20Edition%20-%20Vol%202.pdf The original first edition of the book is no longer available as a paperback version from Lulu, however a free PDF version of the original version is still available to download from checktheevidence.com. Click the link below to download this version of the book:http://www.checktheevidence.com/pdf/Science%20Fiction%20and%20the%20Hidden%20Global%20Agenda%20-%20Carl%20James%20-%201st%20Ed%20-%202014.pdf As always, many thanks for all your continuing support and I hope you enjoy my new books. Please spread the word far and wide!! Best wishes, Carl James. (http://thetruthseekersguide.blogspot.co.uk/)

The LOST Conspiracy - Part 2

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


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

The LOST Conspiracy - Part 1

In past articles, I have written at length about the power of the mainstream media, particularly film and television. The medium has a huge influence over the lives of most people. It often establishes unrealistic goals and societal norms, influences our beliefs and views of history overall, incorrectly informs us about the affairs and cultures in other countries… in fact there is very little it can’t do to anybody who is receptive (i.e.: a big majority of the global population!) Prime time shows are particularly notable. Those “programs” that air when people are at their most relaxed, settling down for the evening and putting their feet up seem to have the greatest effect. There are very few examples of shows that reach a large audience and do not indoctrinate the viewer in some way or another.

In the last few years, the tone of fictional drama has shifted dramatically. Gone are the days of shows that dared to comment on something worthwhile. There is now a slew of crime shows, series based around military units or intelligence agencies, down and dirty programs that lean heavily toward “realism”. Central characters that are no longer heroes, with the emphasis now shifted onto characters to which we can “relate” (one of many buzzwords often heard from industry insiders.) The documentary style is also very popular. Sadly, a large amount of the blame for this (although far from exclusively) lies with the cultural zeitgeist created after 9/11 and the subsequent “war on terror”, homeland security, regime change- style world in which we live.

As somebody who is fascinated by television and film as obvious tools of mass misinformation and distraction, I have been curious to see if any one specific media artefact can be singled out as a contemporary turning of the proverbial tide. This began with identifying the “big players”… writers, producers and directors who are currently the “go to” people. The most notable bunch appears to be “The JJ Brigade” – consisting of JJ Abrams, Carlton Cuse, Damon Lindelof, Bryan Burk, and so on. If these names are unfamiliar to you, then a slightly similar analogy would be the American Zoetrope gang from the 1970s – Steven Spielberg, Francis Ford Coppola, George Lucas, etc.

“The JJ Brigade” has been involved with a huge number of films in the last several years: “Super 8”, “Cloverfield”, “Prometheus”, the reboot of “Star Trek”, being just a few examples. They cut their teeth in television with shows like “Alias” and “Fringe”, but the big hit that really launched their eventual movie careers was (Disney’s) ABC’s “Lost”.

The show had a very simple and hardly original central premise. A plane crashes on a desert island and the survivors have to rally together to stay alive. Initially, two factors made the show a global hit. The first was a cast of largely good looking castaways, all of whom had very questionable pasts. These were illustrated by narrative plot devices known as “flashbacks”, giving the viewer glimpses of the characters’ lives before the crash. The second factor came in the form of an island full of mysteries to be uncovered, such as: vicious natives, visions of dead people, a radio signal that had been broadcasting for 17 years, polar bears running wild in the jungle and a human-mangling monster that took the form of a column of black smoke.

“Lost” was an instant and huge hit. The broadcast of the pilot episode broke records for viewing figures, the show was picked up in dozens of countries and many of the actors (including Mathew Fox and Evangeline Lily) became overnight stars. The show garnered huge followings thanks largely to some shrewd marketing. The internet was used to full effect to create viral videos and commercials advertising the fictional companies (such as “Oceanic Airlines”) that featured in the show. The producers also took advantage of the “mystery” angle within the show, creating clues that lead to exclusive websites and viewing material. Most notable was a wealth of internet material revealing information about “The Dharma Initiative”, a scientific research community that once existed on the island which abandoned several hidden research facilities known as “hatches” or “station”.

The Dharma angle truly captured the imagination of the internet community. A number of fans came to believe that the show was some sort of conspiratorial experiment that, perhaps, such a group had once existed in the real world! Documents relating to The Dharma Initiative were “leaked” online (actually as part of an online RPG-type game) in a realistic manner. The “previously undiscovered footage” phenomenon was used to create online viral videos. A “conspiracy of silence” regarding the island, the plane crash, the survivors, etc., was perpetuated across the internet. Fans of the show researched meticulously and uncovered clues as to the true nature of “The Island. This in turn led to further “revelations”. Realistic looking business websites advertising jobs for The Dharma Initiative, The Hanso Foundation, Mittelos Biosciences, Oceanic and Ajira Airways, and so on, were created by those involved with marketing and producing the show. The reaction cemented a huge internet based following dedicated to the mysteries on offer. Latching onto the positive reaction to this “conspiracy theory” motif, the producers decided to go even further.

In the shows fourth season, a conspiracy was built around the original concept of the “plane crash” and construction began on a fictional “cover-up” surrounding the events. “The Oceanic Six: A Conspiracy of Lies” was a companion ‘mockumentary’ to the series, billed as a controversial underground expose questioning the survivors’ stories. The show begins: “Disclaimer: The following video was received from an anonymous source.” The piece is presented as a “60 Minutes” style investigation into the “Oceanic Six” narrative and presents evidence (in the form of aviation engineering and scientific experts, etc.) suggesting some kind of cover-up or conspiracy of misinformation on the part of the authorities, the media, the survivors, etc. It is very similar in style to several of the early alternative investigative films that were created by certain members of the 9/11 truth community. The ‘mockumentary’ concludes, “whoever is behind this colossal hoax had to have had unimaginable financial backing and a co-operation at the highest levels of power… a level of power that could only point to the United States Federal Government, the United Nations, or an unknown organisation with unparalleled international reach.” The piece is available on disc 6 (bonus material) of the Season Four, region 2 DVD box set.

“We thought, you know, this show really needed a conspiracy buff who is basically saying ‘I believe this plane, on the bottom of the ocean, is a sham and I’m going to the island to prove it because maybe there are survivors out there and I can stop feeling so guilty for not having flown the plane that day’” (Damon Lindelof – co-creator/ executive producer of Lost.)

This “conspiracy buff” became the new character Frank Lapidus, a fan favourite. “What if I was to tell you that the plane they found in that trench wasn’t Oceanic 815… you know those nuts that think the moon landing was faked? This is like that… only real. Can you imagine what would happen if we found some of those people alive?!” (Frank Lapidus to Sayid)

Further riffs on the “conspiracy theory” appeared in the show. “Now here’s a funny thing. This black box comes from Oceanic Flight 815. A salvage vessel recovered it from the bottom of the ocean… it was found with the wreckage of the plane along with all 324 dead passengers. That’s not the complete story… given the fact that you (the genuine survivors of the crash) are standing here… breathing. The wreckage was obviously staged. Now can you imagine what kind of resources and manpower go into pulling off a feat of that magnitude? Faking the recovery of a plane crash? Putting 324 families through a grieving process based on a lie? But what’s even more disturbing… Where exactly does one come across 324 dead bodies? (Gault, Captain of the freighter sent to the island by Charles Widmore.)

“It’s a phoney. A man named Widmore put it down there and he staged the whole wreck… because he doesn’t want anyone else finding out where the real plane ended up, except for him. The cemetery in Thailand where Widmore dug up 300-odd corpses… the purchase order for the old 777 that he brought through a shell company, and the shipping logs for the freighter he used to drop the whole mess down a trench deep enough to guarantee that no remains will ever be identified.” (Tom, aka Mr Friendly)

Alternative researchers may find something about this overall concept eerily familiar. The producers understood this and took advantage of it. Knowing that the number of “conspiracy theorists” was growing, especially after 9/11, they found it too irresistible to not take advantage of. On a personal note, I do think it is a shame that many people will expend extraordinary amounts of time and effort invested in concepts that are total fiction, yet they have no time to even contemplate the genuine cover-ups that do exist throughout history. Alas, this is largely the world we now live in.

However, there is something “genuine” hidden in plain sight within “Lost”. In order to understand the dark underbelly of the show, it is important to draw upon those areas within alternative research that do exist. Phenomenon like mind control, numerology, and masonic and occult imagery align far more closely with the show than most people might ever realise. For an alternative researcher, it is worth taking the time to have a look at the series, if only to gain some insight into the mechanisms that are utilised to build modern cultural mythologies. The use of deep rooted ‘mystery school’ type beliefs crouched in post-modern reinvention of concepts like existence, faith, society and culture is a curious (if somewhat disturbing) thing to behold. I have gathered together a sizeable (but by no means complete) list of examples of this phenomenon within the show.  If nothing else, it should demonstrate the ability of certain individuals within the mainstream entertainment industry to hide their tools where anybody (if they take more than a casual look) can see.

Themes
The writers on “Lost” had a fascination with promoting the concepts of synchronicity and “centrality” or “six degrees of separation”. This was extended to encompass the idea that nothing is coincidence. In the pilot episode, Charlie Pace has plasters on each finger of one hand, on which he writes “FATE”. He subsequently changes this to “LATE”. The series conveys the message that no matter how hard you try, you can’t avoid destiny. There is nowhere to escape to. Freedom, second chances and self-determination are addressed. Change is often thwarted by individuals or circumstances. Quotes: “Destiny is a fickle bitch” (Benjamin Linus) “Don’t mistake coincidence for fate” (John Locke)

There are also overtones of balance (old life/new life, episode titles: “Man of Science, Man of Faith” & “Hearts and Minds”) and rules which must be adhered to. Quotes:  “It’s all about Karma. You make bad choices and bad things happen. You make good choices…” (Bernard) “There are rules… rules that cannot be broken.” (Dr Marvin Candle)
The overarching narrative about the battle between good and evil, light versus dark, is portrayed as another form of balance.

The “Lost” writers also felt the need to reinforce the concept of hierarchical structures and certain individuals being detached from the majority. Quotes: “Men reject their prophets and slay them, but they love their martyrs and honour those whom they have slain” (Ben quoting Dostoyevsky) “Everybody has a boss” (Sayid) “The nice thing about sheep is they’re predictable” (Sawyer)

The Man in Black says (referring to humanity), “They come, fight, they destroy, they corrupt… it always ends the same. They’re greedy, manipulative, untrustworthy and selfish.” Jacob replies, “So why do you live amongst them?” The Man in Black responds, “A means to an end” (MIB)

It is revealed that the oriental writing, which forms part of Jack Shephard’s tattoos, translates as: “He walks amongst us, but he is not one of us.”

Egyptian, Masonic and Occult Iconography
In an interview with Michelle Rodrigues (who played Ana Lucia Cortez) she discussed the use of symbols and themes, “you know… numbers are interesting. Alchemy could have something to do with it too. I think they use a lot of alchemy in the show. They hint at it… they hint at stars and signs and masonry. A lot of that stuff is in there.” The show is littered with references to masonic (and by extension Egyptian mythological) themes and iconography.

The series begins (as do many subsequent episodes) with the camera focused on a single opening eye. One of the later characters to be introduced, Mikhail, has a black patch over one eye and is first seen in a close up of his uncovered eye on a close circuit camera monitor. In the third season, Locke builds a “sweat lodge” (masonic lodge?) to “talk to the island.” Quotes: “I’ve looked into the EYE of this island and what I saw was beautiful.” (Locke)

Several owl references are made throughout, including an owl ornament on the bookshelf of Dharma Initiative spokesman, Dr Marvin Candle. One of the main characters names is “Sun”. The Smoke Monster concept shares themes with Shakespeare’s masonic play “The Tempest”.  It also shares a similarity with the “Id Monster” from the sci-fi classic “Forbidden Planet”, which is also based on “The Tempest”.

One of the aforementioned Dharma stations is called “The Tempest”, the logo of which is a large wave. Another is called “The Hydra” (as in the mythological creature) and has an ‘octopus’ logo. The most well-known station, “The Swan”, has a dome interior constructed of triangular and hexagonal sections (the company logo for “Mittelos Biosciences” also comprises two hexagons.) There is a mural painted on one of the walls containing several masonic images, including “the all-seeing eye”. The station also has a “countdown” counter above the doorway. Inhabitants are compelled to key six numbers into a computer every 108 minutes to reset the counter. On one occasion when this almost doesn’t happen, the panels reveal five Egyptian Hieroglyphs. Three of the glyphs are red on a black background; two are black on a red background – masonic colours.

The island natives have a “temple” shaped like a huge Inca pyramid with internal and external glyphs. On the shore of the island, once stood a towering Egyptian statue. The head wears a crown, has pointed ears and a snout (like a crocodile). In each hand, he holds the “Ankh” totem. Some fans speculated that this was a representation of Anubis, the “gatekeeper”. When the character of “Hurley” (Hugo Reyes) first arrives at the temple (in season six) he carries a guitar case. The case contains, not a guitar, but a sizeable wooden “Ankh”. In a scene where Hurley is in the psychiatric hospital he is shown painting a picture of an Egyptian Sphinx.

The domain of Jacob (guardian of the island) is located beneath the ruins of the statue and decorated with Egyptian images. Jacob is witnessed sat at a spinning wheel, weaving an odd looking tapestry which includes the Egyptian “winged-eye”, complete with “worshippers”. The “flight wings” pin of the plane’s dead captain is highlighted in the pilot episode. This is very similar in design to the Egyptian “winged-eye.”

As Jack cleans the blackboard in the Dharma Barracks Classroom, he wipes away notes from an Egyptian history lesson: “Old Egyptian 2600bc to 2000bc. Tripling Ideograms, phonings and determinates. Middle Egyptian 2000bc to 1300bc. Classic stage of language. Late Egyptian 1300bc to 700bc…”

As an aside, the character of Juliet reveals that all of “The Others” (the island inhabitants) can speak fluent Latin: “Gotta learn Latin… language of the enlightened.”

Black & White
The “masonic” chequer board, “black and white” motif is also prevalent. In the opening of the pilot episode, the viewer is taken with the main character (Jack Shephard) from his initial “awakening” on the island, via his attempts to help the desperate survivors crawling about the plane wreckage on the beach, through to him sitting down to tend to an open wound on his abdomen. It is a long scene beginning with the first thing he sees – a white shoe hanging from a tree, and ending with him sewing up his wound using “standard black” cotton.

In a dream sequence, later in season one, John Locke is shown having one white coloured eye and one black. When Locke is properly introduced, the young character of Walt asks him if he is playing chequers. Locke says it is backgammon and holds up a black and white piece - one in each hand. Quote: “It’s the oldest game in the world… that’s older than Jesus Christ… Two players, two sides, one is light, and one is dark.”

When we meet Desmond Hume for the first time, we see the speedometer on the exercise bike he is using. The speedometer is a chequered black and white flag design. When Charlie Pace is seen, desperately trying to hide his heroin stash (on the plane), he puts it in his shoe. The shoe is a black and white chequer pattern design. Kate Austin’s first “vision” on the island is of a black horse. Several locales and pointers are introduced throughout the first season: The Black Smoke Monster, the columns of “black smoke” fire, the “Black Rock” slave ship and “The Dark Territory”.

The island’s protector, Jacob, is always seen wearing light coloured clothes and has fair hair. His brother (and rival opposite, as is eventually discovered) has dark hair and clothes, and referred to only as “the man in black”. In the apartment of the nefarious character, Charles Widmore, hangs a painting which includes a set of “justice” scales. One scale contains a black object; the other contains a white object.

Continued in part 2...
Part 2 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-2.html
Part 3 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-3.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

Disney Darkside - Part Three

The bedrock of Disney’s global standard and reputation is that of “wholesome family values”. This is something of a twisted irony when one considers the many tales of state sponsored mind control in relation to the ‘Disney’ empire. This standard is further questionable should there be any validity to the claims that their guiding light, Walt Disney, was alleged to have had an unhealthy interest in their child stars – most notably, the likes of Bobby Driscoll and Kurt Russell, whose name was allegedly the last words spoken by Walt on his death bed.

Such claims aside, a little scrutiny of Disney’s output alone tells us a story that contradicts the much vaunted values and beliefs of ‘The House of Mouse’. Since their first animated films, Disney has produced (or joint partnered with other studios) a huge number of animated and live actions films, shorts and television programmes. There are many common themes which have run through these productions since their origins in the early part of the twentieth century.

The protagonist of these pieces often finds themselves on a physical and psychology journey. Usually they are lost or separated from their loved ones, perhaps trying to find a way home again or attempting to create a new life for themselves. The journey always involves a transformative experience, a metamorphosis into a new being. The journey will involve hardship and danger, peril and heartbreak. The protagonist will usually befriend some form of non-human individual or individuals. These are often animals, but over the years they have included supernatural entities, aliens, robots, even figments of their own imagination. Most people would describe this as a perfectly normal narrative for a children’s story.

However, the specifics of the journey are quite interesting and decidedly dark. Even as early as Snow White and the Seven Dwarfs (1937), the story begins with Snow White’s jealous stepmother Queen ordering a reluctant huntsman to take her into the woods and kill her. Further on, after escaping and befriending various woodland creatures, as well as seven adult dwarfs, the Queen creates a poisoned apple that will put Snow White into a "Sleeping Death". The Queen even cackles at one point about taking Snow White and “burying her alive!”

It is worth pointing out that when the original “Snow White and the Seven Dwarfs” was released in England; picture houses forbad any child under the age of 16 from seeing the film due to the scary content. Speaks volumes really…

Most people will argue that children have always loved a little fear, peril and gruesomeness in their stories. This is true in most cases. A case could be made for the concept of overkill though – something which Disney excels in. Case in point: Pinocchio (1940) - Stromboli turns brutal and locks Pinocchio in a birdcage to prevent him from leaving, and warns him that if he grows too old, he will chop him into firewood, Bambi (1942) - his mother is shot and killed by a deer hunter while trying to help her son find food, Alice in Wonderland (1957) – the Queen of Hearts orders Alice executed by decapitation, these are just a few early examples of many such occurrences.

If we consider Disney’s wholesome family values (a family unit, a loving environment, etc.) there appears to be a slight discontinuity within the films. I don’t wish to get into a debate about what is considered to be a so-called “family unit”, yet Disney’s view of this is a somewhat fractured and disjointed one. If you are aware of the various Disney plots or take some time to do a little research, it is not hard to notice the sheer number of films involving a central character / characters who are orphaned, fostered, adopted, abandoned, have no family at all, suffered the loss of one or both parents, etc. There are also numerous examples where an adopted, foster or step parent has treated their charge to contemptible, if not homicidal, tendencies! Are these good, wholesome family values? The latter is almost certainly not!

During the early days of Disney, another wholesome concept would have been one’s devotion to religious beliefs. Right from the creation of Fantasia (1940), the finale of the film (Night on Bald Mountain) treats the viewer to a ritual wherein the devil Chernabog summons evil spirits and restless souls from their graves. The spirits dance and fly through the air until driven back by the sound of an Angelus bell as night fades into dawn. Such rituals would have been the antithesis of accepted mainstream beliefs. Disney has returned many times to the notion of ‘selling your soul’ (e.g.: “The Devil and Max Devlin”), magic and occult aspects (“Summer Magic”, “Mary Poppins”, “Bedknobs and Broomsticks”, “The Black Cauldron”, “Hocus Pocus”) and the beliefs and symbolism of masonic and secret societies (“Treasure Island”, “Alice in Wonderland”, “Candleshoe”, “Something Wicked This Way Comes”, “The Three Musketeers”, “National Treasure”, “The Prestige”)

Disney has also had a preoccupation with narrative devices such as mind experimentation (e.g.: “The Adventures of Merlin Jones”, “The Computer Wore Tennis Shoes”) advanced technology  (“The Absent Minded Professor”, “Moon Pilot”, “Tron”, “Surrogates”) and the extra-terrestrial phenomenon (“Escape to Witch Mountain”, “Flight of the Navigator”, “Mission To Mars” and “Signs”.)

In all honesty, providing you have a little insight into the bigger picture, it is not hard to find such recurrent themes throughout these films. Is there anything a little more subtle though? If we return to the practice of psychological programming and conditioning, these notions are sometimes noticeable. The ideas of abuse, isolation and fractured psyches are used repeatedly in Disney’s output. The Bette Midler vehicle “Stella” immediately springs to mind as an example, as well as (one of my pet projects) “Lost” – made by Disney’s ABC television network.

It is conceivable that there is far more subtlety than perhaps initially realised. Aside from the far reaching mind control associations, a number of researchers have suggested a more generic and low level conditioning which may be more widespread amongst the general population – one such method is that of “Princess Programming”. The emotionally challenged “princess” motif is regularly at the heart of many a Disney film and serves as a mass consumerist tool of propagation. Researchers have pointed to this aspect as a tool to re-educate (largely female) mass perceptions.

The transformation (with monarch-style undercurrents) of the girl next door utilising her femininity to get all she wants is a very appealing psychological trigger in the female of the species. Disney’s consumerist machine has cornered the market in eye-catching, often plastered in pink, paraphernalia. Try going to any large store without noticing at least one row (if not many more!) draped floor to ceiling in this stuff. It is also worth checking out the theme of the product. Many of these items are a riff on princess/Disney themes, if not an actual Disney franchise.

The pink aspect is also worth addressing. In the book “Illuminati Formula”, Fritz Springmeier and Cisco Wheeler address the colour coded ‘Illuminati alter system’. This system assigns thirteen colours to a hierarchy of programming. Pink is the lowest. “These are core related alters. They maintain the true feelings of the true self apart from the cult programming and the cult family’s programming. These alters are viewed as weak because they are emotional and often break down and weep. They are fragile emotionally.” In 1997, Cooper Marketing Group made a survey of the usage and representations of colours in commercial marketing. Pink had a sizeable 27% share of usage, with the colour said to represent fragility. In certain Wiccan beliefs, pink represents beauty, friendship, acceptance and self-love.

Disney loves the pink motif: pink elephants (“Dumbo”), ‘Pink of Perfection’ (“Summer Magic”) and pink flamingos (“Alice in Wonderland”) are just a few examples. The latter is particularly interesting if you research flamingo occult related beliefs. Just don’t let your search engine distract you with pages of references to a certain John Waters film! It is also worth mentioning the huge number of female pop and movie stars who go through ‘pink’ phases. The princess aspect is also highly visible.

Another programming component (which links to the ‘princess’ experience) is Disney’s reliance upon the over sexualisation of younger viewers. Serious researchers of Disney’s dark side have suggested that the empire has covered it all: from child porn to S&M, to lustful envy to virgin naivety, gay, strait, bi and try-a-sexuality. Hard porn, snuff films, white slavery, mind-control, and the seduction of several generations into occult practices… you name it. I would suggest that nobody in the modern entertainment world has done more to sell the latter concept than Disney (did you know that nearly all of Disney’s 1920 movies had a black cat in them?!) and there is a wealth of anecdotal evidence to suggest the mind control association, but what about the sexual angle?

It would be hard to fathom that a film like “Consenting Adults” could be made by the wholesome “House of Mouse”, but it was – via Touchstone films. Touchstone was created so that Disney could specifically put out films with a more “adult” tone. Disney has actually ventured into soft porn content via cable access in the past.

But are there any adult undercurrents to the more (so called) “innocent” output? It is known that one of Disney’s earlier success stories was the animated feature “Bambi”. Perhaps less known is that Bambi was based upon a book written by a porn photographer named Felix Salten. Salten worked in a Viennese sex salon owned by the elite Hapsburg bloodline.
There are a number of claims made about subtle, almost subliminal inserts into various Disney features. It is claimed that there are castles made of male sexual organs in some of the promotional material for “The Little Mermaid”, as well as a minister conducting the wedding who (perhaps!) appears to have an erection.

In “Who Framed Roger Rabbit?”, Jessica Rabbit is thrown from an animated taxi which results in her flying through the air with her legs akimbo and revealing (for four frames of film anyway!) that she is indeed a member of the infamous ‘anti-panty’ brigade! The film also appears to show Daffy Duck sprout an erection during the ‘piano duelling’ scene. In "Aladdin", there is a scene where he flies up to Jasmine's balcony and is heard to whisper "Take off your clothes". Disney insists it's really "Take off and go", spoken to Jasmine's tiger. I’ll leave it for you decide. During airing of “The Clock Cleaner” animated short, WDIV -TV discovered that Daffy Duck was clearly heard to say "f*** you". When this was discovered, Wal-Mart pulled the video from the shelves. Disney edited it and re-released it for sale, despite insisting that it really wasn't there.

A bare breasted woman can be clearly seen in the background of a scene from the animated film “The Rescuers” and the word SEX is clearly visible after a cloud of dust is kicked into the air during a scene from “The Lion King”. Time magazine once described “The Lion King” as “the dirtiest, most perverse” and “more charged with violence than any other Disney film.”

Disney also once produced an animated film entitled “The Story of Menstruation”.
There have even been claims from animators who tell stories of sexual imagery being subliminally incorporated into the actual animated characters and scenes of Disney output. These claims have been dismissed as the rants of disgruntled employees, yet there are several examples (by quite talented artists) of how this can be done.  http://www.youtube.com/watch?v=j19Aoe9EUVY

I genuinely believe that there is much more to Disney than meets the eye, even on a simply instinctual level. If Disney was able to convince large numbers of the populace that Lemmings like to jump off cliffs (which is actually untrue), then what else are they capable of conveying?
 
In alternative research, there are far more disturbing concerns. When a Tom and Jerry cartoon contains apparent examples of occult symbolism and blatant worship ( http://www.youtube.com/watch?v=1V-N92EBy9A&feature=player_embedded ) or a Duck Tales episode continues to flash variations of the word ‘Illuminati’  on a background eye chart ( http://www.youtube.com/watch?v=E0NAheMXhAk&feature=player_embedded ) perhaps there is some real cause for concern.
 
The masonic sci-fi writer H. G. Wells wrote (in his “prophetic” tome – “A Modern Utopia”) that there would be lots of “shows in the New World Order.” Disney is making these shows now.

The World Future Society in a book review in their publication Future Survey Annual, 1993, (ed. Michael Marien, Bethesda, MD: World Future Soc., p. 91) describes Disney:  “Control of commodities [such as entertainment] and access to commodities translates into control over people. The postmodern US is a massive rush of disconnected commodities, each seeking a moment of our attention… The world of commodities is our ‘soma’ and entertainment is the current form of public discourse.”
 
It has been speculated that part of the elite global agenda is the determination to fracture families and communities, whilst simultaneously distracting us with misdirection and triviality. It is possible that a fractured and disjointed view of the world and our existence, via the medium of the likes of Disney, is made manifest by our own hand… something we don’t even fully realise or comprehend. This is the potential danger from entities like Disney. My advice would be to just turn the damn thing off! I suspect far less harm comes from at least doing that much!
 
Until the next time,
The Truth Seeker’s Guide.

Part 1: http://thetruthseekersguide.blogspot.co.uk/2012/11/disney-darkside-part-one.html
Part 2: http://thetruthseekersguide.blogspot.co.uk/2012/11/disney-darkside-part-two.html
Part 3: http://thetruthseekersguide.blogspot.co.uk/2013/01/disney-darkside-part-three.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