Category Archives: new world order

Thor: Ragnarok (2017)

Considering the fact that Marvel is a multibillion dollar engine of deep state psychological warfare, I am astonished by how much enjoyment I’ve received from the various cinematic installments of the Avengers franchise. Despite repeatedly obliterating the bounds of physical reality with generous helpings of a somewhat formulaic brand of snark, the MCU remains a surprisingly vital blockbuster series. When you have an entertainment property with that much cultural cachet, you can bet your bottom dollar that there will be some deep social engineering behind the cosmic mayhem and Thor: Ragnarok is no exception. Ragnarok is the third installment in the Thor series and the seventeenth MCU film overall. Besides advancing Thor’s arc and teeing up Infinity War, Ragnarok also gives us a very clear window of insight into the agenda of the elites. Specifically with respect to the people of Northern European countries.

Ragnarok opens with Thor in a seemingly dire situation facing off against the fire demon, Surtur. Surtur believes that it is his destiny to fulfill prophecy of Ragnarok and destroy Asgard. He confides that Odin is not really in Asgard and that’s enough for Thor to summon his Mjolnir and start kicking some demonic ass to a choice bit of Led Zeppelin. The decision to use “The Immigrant Song” to accompany Thor’s ass kicking is an inspired and appropriate soundtrack choice, but it also connects to the larger themes of the film as I’ll elaborate below. Thinking he has forestalled Ragnarok by claiming Surtur’s horn/skull helmet, he returns to Asgard to place the object in the vault along with other artifacts of mass destruction. Upon returning to Asgard, he discovers that things have gone awry. Not only has Heimdall been replaced at the Bifrost Bridge, but while disguised as Odin, Loki has rewritten Asgardian propaganda to emphasize his heroism in the battle against the Dark Elves. Thor forces Loki out of his charade and insists to be led back to their father. Being the self-centered twat that he can be, Loki has the geriatric Odin committed to a nursing home in New York City. The Asgardian brothers are dismayed to discover that the facility to which their father’s care was charged had been completely bulldozed. Apparently, if you commit your elderly parent to a NYC nursing home, it’s going to get paved over to make room for parking lots and smart condos. Just remember that, folks.

After discovering that the nursing home has been demolished, Loki is sucked through a dimensional portal, and Thor is led to Dr. Strange’s Sanctum on 177a Bleecker Street. Picking up where Dr. Strange ended, Strange reveals that Odin is chilling out on an empty field in Norway. Hoping to avoid the impending catastrophe of Ragnarok, Strange sends both of them through another portal to join him in the fjords. Odin confesses that not only will Ragnarok proceed as prophesied, but Loki and Thor aren’t his only progeny. They have an elder sister, Hela, who happens to be a goddess of death and he no longer possesses the strength to keep her contained in her extra-dimensional prison. Sorry about that, boys. You’ll have to deal with Asgardian armageddon and your bitchy genocidal sister after all. With great power comes great responsibility. Just then, a gothed up Cate Blanchett shows up in the requisite Marvel bodysuit wearing way too much eye makeup ready to start some shit. Thor hurls his Mjolnir at her and she’s able to crush it likely a plastic toy. Sensing that the things have taken a turn for the worse, Loki and Thor jump through the Bifrost Bridge portal with Hela hot on their heels. She casts them out at different points and arrives at Asgard to begin her reclamation of the throne.

She’s just having a bad hair day.

Thor is deposited on a garbage dump planet called Sakaar inhabited by a multicultural population of slaves who are kept perpetually distracted by a gladiatorial contest. I propose that not only is Sakaar a proxy for the EU, it is a representation of the New World Order envisioned by the elites. Sakaar is a synthetic hellscape of artificial stimuli, and its inhabitants are dispossessed of their culture, history and people. It’s little more than a techno-prison whose sole purpose is to keep the population occupied with the neverending indulgence of pleasure. In other words, it’s an extrapolation of the present. The fact that the Grandmaster of Sakaar is played by Jeff Goldblum, a Jew, is not an inconsequential casting choice. As the Grandmaster, Goldblum’s character is roughly analogous to the oily, soulless showboat played by Stanley Tucci in The Hunger Games, Caesar Flickerman. A name that also has a bit of a Semitic ring to it I might add. The fact that the Grandmasters of the MCU pleasuredome itself were mostly Jews is also noteworthy. In fact, you don’t have to look very hard to find Jews who inhabit every conceivable sphere of influence pushing a multicultural agenda with near unanimity.

Thor is at first attacked by scavengers, but is soon taken into captivity by an alcoholic former Valkyrie of Asgard. She is able to subdue Thor by placing an electronic device on his neck which allows her to administer crippling electrical shocks to his system. I suggest this is yet another piece of predictive programming which reveals the agenda of mass microchipping the technocrats wish to administer to the lowly proles. Excited by his latest acquisition, the Grandmaster forces Thor to compete in the gladiator games against a fellow Avenger, genetically engineered MK Ultra super mutant, the Incredible Hulk. The fact that we’ve seen this same kind of mass media gladiatorial contest in so many films suggests that this is a key component of the NWO agenda. Whether it’s Rollerball, The Running Man, Death Race, Battle Royale or The Hunger Games, an idea that gets repeated that many times is deployed in order to warm people up. The envelope is already being pushed in that direction.

Don’t tase me, bro.

You just said MK Ultra trigger word! Hulk SMASH!

Meanwhile, back in Asgard, Hela has dispatched Volstagg and Fendral. Of course, we’re not allowed any strong, heroic white men anymore, so naturally, they must die at the hands of Hela/Kali the goddess of death. Not only does she wipe out the entire Praetorian guard, she knocks off Hogun, the last remaining man of the Warriors Three. With her main opposition vanquished, she recruits beta cuck, Skurge, to her cause by appointing him executioner. Upon entering the throne room, Hela is disgusted by the quasi-Orthodox iconography in the frescoes which emphasize Odin’s triumphs of multilateral, transdimensional diplomacy within the Nine Realms. Hurling a spear at the ceiling, the facade crumbles to reveal Asgard’s hidden history of unrepentant bloodshed and conquest. With Hela and Fenris at his side, the hidden icons of Asgard reveal an occulted history which casts the ascendancy of Asgard in a much more warfaring light. Extrapolate this into the real world, and that gives us the theological foundations for the entire narrative of the European white man as being irredeemably tainted by the stains of colonialism. Of course Asgard must endure the cataclysm of Ragnarok in order to atone for the sin of existence. And for the unspeakable crime of being home to white Europeans.

Wakanda forever! Wait..no. For Asgard!

As order breaks down, Asgardian loyalists led by Heimdall have sequestered themselves in a Helm’s Deep-like stronghold presumably safe from Hela and her demonic legions. While I don’t have any issue with Idris Elba as an actor, the decision to cast him as Heimdall is one of the dumber moves of this film and the Thor series. Just as the decision to cast him as Roland Deschain in the recent adaptation of The Dark Tower recast the dramatic arc of that story, this decision has similar consequences. Everyone knows that the Thor mythology, both within and without Marvel, is fucking NORDIC. As in the North Germanic peoples. Yet on film, the Asgardian population is also portrayed as being mildly multicultural. Why was Wakanda a racial monoculture whereas Asgard is multicultural? Why did they cast a black man as Guardian of the Bifrost Bridge when he was originally written and drawn as a white Asgardian just like everyone else in the Thor mythology? The answer is obvious to anyone who isn’t a rabid anti-white SJW. The MCU is a vehicle for transmitting the #WOKE racial pieties of the moment, and Asgard cannot possibly be portrayed as a white monoculture because it’s #RACIST or some shit.

The same goes for the casting of a Latinx Valkyrie. Tessa Thompson carries off the role adequately, but why was she cast other than to check off a box on the PC checklist? Why can’t they just be faithful to the way the Valkyries were drawn in the comic canon? How else can this decision be explained other than it’s a subtle form of social engineering? Making this decision even more dubious is the now predictable parade of media lackeys divulging the scuttled plans to make the characters even MOAR LGBTQ/Non-binary/#WOKE. You know exactly what I’m talking about. The stories of the #BRAVE actors and directors fighting back against the bootheel of cisnormative oppression crushing the dreams of LGBTQ #EQUALITY. Yawn.

And why the fuck did Valkyrie need to be bisexual? How would that have advanced the story in a meaningful way? OH, THAT’S RIGHT. IT DOESN’T. But Marvel will continue to plant these stories because they want people to want them. And it gets worse. The Hollywood Politburo will begin to apply a new metric on Hollywood scripts to ensure they meet the new mandates around LGBTQ #EQUALITY. That’s right. It’s not enough to pass a Bechdel Test anymore, bigots. You gotta up your #DIVERSITY game to the next level and pass the Vito Russo test, too. It’s like the Hays Code, but new and improved for the Aeon of #SocialJustice.

This media strategy seems every bit as calculated as the casting decision itself since the exact pattern repeated itself when it was “revealed” that the Dora Milaje in Black Panther were almost lesbian! Way to keep the outrage mob perpetually exasperated by your lack of #WOKENESS, Marvel. I’m sure they’ll finally be placated when you ditch Brie Larson and make Captain Marvel the genderfluid, body positive, trans-racial superhero xe was meant to be.

I know! Let’s make her Latinx!

Ah yes. Much better.

Does the ADL know about that Valknut?

From a symbolism perspective, Ragnarok contains a few noteworthy occult references. As our heroes escape Sakaar, they must steer the spacecraft they stole from the Grandmaster through the Devil’s Anus. It may seem like more juvenile yuks, but I suggest that there’s more to it. The spacecraft is acknowledged to be a party ship on which the Grandmaster hosts orgies. It plausibly sounds like the exploits of a decadent ruler, but given that there are real world stories involving power elites being shuttled to secluded locations to engage in all manners of sexual deviancy, Marvel is probably tipping its hand with this reference. Add in the Crowleyan sex magick connection to the anus, and this strongly suggests something much darker than a cheap laugh.

As expected, an apocalyptic showdown between Hela and the Asgardian loyalists led by Thor ensues. Ironically, the remaining Asgardian civilians are herded onto an ark-like spacecraft by Loki, the Luciferian trickster icon. Thor also suffers the loss of his right eye during combat with Hela. From an occult perspective, the left eye symbolizes the moon, rebirth and magical illumination. From a biblical perspective, the left eye symbolizes a blindness to the good. Not only does this symbolism occur repeatedly in the MCU franchise, it’s nearly omnipresent throughout Hollywood iconography.

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#cateblanchett #blackandwhite

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The All Seeing Eye of Agamotto

Ultimately, Thor realizes it’s not about stopping Ragnarok, but causing it. He realizes that Surtur must be summoned in order to defeat Hela. As he sends Loki to the vault, he proclaims that “Asgard is not a place, it’s a people”. Got that, proles? There’s no such thing as a homeland, really. Forget what Dorothy said in The Wizard of Oz. Asgard is wherever you are. Whether your home is decimated by a war, destroyed by a fire demon or your entire population is replaced by immigrants from other countries, it doesn’t matter. Anyone can be Asgardian and Asgard can be anywhere! You should feel no compunction about summoning fire demons who will destroy your land nor should you heed any calls to preserve your “country”. It’s all in your heart. Or something. And we know it’s true because not a single Asgardian shed a tear as they watched Surtur lay waste to their former home. Asgard is toast, but it’s no biggie.

Does all of this mean Thor: Ragnarok is a shitty movie? Of course not. On the contrary, it’s solidly entertaining. They wouldn’t have gotten this far if they weren’t very good at what they did. It’s serving its larger goal. Can they keep this up? Can they continue to make entertaining films while intentionally inserting so much misanthropic programming and heavily politicized content? I guess we’ll have to wait for Captain Marvel and Avengers 4 to know for sure. But even if they tank financially, I don’t expect them to ease up on the agenda.

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Marina Abramović: The Cleaner – Palazzo Strozzi, Firenze

Self-portrait

If you know who Marina Abramović is, you probably already have an opinion about her. Chances are you aren’t neutral or lukewarm about her either. This is understandable because Abramović has actively courted controversy throughout her career, and the controversy certainly isn’t limited to her artistic output. Though I’m someone who’s spent his artistic career on the modern and avant garde end of the spectrum, my own familiarity with Ms. Abramović prior to this exhibit was limited to the controversy surrounding her secretive exploits with ruling elites rather than her public artistic output. While I realize that making a distinction between her public art and the darker clandestine activities may be a dubious proposition, I initially hoped I could set aside all allegations pertaining to the dark underbelly of her work for the purpose of this review. After seeing this exhibition, I’m not sure that distinction can be made between these two spheres of activity.

The Cleaner is a career retrospective running at the Palazzo Strozzi in Florence, Italy. Her appearance at the Palazzo Strozzi is partially due to the fact that the early years of her career were spent in Italy. I must confess that after taking in so much classical beauty in Florence, the content and fanfare surrounding this exhibit was jarring when stacked up against the city’s numerous treasures.

The exhibit features her earliest visual works and performance pieces up to her present works which invite participation from the audience. At the most superficial level, Abramović belongs to a well established “tradition” of provocative performance artists that runs the gamut from Annie Sprinkle to Chris Burden up to rock agitators like GG Allin and Marilyn Manson. The notoriety she’s received as a performance artist provocateur is noteworthy because her visual works reveal no deep artistic skill whatsoever. This is, of course, a critique that has been leveled at avant garde artists since the beginning of the modern era. Since she doesn’t aspire to classical standards, it’s unrealistic to expect them. Like all of her predecessors, Abramović is not aiming for any kind of classical conception of beauty or objectivity. In the text that accompanies her piece Art Must Be Beautiful/Artist Must Be Beautiful she openly confesses her intention to “destroy the image of beauty”.

Fuck beauty, man!

Abramović aims to provoke, upset, shock and challenge the audience. This urge to negate, agitate, disrupt, invert and dismantle is the quintessentially Luciferian/Gnostic impulse that animates the modern age. This is precisely why I believe Abramović performances are correctly viewed as rather explicit occultic invocations and ritualistic workings despite her contention that it is art.

The most obvious examples are three of her most notorious performance pieces, Rhythm 10, Rhythm 5 and Rhythm 0. Whether the text was written beforehand or afterwards is not clear, but they sound very much like the rituals one would find in Thelemic scripture or the Babalon workings of Jack Parsons. I suggest that even the numbers and performance durations contain occulted meaning. All involve self-inflicted injury or the possibility of extreme harm. Whether ingesting prescription drugs to induce seizures or subjecting herself to various forms of self-mutilation, Abramović repeatedly tests the limits of her own physical stamina and the boundaries of the audience’s patience. Because she is able to affect (channel?) an air of detachment, she invites a ghoulish and sadistic fascination. In the case of Rhythm 0, she seems to be actively encouraging the audience to drop their inhibitions and violate her. Apparently, that’s exactly what happened when it was performed in Naples in 1974. It’s difficult to imagine Rhythm 5, a piece in which she lies in the center of a burning 5-point star, as anything other than a magickal invocation of some kind. It was supposedly a “challenge” to her parents and her communistic upbringing, but if that’s what she really wanted, she’d have converted back to Orthodoxy like her grandfather. That would have been genuinely transgressive. The notion that this piece is a challenge to any state or religious institution is laughable.

On a side note, I couldn’t help but think that the knife trick scene performed by the replicant Bishop on Bill Paxton’s character in the 1986 film, Aliens, bore a similarity to both Rhythm 10 and the Ulay/Abramović collaboration AAA AAA. This may seem like a leap on the surface, but given the Crowleyan overtones of the Alien series, I suggest it’s not as far off as it may seem. In Rhythm 10, Abramović lays out 20 knives and proceeds to stab the knife between her fingers as fast as she is able. Through the course of the performance, she records the rhythms of the knife impact while ignoring the bloody cuts to her fingers. A similar ritual involving the blood of goslings and cats is outlined in The Key of Solomon, an ancient grimoire designed for the conjuration of 72 demons. Abramović performed this piece at age 27 which is an inverse reference to the number of entities summoned.

The Lips of Thomas

The piece that perhaps best embodies this combination of lurid allure, occultic invocation and pretentious twaddle is the Lips of Thomas. Inspired by the androgyny of Swiss artist, Thomas Lips, this is a piece which begins with Abramović consuming a kilo of honey and then a liter of wine. She proceeds to carve a 5-pointed star on her abdomen just above her pubic area. Naturally, she carves the shape in such a manner that her navel appears as the All Seeing Eye atop the bloody flesh pyramid. She lies down on a crucifix of ice blocks with a heating lamp placed above her body sigil. After some time, she then proceeds to flog her numbed backside with whips until the audience cannot stand it any longer. The piece is meant to last seven hours, but I simply can’t imagine that people would actually submit themselves to that kind of experience. This reinforces the proposition that Abramović is making the audience unwitting participants in a ritual. She is actively seeking the obliteration of the self and to bind herself with the audience in an alchemical union.

It was like an electric current flowing through my body, as if the audience and I had become one. A single organism. The sense of danger in the room had united the audience and me at that moment: we were here and now and nowhere else. – Marina Abramović : Autobiography (2016)

The merging of opposites into a transcendent unity is not just a recurring theme in her work, but it’s the animating principle behind most of the Western esoteric tradition. This was a very explicit theme in her numerous collaborations with artist and former lover, Ulay. In addition to the video screens projecting vintage performances of the various pieces from their peak period, there were two naked performers recreating Imponderabilia. In this piece, the two performers form doorposts between which the audience members are asked to pass while choosing one subject on which to gaze. The relentless ululations of Abramović and Ulay leant an air of ritualistic ardor that was somewhat disquieting. Is this a reinvention of the Masonic symbolism of the pillars of Boaz and Jachin with Abramović and Ulay standing in as living manifestations of the male and female divine principle? I suggest it is. The ideas of duality and symbiosis fusing into an alchemical whole is the recurring theme throughout her work. Many of the textual explanations of the pieces make aggrandizing references to the authorities shutting down the performances. Ironically, I was instructed not to video anything while I was exploring the exhibit. Obviously, she’s proprietary about her work, but I find it funny that she affects a pretense of flaunting authority but expects her audience to respect the authority of the museum staff and follow the rules. You’re such a rebel, Marina.

Transcendence and portals into the world of the spirit seem to be the themes unifying most of the installations and performance pieces from the recent decades. The usage of crystals and stones has a longstanding association with followers of New Agey hokum, Wiccans and practitioners of witchcraft, but Abramović takes the idea to a whole new level. The Cleaner featured several installations involving crystals that people were invited to use. If crystals are meant to either channel energies from higher realms or invite entities from other dimensions, Abramović left no doubt that this was the purpose of these installations. Video footage from her 1997 spirit cooking “performance” indicate that these stones were a critical component of this “exhibit”.

While I’m glad I had the opportunity to see this exhibit and judge her work for myself, I also left having the distinct impression that Abramović had achieved her purpose. In other words, her ideas already permeate the culture. Maybe I’ve become so inured to the omnipresence of these ideas that none of it felt transgressive or shocking. In fact, much of it felt juvenile, pointless and stupid. Whether it’s the Crowleyan grotesqueries of Fecal Matter, the sadomasochism of the Genitorturers, or the overt references to Satanism and witchcraft that fill the mediasphere, Abramović’s work feels hackneyed and redundant even if she played a seminal role in mainstreaming the ideas. Given the fawning adoration she receives from the celebrity class, the fact that her work is regarded as a method for spiritual development, and her close proximity to the highest echelons of the power elite, there is little doubt that Abramović was given a sanction to blur the line between ritual and performance art. But the truth is that Abramović’s work should be shocking because she’s dead serious about this shit. This isn’t some pimply faced adolescent goth buying a votive candle from the occult bookstore to light while reading HP Blavatsky. This is someone who gets celebrities to eat cakes shaped like humans. And given that this is someone who paints the walls with pig blood for the public, who the fuck knows what’s in that cake? You wouldn’t have charismatic Youtubers like Jaclyn Glenn happily chirping about the benign virtues of crystals and witchcraft without Marina Abramović blazing the trail first. Occult ideas are so commonplace, very few think twice about them. It’s increasingly bound together with the gauzy platitudes of contemporary SJW piety. And for that reason alone, Abramović and her work should be regarded with skepticism and contempt.

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The joke’s on you, proles.

Jonas Salk: Survival of the Wisest

Though it’s debatable that his name means anything to anyone under the age of 30, Jonas Salk is known as of the inventor of the polio vaccine. If his name registers at all, he is likely to be seen as a fearless champion of scientific progress and a paragon of enlightened modernism whose contributions to medical science have elevated Western society out of the backwardness of religious superstition. So when Jonas Salk writes a speculative tract called Survival of the Wisest which spells out the type of individual best suited to guide humanity into its new age of enlightened virtue, it is meant to be accorded the reverence one would normally reserve for religious doctrine. Survival of the Wisest is, in fact, a quintessentially scientistic work. It has the veneer of scientific rigor. It is filled with charts and fancy scientific words like “metabiology”. Make no mistake though, Salk has donned the miter of the scientific priesthood and has issued what amounts to a proclamation of Scientific Prophecy.

Survival of the Wisest is a short read, but it’s dense and by his own admission, it’s not a work of actual scientific theory. It is a speculative, philosophical work which presents itself as authoritative prescription for humanity as we march forward into the new age of global liberalism. Salk posits that scientists’ “attention must turn increasingly to questions of of general human concern.” While he claims that his concern is for the general welfare of humanity, it comes across like a justification for the existence of a scientific dictatorship. By synthesizing Darwinism, Malthusian warnings of cataclysmic overpopulation, Freudian psychoanalysis, and a quasi-Lockean post-Enlightenment outlook on Natural Law, Salk tries to manufacture a telos for the entire human race.

This book demonstrates the hubris of placing scientific materialism as the foundational propositions for modern society. Salk claims that true wisdom is the product of those who are able to negotiate inexorable forward march of competing dialectical tensions. Man is simultaneously the author of his evolutionary progress and the victim of his lethal excesses. By ensuring that the “wisest” among us are able to guide this forward march of evolution, we are fulfilling the purpose that’s in accord with “nature”.

Needless to say, Salk is engaging in a long form circular argument. In order to attain wisdom, you must first dismantle the “illusion” that man is a purposeful being in the first place. Because after all, there is an order and a direction to the evolutionary flow of the universe. And it’s only properly understood by the Wisest among us. And the Wisest are the ones best adapted to discern true wisdom. See how this works?

While presenting abstract concepts such as “being” and “ego” as though they’re objective phenomena and their relationship to somatic biology over time as an ironclad fact, Salk is trafficking lots of metaphysical assumptions that he cannot prove through pure scientific empiricism. He comes across like the illuminated Platonic mystic who apprehends the world of true forms and is simply here to decode the shadows of the cave wall for all you rubes. Everything in the natural world is in a state of evolutionary flux except for his speculative prescriptions for the future. His talks of the synthesis of the scientific and the artistic, but his language is freighted with an aura of moral imperative and absolute necessity.

The truth is that Salk and the adepts of the scientific priesthood have already prevailed. Science is used to rationalize anything and for the most part, no one can distinguish between the science and the moral prescriptions wrapped around the rhetoric. If depopulation and eugenics can be justified by the “wisest” among us and they have the sanction of the media, political and academic classes, who can stand in their way? Better yet, if you can manage to make people believe it’s virtuous through popular culture, you won’t face opposition when the laws are passed. How else do you explain the Thanos Did Nothing Wrong subreddit?

Survival of the Wisest seems indistinguishable from the likes of HP Blavatsky, Alice Bailey and Annie Besant who have proclaimed that we’re in a new Age of Aquarius. Post-Enlightenment liberalism has demolished the traditional cornerstones of the classical worldview. Subsequently, the void of meaning and purpose needs to be filled with substitutes. However, the task of filling this void has laid bare the numerous contradictions of the neverending pursuit of liberation. The perpetual quest for infinite tolerance and freedom cannot be reconciled with a society that respects boundaries and limits. You got a problem with womyn of size, bigots? Do you object to cannibalism or something? Do you oppose progress?

Even the academic elites cannot avoid confronting the fact that liberalism has only compounded the problems against which it rebelled in the first place. Of course, the solution cannot be a rejection of liberalism. It must be a reaffirmation of liberalism. You know. Just cede the tedium of thinking to Wisest among us. They’re only concerned with their Survival.

Oops.

I mean OURS.

Blink-182: Deep State Front Organization?

If you’ve read David McGowan’s expose of the Laurel Canyon scene, Weird Scenes Inside the Canyon, you wouldn’t be unreasonable to have some lingering skepticism and doubt. After all, it can’t be that everyone in the music industry is CIA/military shill, right? Probably not everyone, but when the exact pattern of connections McGowan uncovers in Weird Scenes repeats itself in 2018, cosmic coincidence seems less and less tenable.

I’d always found blink-182 repugnant and detestable. They perfectly embodied the post-Green Day mall punk vibe in all its hollow boorishness. They affected a posture of snot nosed, frat boy rebellion, but it always rang even more false and contrived than their contemporaries. To my ears, their songs were grating and stupid. As it turns out, my disdain is justified beyond all aesthetic considerations. It appears that blink-182 are a deep state front agency. Allow me to explain.

I ran across this piece in Consequence of Sound, and it piqued my interest right away. Everything about this story fit the Laurel Canyon pattern perfectly. What on earth is a clown like Mark Hoppus doing giving military advice to actual military personnel on a major operation? How was he granted permission to participate in the mission to locate Saddam Hussein? Who authorized his involvement in the first place? Where did he learn this skill? Musicians are clever people, but that’s some awfully specialized knowledge.

I did a little digging, and lo and behold, Mark Hoppus’ father, Tex, is a former military guy who designed MISSILES AND BOMBS. Well, no biggie, right? Blink-182 is his act of punk rebellion, right? I don’t know about you, but taking part in a major military operation and bragging about it on Twitter doesn’t exactly sound like an anti-establishment move to me.

Big deal though, right? Not so fast. If McGowan is right and celebrity pop culture is an extension of state propaganda and an ongoing psychological operation, then Hoppus’ admission is basically a rock n’ roll Argo moment. He’s making the global military imperium look cool, man! This is everything punk rock supposedly stood against! Besides, people pay way more attention to pop culture and celebrities than politicians. And remember when the music world #RESISTANCE was actually mobilized against the Iraq War? Like rockers were back in the day? Yet here’s Hoppus racking up likes on Twitter for being an American hero.

But it gets better.

Former guitarist, Tom DeLonge, hasn’t just gone on to explore new musical horizons, he fancies himself some kind of ufologist. However, this isn’t some idle teenage hobby that he’s managed to turn into a pop culture success. He’s got MAJOR military-industrial/intelligence muscle behind this endeavor.

So what are DeLonge and his deep state coterie up to? Based on what I read on the website at To The Stars Academy, it’s a synergistic amalgam of AI, big data, really heavy duty science-y shit that’s way above our heads and infotainment. Or something. But it’s loaded with fancy sounding buzzwords like Human Ultra-Experience Database, Engineering Space-Time Metrics, Brain-Computer Interface, and Telepathy! Telepathy, man! This is basically real life X-Men! So you know it’s gonna be awesome, bro!

We believe there are transformative discoveries within our reach that will revolutionize the human experience, but they can only be accomplished through the unrestricted support of breakthrough research, discovery and innovation.

Whoa. That’s some deep shit, Tom.

So, do you guys party with Seth Green?

But how deep is his association with John Podesta? Or Seth Green? It’s not very punk to endorse government secrecy, Tom. If the purpose of this project is to develop something “without the restrictions of government priorities”, what could be exposed that would cause you to be so concerned, Tom? Is this connected to the secret space program? His Instagram post indicates that it’s an opportunity to “change the way we view ourselves”. Given that kind of rhetoric, there can be little doubt that it is part of an extended psychological operation designed usher in a globalist technocracy.

If it’s just another attempt to leverage DeLonge’s pop cred to attract private money and publicity for some project that’s too hot for the black budget, he’s certainly succeeding in getting media attention in all the right places. Whatever it is he’s up to, he is pretty circumspect about the details.

And that kind of secrecy is what one would expect from a practitioner of the Craft.

But DeLonge left the band. What about the new guy, Matt Skiba? Well, I don’t think he is a radical departure from DeLonge in terms of his overall allegiances.

While he was a member of blink-182, DeLonge was singing about the existence of extraterrestrial life. Supposedly, this fascination drove a wedge between him and Hoppus. He claims he had to be secretive about his connections to the government. Yeah, right, Tom. I suspect that the more likely explanation is that their handlers have decided that making their connections to the military-intelligence complex public will make them more convincing than when they were just frat boy mall punk brats.

Nicholas Hagger: The Secret Founding of America

It’s important to study history, but it’s perhaps even more important to know through which lens history is being viewed. Facts matter, but historical accounts are always filtered through a set of ideological biases. No account of history is going to be completely neutral. Establishment historians will generally emphasize the significance of events as they relate to their political beliefs. Libertarians and other historical revisionists are also analyzing history through the lens of fidelity to or deviance from their own ideological orthodoxies. What most conventional readings of American history overlook is the role of secret societies, specifically Freemasonry, in the formation of the American republic. This perspective alone makes Nicholas Hagger’s Secret Founding of America an especially fascinating and essential read.

Though secret societies and occult traditions have been around for centuries, this aspect of history is generally overlooked. Likely the result of intensive cultural conditioning, these topics are generally regarded as the province of conspiracy theorists. A term which was deployed by our own state sanctioned secret society, the CIA, in order to diffuse selfsame criticism in the wake of the JFK assassination.

Hagger argues that Freemasonry was a revolutionary ideology that sought to build Francis Bacon’s New Atlantis in America. Since it was a secret society from the beginning, it served as a sort of para-espionage, proto-intelligence organization. Revolutionary ideas could be discussed beyond the view of authority.

English Freemasonry then, was an occult and philosophical idea, an order whose members guarded the secret knowledge of the ages and which drew in Intellectuals dedicated to liberalism and civil and religious freedom. (89)

Hagger builds a surprisingly taut narrative which begins with America’s original colonists and brings us to present day. He contrasts the original “planting fathers” with the Founding Fathers who actually drafted the core documents on which the American republic was built. Where the planting fathers of the original American settlements in Plymouth, Jamestown and St. Augustine sought to build theocratic states from Christian traditions, the Founding Fathers were working from a distinctly secular and Masonic template which prioritized deistic, Enlightenment liberty and religious pluralism over orthodoxy.

Hagger’s account of the rise of the American religious right is brief, but persuasive. American colonists were children of European christendom, but diverse in belief. The entire “religious right” as we know it today comprised a coalition of Presbyterians, Baptists, Anglicans and evangelical Calivinists who collectively sought to reverse the trend towards rationalism and secularism. Given that these denominations were Protestant schismatics from the start, the mass proliferation of garish megachurches and their collective devolution into carnival barker hucksters makes more sense. As a consequence of another movement influenced by CIA infiltration, ecumenism, these churches have largely been coopted by the globalist establishment. This goes a long way toward explaining the bland progressive unanimity of the entire spectrum of Protestant denominations, syncretistic New Age faiths and post-Vatican II Catholicism Lite that now permeates the culture. Hagger’s account undermines any conservative claim that America is a Christian nation. Masonic with a Christian veneer, yes. Christian? No.

The hidden hand of Freemasonry can be found moving every significant geopolitical event from the French Revolution to the American Civil War and up to the major events of the 20th and 21st centuries. All of the foundational documents upon which the nation was built from the Articles of Confederation up to the Constitution itself bore the influence of Masonry. The christening of nation itself was an oath made on a Masonic bible by our very first Freemason president, George Washington. There’s a ton of juicy stuff in this book, particularly the details around the origins of the Civil War, and I doubt any of it makes it into today’s history classes. The presence of Freemasonry continues to be felt through numerous SPECTRE-like tentacles which extend into supranational entities like the EU and UN as well as private foundations, NGOs, and sub-Masonic organizations such as Bilderberg and the CFR.

America is indeed a unique nation in world history in that it’s a nation built from a collection of abstract principles decoupled from any specific religious beliefs while simultaneously projecting a veneer of Christianity. Herein lies the great triumph of American republicanism, and by extension, Freemasonry itself. American Masonic ideals have essentially supplanted the role of religion. Within the template of classical liberalism you have the appearance of a radically divergent left wing and right wing, but each ideology runs on top of the same operating system. Both sides are revolutionary ideologies. Both comprise two sides of a Masonic dialectic which seeks to transmute two opposing ideological poles of base matter into an ascended, alchemical synthesis. The kicker is that the Masonic agenda was never limited to America. It was always about building a global government.

This New Atlantis would be a paradise in which men would follow reason, and work for a universal world republic that would replicate the Utopian conditions of America throughout the known world. Secret knowledge would be passed on from generation to generation in the Freemasons’ Temple, a recreation of the Temple of Solomon in which Solomon became the wisest of rulers. (87)

As Hagger correctly observes, “it is easier to unify the world if it is divided into two camps” (197). The power of this dialectic simply cannot be gainsaid. What better way to engineer global domination than to present scientific materialism, evolutionary pragmatism, democratic capitalism and radical egalitarianism as the highest human aspirations? Simply pit the two sides against one another, paint all attempts at metaphysics, traditionalism and objectivity as relics of a bygone age, ensure that the banking/military complex continues to flood the culture with degeneracy, and you have a completely pliable, compliant and atomized population who simply don’t know any other way nor are they interested in questioning the existing paradigm. Ensure that each side has a radical wing so that you can have an incubation chamber for fringe ideas that you want to eventually mainstream. Since all discourse is mediated through the social media panopticon, you can police the boundaries of acceptable discourse and any deviation from the popular orthodoxy will be regarded as beneath contempt. Welcome to the global Masonic Atlanticist Nutopia, proles!

Given that Hagger builds such a damning case against the Freemasonic agenda to build a global government, his conclusion is surprising. He doesn’t object to the idea of a global government, but merely hopes it can be built on Christian values. Maybe that’s how he managed to get a publisher for this book at the end of the day. Regardless, The Secret Founding of America is an important read for anyone who wants to understand America’s true history and spiritual essence.

The Hunger Games: Mockingjay – Part Two (2015)

In contrast to classic dystopian sci-fi like Orwell and Huxley, there’s something really dishonest about The Hunger Games franchise. That’s not saying it’s devoid of revelation, but the fact that it’s sugar coating its true intentions and the nature of armed revolution makes this an especially pernicious piece of filmmaking. Despite its surprisingly pro-life conclusion, Mockingjay Part 2 is burdened by stilted performances, dumb PC cliches, a leaden tone and an absence of any real tension or adrenaline rush.

Mockingjay Part 2 finds our heroine, Katniss Everdeen, in the midst of an armed and surprisingly well supplied District 13 insurrection against President Snow and the Capitol. Peeta Mellark is still recovering from the MK Ultra mind control program to which he was subjected. Jilted former lover, Gale Hawthorne, is bummed about Katniss’s torn affections, but remains loyal to her, the revolution and Primrose regardless. President Coin and Plutarch Heavensbee are still running psychological warfare operations and propaganda campaigns from the cushy confines of the District 13 centcom.

The power of propaganda and psychological warfare is the overriding theme of Mockingjay. By the final film, Katniss’s status as Victor Tribute morphs into Revolutionary Messiah. Katniss was exploited as goddess-like heroine through the Games, but the Resistance have simply capitalized on her cult of personality to galvanize the masses for their revolutionary goals. She defies Coin’s orders to make propaganda videos from the secure confines of District 13’s Lookout Mountain Airforce Station and takes it upon herself to personally assassinate Snow. Like their real world globalist counterparts, Coin and Heavensbee resign themselves to her decision and resolve to make her moves seem controlled by the Resistance. When she arrives at the Resistance military compound, Katniss is greeted by a mass display of cultish obeisance. Upon being recognized, everyone stops whatever they were doing and huddles around her hoisting the three fingered salute that was used throughout Panem while she was a Tribute. Once the command forces accept that she can’t be controlled by Coin, they place her with what’s essentially a high tech special forces bomb squad for the express purpose of diffusing traps and weapons in between propaganda videos. Both sides are utilizing psyops and see it as essential to demoralizing the opposition.

The Hunger Games is doing the same thing every action/sci-fi/superhero franchise is doing when it comes to presenting what was once a relatively clear delineation between good and evil. It’s trying to eke out a grey area of Greater Good in a corrupted world of perpetual violence that sees the acquisition of “democratic” power as the highest goal. While the Resistance tries to carry out its carefully laid military plans, Katniss gets to be the voice of would be moral authority by pointing out that civilians and children will be killed along with Capitol Peacekeepers. Tough shit, honey. This is war, Katniss. Of course, Katniss can claim the moral high ground cuz she’s female and she’s the Mockingjay. Or something.

Of course, once they undertake their mission, they don’t hesitate to use deadly force. The film gets to sidestep this moral conundrum by making their enemies Peacekeepers or mutants. The Peacekeepers are just faceless goons in military regalia and the mutants are anonymous monsters whose existence is never explained to my knowledge. Perhaps they’re just the Capitol’s genetically engineered super soldiers.

The film is also showing the rank duplicity of the Left’s relationship to authority and hierarchy. In yet another resemblance to their real world globalist analogues, the District 13 shadow government is highly resourced and safely secluded while the rubes who fight in the trenches are kept compliant with propaganda videos and braindead promises of democracy. They exploit Katniss’s image by presenting her as mythical, quasi-divine icon just like every other pop culture heroine. The entire Resistance is no less hierarchical or authoritarian than the Capitol. They display total deference to Coin’s leadership and military command structures. Katniss is, however, the notable exception. Her journey began as an act of selflessness to protect Primrose, but her entire character arc since then has been defined by defiance. Herein lies the absurdity. Progressives have built an entire philosophy that’s designed around a posture of rebellion wrapped in flowery rhetoric while simultaneously seeking total domination and control. The film wants to have it both ways by showing that Katniss’s acts of defiance bring about #EQUALITY and #SocialJustice while ignoring that everyone else is required to fall in line.

It also sidesteps the bloodlust and hatred that had been stoked amongst the proles by both the Capitol and most especially the Resistance. Though Suzanne Collins really wants you to think that her story wasn’t just a retread of Animal Farm, it ends up being that anyway. By taking out Coin, Collins undoubtedly wanted to show that Katniss knew that she was just as corrupt as Snow. By removing him, she’d presumably forestalled a new dictatorship to replace the old. But assassinating Coin only unleashed the desire to exact bloody revenge on Snow. The proles essentially tore him to pieces. You can’t unleash that kind of revolutionary bloodlust and expect to control it. The Resistance would have had to resort to the same iron fisted military force that their deposed enemies did. The idea that everything just worked out peacefully after Snow’s death is ludicrous.

One theme that seemed curiously absent was the actual presence of food and hunger. Hunger was a more prominent theme in the first film, but by the final film, it seems to have diminished in significance. The first film did a good job of showing how food deprivation was used as a control mechanism and the excess of the Capitol was seen as decadence. If anything, the only hunger was a desire for vengeance. The one time there is an overt reference to food is when the remaining Capitol civilians are being herded to safety after the Resistance forces had infiltrated the city walls. The citizens walk in a zombified trance as the promise of medicine and food is looped over the PA.

The Hunger Games is a sad commentary on the world of perpetual revolution and panopticism that all of the post-Boomer generations have inherited. The very act of revolution becomes the final Hunger Game. Even in their final attempt to depose the despotic Snow, they submit completely to the very media driven bloodsports that were used to keep the population under control. The spectre of totalitarianism and dystopia in cinema isn’t presented as a warning anymore. At this point, it’s just telling you what’s coming. Siberia already has their own real life version of The Hunger Games in production. That’s ultimately what the entire social media experiment seems geared towards producing. It’s merely a giant psyop that’s designed to engender hostility and pit people against one another. It appears to be succeeding.

With the possible exception of Donald Sutherland’s President Snow and Woody Harrelson’s Haymitch Abernathy, the remaining cast and characters are forgettable and devoid of charm. Jena Malone’s portrait of shaved head smack addict, Johanna Mason, struck me as the archetype on which Emma Gonzalez was based when the CIA and FBI were seeking poster children for the Marjory Stoneman gun confiscation movement. Once again, the filmmakers are at pains to present the Resistance as colorblind, multicultural gender egalitarians where women don’t just occupy military and government leadership roles, but they’re completely proficient with firearms and combat. It’s so boring, stupid, and unrealistic, but anyone who isn’t drinking Hollywood SJW Koolaid already knows it at this point.

Like many others, I was smitten by Jennifer Lawrence’s gritty turn in Winter’s Bone. I liked Katniss at the beginning of the series, but just as I’ve grown weary of Lawrence’s hollow preening in real life, the character and the performance became increasingly intolerable. It seemed like a mirror image of her J Law persona. In other words, someone who was once probably really down to earth and likable but has put herself in a position in which she has to play her own version of Mockingjay: Young, Powerful Hollywood Womyn. To my great astonishment, Katniss ends up marrying Peeta and becoming a mother. It’s such a rarity to see that in film these days, and it feels weird to praise the film for portraying something that used to be quite normal and commonplace. Given Hollywood’s pathological obsession with feminism and the entire array of items on the SJW agenda checklist, heterosexual romance and marriage takes a backseat. But Katniss and Peeta both played the role of being media puppets in the service of globalist shadow government. Perhaps the film is telling us that the life of domestic bliss is only reserved for the elite. For the rest of you….may the odds be ever in your favor.

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