Illuminati Inspect Every Hollywood Script
August 22, 2011
DETECTING AND UNDERSTANDING ILLUMINATI INTERFERENCE
left, a scene from "V is for Vendetta" - "The most blatantly honest Illuminati project I have yet viewed."
Illuminati Inspect Every Hollywood Script
(The author is a former professional movie critic.)
(henrymakow.com)
The Illuminati exert influence in popular visual media to an extraordinary extent. Every major film script that is in pre-production mode is submitted to key Illuminati subordinates whose role is to assess the script for potential alterations or insertions. These changes may be major or minor, depending on the material of the script.
Additionally, these subordinates comprise a tightly managed think tank which surveys the progress of Illuminati propaganda in global societies. The members make decisions about which themes are ready for further amplification in popular media. Then, detailed descriptions of desired creative projects are handed down to a further subordinate (but not necessarily knowledgeable) group of highly skilled writers, who create the scripts for these projects.
Different projects are created to target different sectors of the global population. That may seem logically obvious, but it's worth stating. Grossly blatant Illuminati messages are more often couched in films of excessive violence, sexual content, outright weirdness, and so on, in order to distract viewers from the fact that external ideas are being inserted forcefully into their minds.
Actually, that's not quite right: excessive violence, and such, activates a psychological openness to the receiving of ideas. The explanation for this is that once a viewer makes the decision to ACCEPT the violence and the sex, and so on, his or her mind remains open to the ideas that the film is meant to insert into their minds.
SUBTLE INFLUENCES
Very often, the decision is made not to insert any open messages into film projects. This is due to two very simple rules: too much openness exposes the process; and, gradual influence is far more powerful and effective in the long run. In the event that no open messages are going to be inserted, two other options remain which still allow for gradual influence to build.
The first is Signature Symbology. The Illuminati have, over time, generated a huge set of symbols and visual icons which, in partnership with the more blatant messages, exert an impressive (some would say frightening) measure of influence on public thought.
These are the Signatures of Illuminati interference in a project. When viewers see a symbol inserted into a film, this event draws up memories of past encounters with that symbol, and of any messages or themes attached to that symbol.
This is often what some people call an "unconscious" or "subliminal" process. I call it "unreflective", for the simple reason that most people are just not paying any attention to the influences that affect them deeply.
Of course everyone wants to leap on the "Illuminati eye" as a blatantly repetitive symbol these days. That's a misguided judgment, and I'll get to that part soon. An example of a less obvious Signature Symbol is the gargoyle. Any film or other production featuring even brief glimpses of gargoyles is announcing that it has the Illuminati stamp of approval.
The second option is influence over the music attached to a project. Film music - well, music in general - holds a powerful influence over viewers and listeners. Similar musical themes across various projects excite unreflective (or subliminal) memories even more deeply than do visual symbols.
One of the tactics of the Illuminati is to present a large set of what we could call Distraction Symbols. The very name "Illuminati" is itself a Distraction Symbol. Distraction Symbols are meant to occupy the attention of both the mildly curious thinkers and the overly excitable conspiracy theorists.
Oftentimes, Distraction Symbols are in fact genuine signature symbols, but the publicly presented meanings of these symbols are well-planned and tightly controlled propaganda. The meanings of Distraction Symbols have been either completely falsified or else skewed just enough to push amateur analysts in the wrong directions.
Let's ask some questions. What do the Illuminati wish to accomplish? What do the subordinate participants in Illuminati projects wish to accomplish? What are the major themes the Illuminati focus on presenting? Why have they selected these particular themes?
WHO ARE ILLUMINATI?
There is no actual body of persons calling themselves the Illuminati. There DOES exist an actual body of persons telling everyone to CALL them "the Illuminati", but this is not what they call themselves. Nor is their character equal to the propaganda they have sponsored that purportedly describes "the Illuminati".
The most blatantly honest Illuminati project I have yet viewed is V for Vendetta, directed by Jon Turtletaub, left, starring Natalie Portman and Hugo Weaving. By the way, all three of these people are key production elements in major and obvious Illuminati film projects.
There is a scene in V for Vendetta where the central figures of the film, a man dressed in black and wearing a smiling mask (a Guy Fawkes mask, you can look it up, or watch the film), and a woman named Evie (after Eve, the symbolic Mother of Humankind), perform the following exchange:
Evie: How strange that I suddenly see your face everywhere.... I don't understand.
V: What?
Evie: How you can be one of the most important things that has ever happened to me, and yet I know almost nothing about you. I don't know where you were born, who your parents were, if you had any brothers or sisters... I don't even know what you really look like.
V: There is a face beneath this mask, but it's not me. I am no more that face than the muscles beneath it, or the bones beneath that.
This is Illuminatis' admission that their public representation of themselves is a very deliberate sham. They have intended all along to keep their membership, their ultimate intentions, and their core character as hidden as necessary. Therefore, if we examine what they present in overly forceful ways, we can discover what they are not. Conversely, if we examine their more subtle touches, we can discover what they are willing to admit to - that is, what they MUST admit to, in order to build the future they have planned for Humanity.
Here we come to the issue of SEEDING. This is it. This is what Illuminati influence in public media is all about. The Illuminati are - like it or not - causing and controlling change, globally, but they are not doing that only by means of instigating economic crises and violent international conflicts.
The Illuminati are seeding the public with notions that gradually grow larger and more influential over time. They did it with Feminism; they did it with flexi-sexuality; they are doing it with anti-religion and with child sexualization now. They do this because the future society they have planned must be structured differently from what we all know now. A different structure requires citizens with different thinking who will accept that structure.
To be Continued Tomorrow
"Black Swan"-- Hollywood Preaches Satanism
January 16, 2011
Do we need additional proof that mankind is controlled by a satanic cult?
The Illuminati uses movies (and entertainment in general) to spread its occult dogma. Most critics are simply too dense to recognize the truth and sound the alarm.
Christianity is forbidden in the public sphere but spreading Satanism is OK? So that's "secular" society.
One woman we know who saw this movie was so disturbed, she broke down at work the next day.
by Marcos
(for henrymakow.com)
Black Swan is one of those movies that leave you with a sick feeling in your gut. The reason is that it makes a very convincing case in favor evil.
The movie stars Natalie Portman (née Natalie Harshlag, from Jerusalem), directed by a Jew from Brooklyn who lived in a kibbutz in Israel, Darren Aronofsky and produced by a company named "Phoenix". Aronofsky had his debut with the movie "Pi", whose main theme kaballah and Jewish occult numerology.
PLOT (SPOILER ALERT!)
Nina (Portman) is a ballet dancer in New York. The movie starts with a dream where Nina dances with a seductive male dancer, an Antonio Banderas type who suddenly changes into a demon, horns and all.
Nina still sleeps in her childhood bedroom, surrounded by plush dolls and pink decorations. She is anorexic, has no boyfriend, is possibly schizophrenic and scratches herself until she bleeds. Her mother is a disciplinarian who wants Nina to be the first dancer in the company.
Thomas Leroy (Vincent Cassel) is the French director who has just fired the first dancer from the company, Beth (Wynona Rider, nee Horowitz), after having seduced her.
Beth is approaching 30, and is disposable. After being fired, she is hit by a car and goes to the hospital. Thomas decides that he will produce the ballet "Black Swan" with the same dancer playing good white swan and the evil black swan. Nina is his choice, but he thinks she is too good and sweet and, although she can be the best white swan, she needs to find her evil nature in order to play the black swan.
Nina meets a bad girl named Lily (Mila Kunis, another Jewish actress), a dancer and competitor for the role. She has a tattoo of black swan's wings on her back, meaning she already belongs to evil.
She takes Nina to a bar and a disco, introduces her to drugs, casual sex with men and has lesbian sex with her afterward. Because of the wild party, Nina is late to the rehearsal and almost loses the role to Lily herself. In the movie, we don't know if Nina is imagining everything or if it really happened.
During opening night, Nina plays the White Swan and falls on stage. At her dressing room, during interlude, she is mocked by one of the dancers, who tells her she will fail and starts a fight.
Nina pushes her to a wall mirror, which shatters. She then proceeds to stab the dancer with a glass piece and changes into a demonic black swan. She performs wonderfully and, at the end, we find that in reality she stabbed herself and is dying. Her last words are: "Now I am perfect." 
(
Natalie, put on a bra! Hillary can't concentrate!)
ANALYSIS
Black Swan is a movie about mind control and demonic possession. Its main message is that you can't achieve greatness without selling your soul to the devil and connecting with the evil inside.
Nina's controller is her mother. She was unable to develop and is still a child psychologically and sexually. Her bedroom's wallpaper is covered with butterflies, a reminder of Monarch programming.
When she is ripe and technically disciplined, her handler, Leroy ("The King" in French) enters her life and introduces her to evil, with the help of Lily (Lilith?).
He seduces her but doesn't have sex with her. He just awakens her lust and greed. In a key scene, we see Leroy and Nina at his flat, where a stylized Baphomet is displayed on the wall.
Her gala night also takes place in a building where we see a huge statue of a black angel, obviously Lucifer. Nina is being invited to Satan's side, and the reward is fame and success.
There are occult signals all over the movie, starting with the black and white duality and going through mirrors.
Nina and her mother have their mirror images switched in one scene, meaning the mother has to program the daughter to be a replica of herself.
In the end, when Nina shatters the mirror, it means she broke her personality in multiples and is ready to be possessed. She graphically changes into a demon in the screen.
It is very possible that Portman will get an Oscar for the role, in confirmation of what the movie teaches. She is an insider. That would make the movie more a ritual than fiction, much like Madonna's kiss on Britney Spears. On the internet, Portman is well known as a mind control puppet.
CONCLUSION
Perhaps we should pay attention to the "failed" dancer Beth, who Nina replaced. Like other mind control slaves, she loses her programming as she gets near to age 30, and is discarded or killed.
After Nina tells Beth that she wanted to be "perfect" like her, Beth says: "Perfect? I am nothing." That's the fate of those who believe Satan's lies.
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