Category Archives: Kubrick Corner

Beyond Pizzagate: Elite Pedophilia, Sex Trafficking Rings and MSM Denial

(Warning! This article contains research into some very disturbing subject matter of a perversely sexual nature accompanied by some graphic imagery that should not be read or viewed by anyone under the age of 18 years-old or anyone, who has been the victim of trauma-based mind control. Parental advisory is strongly encouraged here. Again, should you be under 18 or faint of heart and/or mind, I would ask that you not read the following article. Should you decide to proceed regardless, understand that you have been warned.)

 

 

A lot has occurred in the more than month and a half since I last posted an article on the Para-Political Journal, not the least of which the rather surprising win of president elect, Donald Trump, over establishment arch-criminal, Hillary Clinton. While I’m not necessarily as hopeful as all the pro-Trump voters out there that he will be the political panacea to America’s ills that he claims he will be, I was absolutely certain that Hillary Clinton would have been an unmitigated disaster for this country on practically every conceivable level, especially when you consider her extremely corrupt past that I’ve documented in part as well as her very hawkish position regarding Vladimir Putin’s Russia. So, while I’m not a supporter of the GOP, at least with Donald Trump in the White House we could have very well staved off a WWIII against Russia ironically enough.

Beyond that, however, I believe that the Clinton’s (both Bill and Hillary) are connected through their various close personal friends and associates to what I would describe as an occult international elite pedophile ring in Washington D.C. In fact, there have been many pedophile networks over the years that have operated under “official” legal impunity for decades now, becoming more sophisticated and technologically savvy through their sex trafficking of young boys and girls around the world. However, thanks to the courageous and painstaking work of some on-line researchers that first started to break through Reddit, we now know a lot more about a elite pedophile network headquartered in Washington D.C. that has become known as the “Pizzagate Scandal”.

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Before we delve into “Pizzagate” that is being viciously attacked by the MSM media as “fake news”, let’s take a look at some of the more famous sex-trafficking pedophile networks in recent US history and perhaps learn why it is that these kinds of stories get so suppressed by the mainstream media in the first place. The first pedophile network in recent memory that barely registered in the MSM was the “Franklin Scandal” first documented by Senator John DeCamp and later Nick Bryant in their respective books. Briefly, what Sen. DeCamp discovered during the course of his research was that within the upper echelon ranks of Omaha and Lincoln, Nebraska were a group of sick pedophiles, who used children from the renown orphanage there called Boys Town to satisfy their twisted sexual perversions. A fast rising member of the GOP establishment and owner of a local S&L in Nebraska called Franklin Community Federal Credit Union that later went bankrupt, Lawrence King, was one of the main pedophiles in this particular network as was the senior editor of the largest newspaper in the area, which would certainly help explain why it wasn’t investigated by the local media. Eventually, however, through subsequent trials it did start to slowly leak out and, besides DeCamp himself, a British film crew decided to do a documentary about the Franklin Scandal and were commissioned by the Discovery Channel, which was to air the documentary on prime-time television in May 1994. Unfortunately, the documentary not only never aired but was actually destroyed and thrown in the trash can after powerful Congressmen applied pressure that it be pulled. Later, the film was fished out of the trash, and most of it has been spliced back together through the work of a heroic individual, who thankfully saved it (literally) from the dustbin of history. You can now watch the documentary called “Conspiracy of Silence” on YouTube for free, and I recommend that you do so if you have not seen it already.

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Around the same time that the Franklin Scandal and cover-up was going on in the early 1980s, sex trafficking and prostitution of young boys and girls was going on in massive proportions in Houston, TX. The Houston Police Department were well aware of the problem but due to either apathy or departmental pedophilia corruption within their own ranks nothing was really done about it. A virtually unknown documentary called “Boys for Sale” that was released on Austin Public Access TV back in 1981 has surfaced on-line specifically addressing the sex slavery and child prostitution problem in Texas, which I highly recommend you watch. The tepid response to child sex trafficking is even a problem within the FBI itself, since they are the agency primarily tasked with investigating inter-state sex trafficking whereas Interpol is tasked with tracking it internationally. And finally, as if that weren’t enough, let’s not forget how the FBI, Tallahassee Police Department, and media completely buried the scandalous story of the “Finder’s Cult”. According to documented police records, two adults and six disheveled children were taken into custody by the Tallahassee, Florida law enforcement officers back in 1987, where they eventually discovered to their utter shock the remnants of a sophisticated child sex trafficking ring with nude pictures of children and contact info. on unsecured computers. After a write-up about the “Finder’s Cult” that was peddling children for traumatic sexual abuse to high-profile clients around the world in the Washington Post, nothing more was said or heard about the group again except for one follow up in US News and World Report. Why? Alternative investigators such as Norio Hayakawa and Peter Lavenda have discussed the mysterious “Finder’s Cult” case, but that’s about it.

At the end of the aforementioned documentary “Conspiracy of Silence” (which itself was silenced by cable television), there is shot of the Washington D.C. capitol dome with background narration saying that the Franklin Scandal doesn’t stop at Nebraska but rather involves an elite pedophile ring with tentacles that reach all the way to some of the most powerful people in Washington. This is the real reason I believe the documentary was so suppressed and why the latest Pizzagate Scandal is so important in unraveling this dark and occult web within the inner circle of powerful Washington insiders, who are trafficking in child sex slaves and abusing them in various satanic rituals such as what’s called “Spirit Cooking”. That weird term is as good as any a entry point into this terrifying and twisted pedophile labyrinth. So, let’s start there. Recently, Wiki-Leaks released what is known as the Podesta e-mails several months ago in a massive dump that they acquired, and it would shine one of the only lights available to the uninitiated into the dark corridors of power and (it would seem) elite pedophilia as well. In one of the emails, Marina Abramovic asks:

“Dear Tony, I am so looking forward to the Spirit Cooking dinner at my place. Do you think you will be able to let me know if your brother is joining? All my love, Marina”

The Tony in question is Tony Podesta, who is the brother of John Podesta. So, just to give a little perspective about this particular email, here we have a known satanic occultist and performance artist (who poses with dead goat heads and performs Crowleyian blood and sex-magic rituals in her home) asking one of the most powerful and wealthy Washington D.C. lobbyists that she’s looking forward to a “spirit cooking dinner” and inquiring whether his brother John Podesta is going to come as well. Of course, John Podesta is well known in Washington. He was the former Chief-of-Staff under Bill Clinton and a close political advisor/councilor to Barrack Obama as well as the chairman of Hillary Clinton’s 2016 campaign for president. But I digress. Returning to the email, just what does a “spirit cooking dinner” involve? According to a Wiki-pedia entry on the “Cake of Light” (a kind of Thelema magic Eucharist described by Aleister Crowley), it involves making a wafer with oil, honey, blood, and sperm. This is presumably done in a Gnostic Mass ritual fashion with black magic style invocations and prayers to whatever spirits and/or demons you wish to summon prior to eating the wafers. Gee, that sounds swell. Can I come? I suppose the question asked would be- “Can you cum…on my wafer?” I’m not mocking people investigating this decidedly disgusting ritual, but you really have to laugh at some of this sick shit to keep from throwing up quite frankly.

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Marina Abramovic is quite popular among some of the more deranged Washington, LA, and New York art world set and sycophant celebrity crowd like Lady Gaga unsurprisingly. You can even view her describing aspects of her rituals by painting instructions in what I’m assuming is pig’s blood on the wall of one of her so-called art performances. One caption reads- “With a sharp knife cut deeply into the middle finger of your left hand. Eat the pain.” Interesting enough, in one particular photo of John Podesta…he’s got a band-aid on his middle finger. I guess he was able to attend that “spirit cooking dinner” after all. His brother, Tony Podesta, is considered one of the world’s premiere patrons of the arts, but his tastes in art can be described as favoring work that (by any reasonable calculus) would be considered “torturous”, “dissociative”, and “pedophilic” in nature. So, for instance, he has a huge golden metallic statue suspended from the ceiling of one of his mansions of a headless man arching backwards in a pose eerily reminiscent of one of the victims of serial cannibalistic killer, Jeffrey Dalmer. Other paintings he has hanging prominently on his bedroom wall are of nude children and some are clearly held in bondage. “Ah”, as the media would proclaim- “He’s just got unusual and eccentric artistic tastes, that’s all.” Surely, it doesn’t reveal a single thing about the inner psyche of the man, right? Or, does it?

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One of the more curious blank spots in the dates of the Podesta Wiki-Leaks emails might provide the biggest clue about the perverted pederast tastes of both Tony and John Podesta. The blank spot in question was during a time period when the two brothers were thought to be in Portugal. It was during this time that a little girl by the name of Madeleine McCann went missing and a feverish search for the girl ensued by the police that was subsequently splashed all over the media there. In one of the known police sketches of the two wanted suspects in the case of the kidnapped girl, the forensic sketches are an absolute dead give away of both John and his brother Tony Podesta right down to a mole above Tony’s eyebrow and an indentation on the bridge of the nose that John has from wearing glasses. Apparently, Portugal is a hot spot for pedophiles around the world, since the age of consent in Portugal is only 14. UK’s Scotland Yard investigated the kidnapping case and said that they know who abducted Madeleine but can’t say. Gee, I wonder why?

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In another to John Podesta email from Herb Sandler, it reads:

“Mary and John,

I think you should give notice when changing strategies which have been long in place. I immediately realized something was different by the shape of the box and I contemplated who would be sending me something in the square shaped box.

Lo and behold, instead of pasta and wonderful sauces, it was a lovely, tempting assortment of cheeses, Yummy. I am awaiting the return of my children and grandchildren from their holiday travels so that we can demolish them. Thank you so much. I hope you and your gang are well. I miss you both.

Best wishes fro a merry Christmas and Happy New Year. Herb

P.S- Do you think I’ll do better playing dominos on cheese than on pasta?”

Two things immediately stand out in this email that signify there’s a secretive code being used. The first, if a figure of speech, makes no sense. He writes that he’s awaiting the “return of my children and grandchildren from their holiday travels so that we can demolish them”. Demolish? In what way? Of course, if written by a pedophile, it could signify any number of sexually abusive tortures and/or murder. The last curiosity is in the post-script when he asks- “Do you think I’ll do better playing dominos on cheese than on pasta?” This makes no literal sense whatsoever and therefore (unless he’s merely speaking gibberish) must be a specific code for something else. The pedophilic code “playing dominos” probably means something to the effect of “the game (playing) of sado-masochistic domination (domino)” whereas “cheese” is code for “little girl” and pasta is code for “little boy” in pedo-speak. In popular urban slang, playing dominoes is also called “throwing bones”, and this (of course) very close to slang for having sex as in “boning”. Might this also put an entirely different, though revealing spin, on the major delivery chain…Dominoes Pizza? After all, the logo has the face of a domino with two dots (female=2 holes) and then one dot (male=1 hole). The hooker in the obviously coded Kubrick film, Eyes Wide Shut, was named “Domino”, which might be a clue as well as to what “Domino” is code for. John and Tony Podesta are, of course, close friends with the focus on the lead establishment in this particular pedophile ring, Comet Ping Pong and its owner James Achilles Alefantis.

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The major research that Reddit posters are focused on in the Pizzagate Scandal is the pizzeria, Comet Ping Pong, and the strangely telling pictures posted by its owner, James Alefantis, to his personal Instagram account prior to it being switched to “Private”. Unfortunately, the primary Reddit Forum was shut down by the CEO of Reddit in a move that forced the forum to seek refuge elsewhere on the web, which they have done at Voat.com. Fortunately, many of the pictures and comments made by James Alefantis on his Instagram were cached and saved to multiple places on the web despite the virulent smear campaign of the MSM regarding Pizzagate by going after Twitter, Reddit, Facebook, and YouTube accounts. In one picture, for instance, he has taped the hands of a little girl down on a table. Another picture that he posted is of a man at a gay nightclub wearing a tee-shirt that reads- “J’adore l’enfants” (a French sentence proclaiming “I love children”). He has also commissioned the artwork of people like Kim Noble, whose art clearly depicts various obvious acts of pedophilia taking place and is likely a victim herself suffering from dissociative identity disorder. So, while Alefantis vehemently denies any wrongdoing, much like Tony Podesta (whom I spoke about earlier)…his tastes in art and various pics from his Instagram account are decidedly pedophilic in nature.

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Even the bands that have played at Comet Ping Pong have made mention of it in their live appearances. And, as I’ve discussed, there is coded language being used and embedded within the iconography of the restaurant itself. So, for instance, the Ping Pong logo as seen on his menus has a double and perhaps even triple meaning. On the surface or literal level, you see the cross paddles and think of the game of “Ping Pong”. However, on a pedo-speak level, it symbolizes S&M paddles used by a dominatrix on the submissive, in this case children. And, on a deeper meta or twilight language level, the cross paddles resemble the butterfly that is symbolic of Monarch mind-control programming to create mind-controlled sex slaves. Again, it’s quite subtle, but that doesn’t mean that it’s not there. One merely needs to be “symbol literate” to be able to read it correctly. Even if you can’t see that one, you’re given plenty more opportunities within not only Comet Pizza but another pizzeria next door in the same neighborhood called Bestas, which means “beast” in Portuguese.

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If you look carefully at the logo, you’ll see that it’s not only a flying pizza but a triangle within a larger triangle. According to an official document of the FBI also released by Wiki-Leaks, this symbol of a spiraling triangle within a triangle is pedo-code for man/boy love. The FBI, in investigating very secretive pedophile rings on-line and elsewhere, learned about these particular symbols along with various cyphers, meta-language, and codes as they must in order to track, indict, and convict pedophiles as they did when they were able to seize their server and finally hack their tight security protocol in order to learn the I.P. addresses of pedophiles and child sex traffickers using the cover of the Dark Web to hide their activities. Unfortunately, people like James Alefantis, whose parent company Big Cheese LLC owns Comet Ping Pong and Buck’s Fishing and Camping, is listed as the 49th most powerful person in Washington D.C. by GQ Magazine, and the FBI isn’t seriously investigating this elite pedophile ring that appears to involve various proprietors of businesses within a ten block radius of the same street and high profile politicos like the Podesta brothers, the Clinton’s (as we’ve already seen with Bill Clinton’s close personal known child sex trafficker and pedophile Jeffrey Epstein), and even Barrack Obama, who was mentioned in one of the Strator leaked emails of 2009 as “ordering $65,000 worth of pizza and hot dogs from Chicago”. Again, this makes absolutely no sense if read literally, especially when you consider the price tag and the fact that the White House won’t allow food deliveries for security reasons. The White House makes everything in house as they easily can do. If read in pedo-speak, it makes perfect sense if Pizza=Girl and Hot Dog=Boy.

This country’s supposed watchdogs, the MSM, are in such a state of ignorance, suppression, and denial as to be essentially “worthless” as the 4th estate, unless they start doing their job and expose these pederasts for who and what they truly are. And, local police, sheriffs departments, FBI, and the state and federal judiciary had better start investigating and prosecuting these sick vultures and abusers of children instead of leaving all this to the efforts on-line researchers and the community of hackers like Anonymous and myself in order for real justice to prevail. Otherwise, we’re essentially becoming (if we’re not already) a “Pedophocracy”. Stand up, speak out, and fight back for the innocent victims of child sex abuse!

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Crispin Glover, Hollywood Materialism, and 9/11 Predictive Programming

What is It Cover Art

“The United States has it’s own propaganda, but it’s very effective because people don’t realize that it’s propaganda. And it’s subtle, but it’s actually a much stronger propaganda machine than the Nazis had but it’s funded in a different way. With the Nazis it was funded by the government, but in the United States, it’s funded by corporations and corporations they only want things to happen that will make people want to buy stuff. So whatever that is, then that is considered okay and good, but that doesn’t necessarily mean it really serves people’s thinking – it can stupefy and make not very good things happen.” – Crispin Hellion Glover

Recently, I had the distinct opportunity to see “Crispin Glover Live”, where he gave a series of slide show presentations that left me in a state of what I would describe as bemused confusion at what exactly I was witnessing. After all, how does one begin to fully explain what a reading and rendering of a book about the intricacies of rat catching and cadavers from a professional in the field of dissection and listing of anatomical features interspersed with what appear to be a series of drawings, book passages, and black-and-white photographs from the 1950s really mean? Next, he showed his surreal movie “What is It?”, a Jungian-like exploration of the unconscious adventures of a motley cast of characters, mostly with Down Syndrome, that involved a white guy in black face, a running motif of a dissolving snail being salted, and Crispin Glover himself playing some kind of cruel king of the underworld surrounded by a bevy of topless women with animal heads and one grown man in a diaper lying a crib. Honestly, you can’t make this crazy shit up! But, Crispin Glover can and did make this up…creating what I’m sure was one of the greatest WTF moments in many warped peoples’ minds that were lucky enough to be there that night with me at the Alamo Drafthouse.

Most of you, however, probably remember Crispin Glover not from his personal surreal film oddities like the aforementioned “What is It?” but rather his acting in idiosyncratic roles like Dale in David Lynch’s Wild at Heart. It was his breakthrough role as the nerdy and socially-awkward George McFly, who is able to rise to the occasion against his arch nemesis Biff with the help of his future son played by Michael J. Fox, where Crispin Glover became a recognizable actor in Hollywood. Unfortunately, one gets the impression that Hollywood never really fully appreciated his decidedly bizarre choice of characters that were to follow and nor especially the anti-corporate ethos regarding his own creative work. Even on the celebrity talk show circuit, Glover was quickly typecast as a dangerous weirdo, as his appearance on Letterman would clearly show when he was kicked off the show for well…”kicking on the show”.

Crispin Glover in Shades

However, behind the largely unpretentious, darkly humorous, and quirky character turns of Glover lay a much overlooked critical and very perceptive mind that saw the Hollywood system for what it really represented to those unfamiliar with its inner workings. This came out during an enlightening session of Q&A at the end of the movie where Glover talked about the creative straight jacket of Hollywood and how experimental movies such as his own are essentially locked out of any commercial distribution through the main theater chain outlets. This obviously isn’t that surprising given that the commercial theater chains only real objective is to maximize profit on a per screen basis and will quickly cut anything that isn’t pulling in the numbers they want, which is why you rarely see any documentaries playing on the silver screen except in a handful of small theaters that also play indie and foreign films. It was during this Q&A that Crispin Glover spoke about what became something of a defining moment for him. He was working on the set of Back to the Future that would soon make him into a household name with director Robert Zemeckis. Originally, after Marty McFly returned to his new and improved family that now lived in a wealthy neighborhood where the kids all had great professions as opposed to low-paying jobs, the McFly family had a black servant. Glover politely mentioned to the director how this might appear racist to black audiences, and Zemeckis wisely changed the servant to a newly humbled Biff putting a second coat of wax on George McFly’s fancy car. However, the underlying assumption of the movie remained unchanged in Glover’s mind as he relates in this interview on the Opie and Anthony Show where he speaks about the controversy surrounding his feud with Robert Zemeckis.

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So, just what is the subtext of Back to the Future’s ending? “A self-realized and happy existence equals a rich and materialistic life.” Is this the message? Or, am I oversimplifying the underlying message of Back to the Future? Could the onetime yuppie star of the greed obsessed 1980s, Michael J. Fox, who started out as a teenage Reagan wet dream in the sitcom “Family Ties” and graduated to movies that celebrated the ego-centric corporate ladder climbing purpose of life in movies such as The Secret of My Success really be about nothing more profound than the joys of materialism? When Crispin Glover probed the question further, Robert Zemeckis told him point blank- “Listen, I don’t care about artistry. I want to be rich!!” There you have it. And, no doubt with such blockbusters as Forest Gump under his belt, Robert Zemeckis would indeed become rich beyond his wildest dreams as he knew all too well how to cater to audiences’ expectations in terms of what makes for mass entertaining movie. This blockbuster formula would be followed to a “T” even better by Hollywood’s Golden Boy director of the last 40 years, Steven Spielberg, beginning with Jaws released back in 1975.

It is a formula that has been followed perhaps a bit too well over the years, and Glover reserves some particularly pointed barbs for Spielberg that you can see in a classic chapter that he wrote in the brilliantly subversive book, Apocalypse Culture II. Interestingly, the book was edited and published by Adam Parfrey of Feral House, who also just so happens to play the Minstrel character in Glover’s “What is It?” movie mentioned previously. I specifically asked Crispin Glover about the comments he made in Apocalypse Culture II and Spielberg (in particular) for those in attendance that were unfamiliar with the book, and he reiterated again how he didn’t like Steven Spielberg movies at all and thought that they were totally subservient to the corporate ethos. In fact, he said that the only movie he somewhat liked of Spielberg’s entire oeuvre was A.I. that was released as something of a homage to Stanley Kubrick after he died and never got the chance to do the film. Kubrick told Spielberg that he thought he should do the movie instead given his worries that he might make the movie too cerebral, whereas we all know we needn’t worry about Spielberg making something too intellectually probing. However, while I would agree with Glover that A.I. had some rather interesting philosophical themes, I too wish that Kubrick had been the one to make the movie, since I’m sure he would have made a much more profound and interesting film.

At one point in Apocalypse Culture II, Glover chastises Spielberg for completely missing the point of Kubrick’s philosophy as when Spielberg calls Kubrick’s movies “hopeful”. He then rhetorically asks, “Was A Clockwork Orange hopeful? Was Full Metal Jacket hopeful?” Clearly, one begins to wonder just how Spielberg was seeing these movies if indeed he was seeing them at all. Kubrick was often criticized for portraying humanity as too dark, too unethical, and too morally ambiguous…but hopeful? Hardly a word I would use to describe his work. This isn’t to say that there weren’t little moments in his pictures like his future wife, Christiane, singing a German folk song to a group of hardened WWI French soldiers in Paths of Glory that didn’t tap into a kind of universal sentimental zeitgeist, but (unlike Spielberg) he was not a “sentimental” director in the sense of mawkishly milking emotionalism within his movies to garner greater appreciation and recognition. In other words, he saw deeply into much of the dark abyss that lies within men’s souls and wasn’t afraid to portray it on screen without apology and without the usual formulaic redemption scene that accompanies most Hollywood movies that touch on the darker aspects of humanity these days. That shows real courage, in my opinion, instead of merely skillfully manipulating an audience’s emotions to love the hero, hate the villain, and be roused from their seats with a John Williams score and “happily ever after ending”. Even the late, great director Sidney Lumet once quipped that he couldn’t stand American audiences because- “They are totally sentimental.” I would wholeheartedly agree with at least this sentiment and add (due to this) also highly predictable in their tastes.

Apocalypse Culture II

What is even more interesting, however, about a movie like Back to the Future is that it has scenes of predictive programming woven into the plot that (if you watch carefully) actually predict what will occur on September 11th, 2001. How does a movie that came out in 1985 predict perhaps the single most important geopolitical event of the last 40 years some 31 years in the future? It would certainly seem highly unlikely that scenes in the Back to the Future franchise foreshadowing 9/11 were mere coincidence. So, for instance, the mall where Marty and Doc meet to test the Delorean time machine took place at Twin Pines mall, a reference to the Twin Towers. Also, if you turn the clock upside down, it reads 9:11. Later in the movie, the Twin Pines are replaced with a Lone Pine. Why? Also, when Doc sets up a rig to wire the electricity from a lightning strike into the time machine so that Marty can leap back into the future from 1955 to 1985, the hands on the clock tower are set at 9 and 11. Marty then tries to warn Doc about the future where he will be shot by Muslim terrorists at the mall for stealing plutonium. Get that last part? Something sounds awfully familiar and fishy about this plot. In Back to the Future I and II, there are also similar signs and symbols throughout that act as a form of “psychic programming” about the assassination of John F. Kennedy. As an example, there is the town square that is an exact replica of the layout of Dealy Plaza in Dallas where in a storefront window has a severed head of JFK. This is also the same block where the Delorean time machine is struck by lightning, which is symbolic of the assassination itself in the motorcade. Finally, just to drive the point home, the movie Back to the Future II was released on November 22nd. Ring a bell, anyone?

Hollywood movies are notorious for “predictive programming” that I believe act like subconscious triggering mechanisms that both condition the public for what is to come and signal to those “in the know” what could be described as a kind of sick inside joke for the cabal orchestrating these false-flags and psy-ops. It’s their way of absolving themselves through a kind of occult admission and public submission through hiding their handiwork in plain sight, as it were. Or, as Stanley Kubrick would have it, you watch these films with Eyes Wide Shut whereas they can read the subtext, programming, symbolism, numerology, and sorcery behind the overt plot of the movie. Granted, not all movies are embedded with such layers of meaning and predictive programming, but those that are would certainly be popular enough to do their job on the public psyche at large, which by now is global. Unfortunately, for the vast majority of Americans, this would be considered virtual lunacy to bring up in mixed conversation and naturally most all movie critics are completely oblivious to this topic. That is because we are “symbolic illiterate”, whereas secret societies like the Scottish Rite of Freemasons (especially in the higher degrees) are symbol literate.

Albert Pike

All symbols be they corporate logos, political emblems, or religious iconography has layers of meaning that can be traced through time immemorial and throughout various historical cultures, each one of which may have imbued it with their own particular nexus of meaning and purpose. And, as Carl G. Jung spoke about, there are those ancient and archaic symbols that stir in us what some have referred to as genetic memory to the point where they might as well be etched onto our very DNA. This is what he called “archetypes of the collective unconscious”. Naturally, it would behoove us greatly to know from whence these symbols first arose and what their deeper occult meaning is as understood by the mystery schools throughout the ages, but we are woefully uneducated about these matters and can therefore be triggered (and consequently manipulated) with certain symbols that are used by adepts within the media. This need not be the case, however, and I would urge you to take a crash course in “Symbolic Literacy” by either picking up a few books on the subject, checking out the work of modern symbolist and mythologist Michael Tsarion, and/or reading some of the excellent articles on the subject at http://www.vigilantcitizen.com/


Stanley Kubrick’s Genius, “Eyes Wide Shut”, and his Artistic Legacy 15 Years After his Death

Imagination of Stanley Kubrick

For me, today is an auspicious and important anniversary. That is because today (March 7th, 2014) marks the 15 year anniversary of the tragic and mysterious death of the man that many consider to be the greatest film director ever (myself included), Stanley Kubrick, who died on March 7th, 1999. Given what an enormous artistic influence Kubrick has been on me and the countless others that admire and respect his work, I felt compelled to write a few words in commemoration and in memory of his superb body of work and of the man himself, whom even the legendary Orson Wells once quipped- “has always appeared as some kind of giant to me.”

The $64,000 question that I suppose those for whom Kubrick has remained either a puzzling enigma or simply just another director might very well ask, “Just what was it that made Stanley Kubrick so unique in the annals of filmmakers?” Were I to have to give a short declarative answer to what is sure to be a much more complex answer, I would have to say that (for me), “Kubrick was unique precisely because he was a purist and perfectionist of the movie medium, for whom film was not merely a commercial commodity for Hollywood escapism so much as an art form in its own right…collaborative, to be sure, in the sense that all the elements had to come together under the exacting eye of the director whose aesthetic vision must predominate.” Ultimately, it is (or rather should be) the director of a picture that has final cut, and for it to have integrity and/or unadulterated merit as a work of art should not be meddled with by producers, third-party hatchet re-writes, test audiences, or the Motion Picture Association of America (MPAA). And, for the most part, Stanley Kubrick maintained a rather unique relationship with Warner Brothers, wherein his films weren’t unnecessarily meddled with, particularly after his arguments with Kurt Douglas in the shooting of “Spartacus”. This is why in practically every film that followed…Stanley Kubrick was able to direct, shoot, write, and edit films his way more or less.

Clearly, “Lolita” posed some problems for him with the MPAA, in terms of how much he could show audiences in the early 60s, which were more restrictive sexually than they are today especially as it was in the Vladimir Nabokov novel. You can learn more about Nabokov’s thinking with regards to his controversial masterpiece, Lolita, by reading the Playboy interview he had with Alvin Toffler. However, certainly by 1971 and the release of the ultra-violent subversive movie, “A Clockwork Orange”, these earlier strictures had given way to the more libertine experimental artistry of the 70s and what I consider the true “Golden Age” of cinema with the freedom afforded by studios such as United Artists, which allowed the filmmaker far greater leeway in making movies his/her way prior to the blockbuster gold rush that began with Spielberg’s “Jaws” and Lucas’ “Star Wars” two years later in 1977.

Clockwork Shadows

In analyzing the Kubrick mystique, we can see that is wasn’t necessarily the subject matter that he chose (that while variable would inevitably touch upon similar themes of existential alienation, Murphy’s Law like contingencies, and dehumanization such as that brought about by control and war as depicted in “Full Metal Jacket”). What always stands out as the most dynamic characteristic of his oeuvre is the nature of his masterful cinematography technique. For the uninitiated, this technique will perhaps be unconscious, but it is there nonetheless guiding the eye shot by shot in every mise-en-scene. It is there in the long tracking shot through the trenches of WWI in “Paths of Glory”, in the perfect symmetry of the enigmatic black monolith in “2001”, in the dynamic steadi-cam work following Danny on his trike as he rides through the labyrinth-like hallways of the Overlook Hotel in “The Shining”. So much of Kubrick’s choices in cinematography and skillful use of sound compel the viewer into rapturous attention and (on occasion) into a dreamy trance-like state due the languid, decadent, and richly-hued color palate that Stanley Kubrick uses in his pictures.

Kubrick's Odyssey Part 2

This was particularly evident in his last movie, “Eyes Wide Shut”. It is this swan song of Kubrick’s that I would like to focus on in particular, since it is my belief that Stanley was releasing certain key aspects of the power elite (primarily in the scenes involving a sinister secret society) that got him into very hot water with the same. This has been speculated about on certain websites like Vigilant Citizen, and in order to have a proper understanding of just what is taking place…a working and cogent knowledge of occult ritual, symbolism, mind-control, music, history, and human psychology are all going to be exercised. So, given that this is merely a ode to the memory of Stanley Kubrick, I won’t delve into the entirety of my symbolic and theoretical analysis of this film but rather mention but a few elements that will point towards just how deep this rabbit hole goes.

EWS Official Movie Poster

First, let’s consider the names. “Eyes Wide Shut” is based on the novella Traumnovelle and deals with the inherent artifice and falsity of marriage and a sexual odyssey of sorts that results from an admission of sexual desire by the woman played by Nicole Kidman in the movie. However, the title makes no logical sense were one to stop with this nominal plot outline and appears as a kind of linguistic paradox. You want to complete the phrase “eyes wide open”, but if they’re open…how can they also be shut? Again, Kubrick is employing paradox, not simply as trickery or in the Zen sense but, to inform the audience as the proceedings that follow, insofar as they will “look” at the sumptuousness of the movie (especially with regards to the explicit sexuality), but they will not “see” beyond this to the heart of what is actually being relayed about the thin veneer of civilization’s masks that people wear in so-called polite society behind which lurks the raw pursuit of greed, power, and lust. The Hartfords are being initiated.

Bill Being Led to Where the Rainbow Ends

This is my take on it, and I’m not presumptuous enough to think that my word is final or even wholly correct. However, I merely suggest it as something to consider, particularly when you watch the Red Cloak character confront Bill Hartford at the Somerton mansion. Now, look at the characters, and you’ll see that the almost caricature nature of their persona is by design in order to act as symbolic stand-ins for what Kubrick intents to say about the falsity and pathology of consumer society in using a young, beautiful, “well-to-do” couple living on the Upper West Side of New York City. Clearly, Nicole Kidman’s character, Alice Hartford, is the more complex and sexually honest of the two, and that is why she is named “Alice” as in the Lewis Carrol heroine Alice in Wonderland. She’s the one that will lead her husband, played by Tom Cruise, out of his rigid, patriarchal normalcy and stodgy bourgeoisie lifestyle and into one that must, by necessity if their marriage is to survive, become more thoughtful and self-examined. In the “Eyes Wide Shut” special features section on the DVD, you can watch Tom Cruise, Nicole Kidman, and Steven Spielberg speak about their memory of Stanley Kubrick. Tom Cruise comes off as fairly self-absorbed (as he usually does), Spielberg is naturally very complimentary but rather boring, and Nicole Kidman (to her credit) is the only one that shows what I would characterize as real genuflection and heart-felt emotion for the loss of Stanley Kubrick, who had become something of a father figure for Kidman. This will perhaps become important in a future article but for now, take note.

Bill Hartford is the one whose eyes are “shut” to the sexual fantasies of his beautiful wife’s inner psychic depths as well as to the covert and dark power that lies behind the wealthy clientele of this rather boorish doctor’s house calls to Eastern Establishment aristocracy men like Ziegler. Incidentally, Ziegler (played by the late Sydney Pollack) means “Mason”. Could Kubrick have used this character as a leitmotif in order to depict the dangers of Freemasonry? In the case of the Bill Hartford character, he is totally materially-oriented and uses the power of his wallet to impress upon others his “status” as a doctor to open doors at every turn and pay the “Bill”. However, for all his money and success, his wealth is but a pauper’s pittance compared the opulence of the super elite that he comes into contact with at the private masked orgy. Again, symbolism is predominate throughout, and he ends up fearing for his life (and that of his family’s), when he tries to pursue his nocturnal discoveries the following day.

Caricature in Triplicate

Kubrick, as always, gives no easy answers as to what it all means. What exactly happened to the girl that stepped in to “redeem” him? Why is the costume shop owner pimping his daughter out to cross-dressing Japanese men after having acted so outraged at catching them initially? And, just who (as Ziegler puts it) are these “not just ordinary people”? All is left for the audience to attempt to decipher for themselves, as it ought to have to, in order to finally open their eyes to what is really taking place. Also, there are questions concerning the final film not yet being completed. Given that Kubrick showed a “work in progress” to Warner Bros. execs 4 days before his death and was still editing the film when he died, we can be fairly certain that the movie wasn’t completely finished, and (unfortunately) we’ll never know what the completed film would look like. We do know that the MPAA apparently forced Warner Bros. to install CGI people into the orgy sequence in order to garner an R rating, which is an obvious desecration to the film that was released without the CGI tampering for the European market.

Usually, you go into a movie with preconceived biases, expectations, and the barest attention needed to see everything you need to with the typical formulaic Hollywood fare. They’re usually at least somewhat entertaining, perhaps comfortingly sentimental, and fairly predictable, with the mind getting no more of a workout than if you were playing checkers. Contrast that with a Stanley Kubrick film, where you are confronted by a master film craftsman, a multi-layered storyline with often unsympathetic characters, and a gorgeously-composed film that nonetheless sometimes utilizes an unnerving use of color, sound, and camera work and hides more than one can perceive upon a first, second, third, and maybe even fourth glance. That is surely the lasting legacy and testament of Kubrick’s idiosyncratic style, wherein you go in thinking checkers and end up having to play 3-D chess.

Kubrick Face at Time of Death