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Category Archives: Freemasonary/Secret Societies

Back in the late 1960’s Kubrick made Dr Strangelove, an incredibly controversial comedy about the possibility of nuclear war. With this film Kubrick revealed an intense distrust and distain for the Pentagon. He even included a sub-plot of an ex-Nazi working at the Pentagon as a consultant – no doubt Kubrick was aware of Operation Paperclip while researching the film.

Rather than follow this up with an equally controversial film, Kubrick then developed a unique double narrative story structure for his next project. 2001: A Space Odyssey had a surface level narrative, developed with Arthur C Clarke, to attract big money investors like IBM and NASA on the promise of pro space exploration and pro artificial intelligence themes. The surface level narrative of an alien race guiding man’s evolution also fooled critics and audiences for many years, but beneath this was a separate narrative which was communicated through complex subliminal details.

Part of the subliminal narrative in 2001 was an attempt by Kubrick at exposing the corrupt political agendas of the space race, but in particular the film featured a message that the Eye of Providence floating above a pyramid (featured on the US Dollar bill) is a form of false enlightenment and a symbol of pyramid structured tyrannical social control. Twice in the film Kubrick shows the monolith from an angle that makes it appear like a pyramid minus its capstone, but instead of an illuminated Eye of Providence, Kubrick placed the crescent of a celestial body at the apex. The enlightenment is instead shown as the sun emerging out of the pyramid base.

The social message is a simple one when decoded. Kubrick was telling us that the powerful people at the apex of our social control system are the unenlightened or falsely enlightened, represented by the Moon or Earth crescent as a sleeping eye, and he was calling for people lower down the social hierarchy to achieve intellectual enlightenment and rise up to replace the corrupt powers at the apex. It was a revolutionary message and the story of the astronauts doing battle with the shady HAL 9000 super computer was the story of how people can defeat their seemingly invincible rulers.

After 2001: A Space Odyssey, Kubrick made A Clockwork Orange, and again he subliminally encoded a secondary narrative. Once again he included anti-conspiratorial messages against the power figures of the western world. This time the Eye of Providence within a capstone was featured on the film’s marketing poster. The main character, Alex, had an eyeball attached to the sleeve of his gang costume, and in the poster he reaches out with a knife so that the eyeball on his wrist is positioned in the centre of the triangle. The image is suggestive of the Eye of Providence being gouged out of a capstone triangle. Kubrick further disguised this message by having the triangle designed very similar to the letter A’s featured in the “Clockwork Orange” font, so that it looks like Alex is emerging from a giant letter “A”.

Many years later, Kubrick included a very prominent manifestation of the pyramid and eye in his last film Eyes Wide Shut. It was featured on a mask worn by a cloaked figure in the Somerton Mansion scenes. The capstone overlapped the wearer’s eye and the entire mask was painted in colours identical to the Dollar bill.

These days the pyramid and eye is widely rumoured to be a Freemasonic secret society symbol, although Freemasonic Eyes of Providence tend not to feature pyramids below them. The symbol has also been rumoured to belong to an alleged secret society group called the Illuminati.

Now before we move on, I first need to make some statements on the subject of conspiracy theories because this is an area of polarized public opinion. Some people lose interest in a discussion as soon as they encounter any information related to conspiratorial interpretations of modern society, while others lose interest in anything that doesn’t interpret our society as conspiratorial to the core.

Personally, I’ve found both extremes of the conspiracy theory debate to be equally at fault. Some of the more hardcore conspiracy enthusiasts actually believe the Earth is controlled by a race of shape-shifting lizards living in underground bases. There are even detailed documentary films and books available on the subject that cite a great deal of historical evidence as “proof” of the lizard race theory. I’ve worked with enough schizophrenics over the years who thought they were either Jesus, the Devil or Paul McCartney to be aware of how people can construct a complex non-reality for themselves, so I can assure you here that I’m not going to try and persuade you of any baseless conspiracy theories with this film analysis. On the other hand I must also assert that the evidence of grand scale corruption in our own western back yards during recent years is overwhelming. We were lied to on a massive scale by political leaders and a largely compliant mainstream media that a war with Iraq was completely necessary [1] [2] [3] [4] [5]. The evidence of a WMD threat from Iraq was manufactured as a false justification for an imperialistic oil war, yet some people still adamantly refuse to acknowledge this and prefer to be believe that we’re fighting a shadowy network of underground extremists who operate globally to cause mass destruction on whatever level they can – which itself is a conspiracy theory.

Any serious attempt to decode Kubrick’s films must allow for the possibility that Kubrick himself may have interpreted our society conspiratorially. The subliminal symbols of 2001: A Space Odyssey, A Clockwork Orangeand Eyes Wide Shut strongly suggest that this was the case. So I must ask you to join me in the conspiratorial middle ground as we explore The Shining in more detail.

I only half suspected that the false enlightenment themes of The Shining were related to the Eye of Providence until an email correspondent pointed out an important set detail in the Colorado Lounge. It’s seen only once in the film. As Wendy leans forward to flick through Jack’s manuscript there is a slightly out of focus strip of colourful designs on the ceiling that do not look like Native American designs. The strip contains alternating blue and red triangles, each with a circular object in the centre. They look very much like the eyeball and triangle design featured on the Clockwork Orange poster. Is this the Eye of Providence?

I began researching the hotel’s upon which Kubrick claimed to have based The Overlook sets. I’d read that the Gold Room lavatory was based upon a bathroom at the Biltmore Hotel. I couldn’t find any verification that such a bathroom existed, but I did find that the Biltmore Hotel contains a hall called the Crystal Ballroom. Here’s a map of the room from the Millenium Biltmore Hotel site and below is a snapshot of the room.

Several hotels in the same Millenium chain feature a Gold Room, though they don’t look much like the one in The Shining. However, as we’re about to discover, Kubrick had some very specific design ideas for The Shining’s Gold Room.

Although the huge party hall in The Shining features a sign labelling it as simply the Gold Room, listen to Ullman’s choice of words as he guides the Torrance’s inside the hall: “This is our Gold Ballroom”. Bear those words in mind and take a good look at the Gold Room set.

Can you see it yet? The curved arc of the ceiling against the rear wall, and the straight alcoves of light running the length of the ceiling, create a giant image of the blazing Sun or Eye of Providence. There are three scenes in the Gold Room and each one shows a long tracking camera movement in which we see this blazing globe.

The gold room symbolically represents a “gold ball” or blazing sun, just as the Biltmore Hotel features a “crystal ball” room.

But why would Kubrick do this? Well, the plain and simple answer is that the rich party guests represent either the Freemasons, Illuminati or whatever elitist political crowd placed the eye of providence on the Dollar bill.

An important detail of the dollar bill pyramid is that its base has 13 steps or social hierarchy layers. This is very clearly referenced as Ullman explains the maze, “The walls are thirteen feet high”. Notice that the maze includes pyramid capstone trimmings along the tops of the walls. Being that the maze and the hotel are symbolically the same, this is a round about way of telling us that the Overlook and hence America, is the iron mountain or pyramid featured on the Dollar bill. Remember also that we saw capstone and eye symbols on the ceiling of the Colorado Lounge, and the hotel and maze feature capstone-like structures along the top.

Another detail on the Dollar bill pyramid is that it features the Roman numerals 1776. Some sources say that the Eye of Providence seal was suggested for the dollar bill by design committees during the declaration of independence in 1776, but others claim that this refers to the birth date of the Bavarian Illuminati, a secret society with apparently conspiratorial aspirations for world power.

It seems likely that Kubrick believed the latter in relation to the Dollar bill pyramid. The photograph that Jack appears in at the end of The Shining is inscribed with Overlook Hotel, July 4th Ball, 1921. The 4th of July is the declaration of independence, which occurred in 1776, but remember also that in the film’s symbology the word “ball” refers to the sun or Eye of Providence. So the “July 4th ball” more likely refers to the all-seeing eye of the 1776-born Illuminati. Incidentally, the historically accepted date for the inception of the Illuminati was May the 1st 1776. Listen to Jack ranting to his wife as the giant windows of the Colorado Lounge blaze in false light behind him. “Has it ever occurred to you that I have agreed to look after the Overlook hotel until May the first!” So we have the Illuminati inception referred to by exact date and year. (Note: the year 1921 is featured on the photograph inscription. This has been a source of confusion for some time, but I’ll be returning to it with a specific interpretation later in this chapter).

There are other details that further suggest the Gold Room décor to be an illuminated Eye of Providence or sun symbol. In the storeroom scenes there are two interesting brand names written on cardboard boxes that were apparently made up for the film. One reads “Texsun” and the other reads “Golden Rey”. Sunrays are what the Eye of Providence or sun emit.

Cross references with The Shining’s sun symbolism were also featured in Kubrick’s follow up film Full Metal Jacket. In one of the final scenes the soldiers manage to flush out a sniper, who turns out to be a woman dressed quite distinctly to look like a Native American woman.

As she fires her Kalashnikov machine gun, a large golden sphere symbol is featured on the wall behind Joker (the soldier she is firing at) and in its centre is a Swastika sun symbol as used by native tribes (not the tilted Nazi version).

Take a good look at this sun symbol and compare it to the giant one in the Gold Room. There even appears to be markings in the Gold Room’s sun walls that are vaguely reminiscent of the swastika (clearer in the HD version). Perhaps this is one of Kubrick’s examples of a metaphor that is easier to decode when his films are cross-referenced.

More clues can be found in the Gold Room. Notice that there are no sunrays running along the centre of the ceiling. This undoubtedly has made it more difficult for audiences to notice the sun symbolism of the room, but as Jack dances about during the party scene we get to see another piece of the message. A woman in a white gown strolls past Jack and on her backside is an unusual red marking. In the standard DVD release it looks like a hand print, which I couldn’t make sense of, but in the HiDef version the marking is much clearer. It shows a small red sphere with four rays coming from it at the same angles as the missing sun beams in the ceiling design.

Just a minute later Kubrick has Jack wipe his Advocat stained hand on Grady’s back, leaving a visible mark. This could well be a subtle hint that we are supposed to pay attention to the marking on the woman’s dress. Notice also that this same woman has a feathered plummage emerging from the front of her forehead – the place where the “third eye” or “inner eye” is said to be located in enlightenment philosophies (Inner eye symbols were also used in 2001: A Space Odyssey in the space craft hostess’s uniforms and in the eyelid-like doors of the discovery ship, which opened to reveal the eyeball shaped spacepods).

So in the costume of the woman in the Gold Room we have yet another piece of cross referencing between enlightenment and sun symbolism. In tongue in cheek fashion, Kubrick seems to be implying that the party guests think the sun shines out their arses. Or he may simply be calling them “assholes”, just as with the orgy sequence of Eyes Wide Shut he was calling the European nobility decadent perverts (notice how the paintings on the sets mirror the orgy participants). Halloran also described the hotel occupants as “assholes” in one of his phone calls, “We’ve got a very serious problem with the people taking care of the place. They turned out to be completely unreliable assholes.”

Here’s another possible hint of sun symbolism in the Gold Room. Wendy is seen bringing breakfast in bed to Jack, strangely delivered from the Gold Room hallways, but a caption screen before hand says “A month later”. How can there be any eggs available if the Torrance’s have been in the hotel a month? They’d have spoiled weeks ago. Perhaps the symbolic answer can be found in Wendy’s dialogue, “I made ‘em just the way you like ‘em, sunny side up.”

Another metaphor relating to the all-seeing eye was first used in 2001. After the stargate sequence seven octahedrons were shown mysteriously floating through space, each of them sucking light inwards over a transparent red landscape. At the very beginning of the shot a white, glowing lower case letter “i” scrolled past in the landscape, symbolizing an “illuminated eye”. In the following shot the octahedrons were removed and the landscape was flipped upside down so that the illuminated “i” was flipped to the top of the screen and the light was restored to the landscape. This mirroring or flipping of the image also hinted that the octahedrons represent pyramid capstones, mirrored at the base. It sounds bizarre, but it appears Kubrick wanted his anti-secret society messages to remain well hidden for some time.

Kubrick again uses the concept of an illuminated letter “i” in The Shining to symbolize the Eye of Providence. The illuminated framing of the mirrors at the Gold Room bar form giant letter “i”s and when Jack sits down we can see that the illuminated section of the bar surface forms another illuminated lower case “i”. This “i” is very similar to the angled one featured in 2001: A Space Odyssey, but it’s on the left side of the screen as opposed to the right – the mirrors right screen even hint at this. And to further enforce the symbol we can see the giant eye and sunrays dominating the background of the shot.

The seven diamonds or octahedrons from 2001 also make an appearance in The Shining. A tapestry near Ullman’s office features a criss-cross pattern that forms seven diamonds.

Directly behind this tapestry, on the other side of the wall, are crates of the soft drink 7up, seen when Jack throws utensils across the floor.

In our first close up view of this tapestry Jack stands dead centre screen with his head placed over the exact centre of the tapestry. The shot composition is also mirrored, just as the diamonds of 2001 were pyramid capstones mirrored at the base.

This strange cross symbolism between Kubrick films was an incredibly subtle encoding technique. The individual details have no apparent meaning until the films are cross referenced.

Another of Kubrick’s encoding techniques for showing the Eye of Providence above a pyramid was what I’ll call “flattened perspective”. The visual symbol only becomes apparent when the viewer abandons their three dimensional perception of the screen content and instead views the film as a flat surface of light and colour. One of the best examples of this is at the end of 2001: A Space Odyssey. The monolith is shown several metres away from Bowman as he reaches his hand out from the bed to touch it, but when the shot cuts to a different angle we see Bowman in the lower third of the screen with the monolith in the upper two thirds. If we view this as a flat image we can see that Bowman only has to stretch a few inches to touch the monolith surface. It’s at this point of flattened image contact that he is reborn as an illuminated baby. He has connected with the reality that the screen content is simply a flat surface.

The flat perspective method was also used in the council meeting scene of 2001 to encode a pyramid and eye image. Our view of Floyd giving his speech showed the table in a pyramid formation with Floyd at the apex and a white cinema screen behind him. During the stargate the light patterns began to fill up the screen with pure white, as if draining away the colours of the film to reveal an empty cinema screen, before cutting to a close up of a human eye followed by a dazzling explosion. If the eye or explosion is mentally projected over the blank white screen in the council meeting then the pyramid and Eye of Providence symbol is completed (see chapter 11 of the 2001 analysis for more details).

A less complex example was used in the tramp beating scene of A Clockwork Orange. Alex and his gang approached the tramp from a bright shining light source depicted at the apex of a pathway, which if viewed in flat perspective formed a pyramid.

In the Shining we get another of these flat perspective pyramids with false enlightenment at the apex. This one occurs in the slow lead up to Halloran’s death. Halloran walks through the hotel Lobby with the camera following behind him. There is a single onscreen light source – a chandelier outside Ullman’s office. Combined with the angle of the floor patterns, and if viewed in flat perspective, we see a pyramid with the illuminated chandelier at the apex. Notice also how Kubrick has carefully framed the shot so that the chandelier remains visible over Halloran’s shoulder instead of the shot composition being perfectly symmetrical.

Of course this could just be an accident, so rather than just believe my interpretation I invite you to examine the use of chandeliers throughout the entire scene. Halloran’s shouting of “Hello, is anybody here?” is first heard as Jack limps through a side entrance to the lobby. From over his shoulder we can see again that there is only one chandelier switched on, but it’s not the one near Ullman’s office. It’s the one by the reception.

Is this a blatant continuity error or a hint that the switching of lights was deliberate? Also think about the timing of the flat perspective pyramid and illuminated apex motif. It occurs in the immediate build up to Halloran’s death. The message here seems to be that whoever placed the Eye of Providence on the Dollar bill was also responsible for the genocide of the Native Americans, represented by Halloran.

In chapter nine we explored how the ghostly figures of Grady and Lloyd the bartender were basically reflections of Jack talking to himself. We also identified that the party guest with the wine glass was simply another manifestation of Jack. The Englishness of these alter egos is important because it establishes Jack as a symbolic member of the Gold Room party crowd. A very brief shot of Jack in the making of documentary even shows him in a tuxedo.

His banter with Grady that he has “plenty of jackets” plus the casual way in which he is greeted as one of the club, is an outright announcement that in this scene Jack is really dressed in a tuxedo and that the presence of his cheap clothes is simply a visual lie to keep the audience locked into the surface narrative.

There is also a cross symbolism between the ballroom party and the slaughter of the natives. Jack first hears the music of the party while wandering about in the halls, at which point he sees balloons and party confetti scattered about the lobby.

However, when he strolls into the Gold Room party there are no party balloons or confetti anywhere, not even in the adjoining hall.

The answer to this riddle is simple. The so-called “party” is a celebration of native genocide. The balloons and confetti appear in the lobby because that’s where Halloran is murdered. After Wendy sees his dead body the party guest with the gash in his head confirms the genocide celebration metaphor, “Great party isn’t it.” And it’s confirmed yet again as Wendy sees the skeletons in the lobby. They’re dressed up in party gear, they’re surrounded by bottles of wine, and a couple of party paraphernalia items can be seen on one of the tables.

The term “Gold Ball” as a metaphor for the sun may also apply to the tennis ball Jack throws about. The cross symbolism between tennis ball (sun) throwing and axe swinging provides yet another reference that the falsely enlightened party crowd are responsible for genocide.

In the HiDef DVD I noticed the following postcards in one of the reception area scenes. They appear to show yellow weather balloons floating about. Perhaps these are just innocent postcards or perhaps they’re related to the tennis ball and sun symbolism – it’s difficult to tell as they’re barely visible in the shot.

In several of Kubrick’s films candle motifs are used to symbolize the falsely enlightened because they are similar in appearance to illuminated letter “i’s. In 2001, Bowman defeated HAL by unscrewing and exposing the cells of HAL’s brain. These cells had the appearance of candles or letter “i”s. Rather than switching the lights off Bowman exposes them, so to speak.

Bowman’s final rebirth into enlightenment occurred in a room that was mysteriously lit through the floor while the candles in the walls were unlit.

The candle motif for the falsely enlightened was also prominently used in the subliminal narrative of Barry Lyndon, and here in The Shining Kubrick uses circle formations of candle shaped light bulbs in the chandeliers. 2001’s motif of an astronaut unscrewing candle-like lights to defeat his computer opponent is re-used in the first Gold Room scene of The Shining. A man is stood on a step ladder unscrewing bulbs from a chandelier.

The ladder itself may also be representative of the pyramid or mountain seen on the Dollar bill. In the Closing Day section of the film we see a view of the Overlook beneath a mountain. And the top of the mountain features a ring of clouds around its peak. This image fades to a shot of a ladder viewed perfectly side on in the lobby with a chandelier passing just behind its apex, just like the one in the Gold Room was viewed side on with a chandelier at the apex. The camera then strafes sideways from the ladder (pyramid) and across the same view of the lobby hall that we see when Halloran is killed, and again lit chandeliers are seen at the apex of the hall. It’s almost like Kubrick is whispering at us, saying “Just perceive the hallway and chandelier in its perceptually flattened out form like the ladder”.

It can be argued that Kubrick simply used that chandelier design because he’d seen it in the designs of the Ahwahnee hotel, but it’s important to remember that Kubrick was an expert opportunist. Rather than just create artificial symbols out of thin air, he preferred to hunt down aspects of the real world that co-incidentally fitted in with the themes he wished to communicate – it was one of his methods of plausible deniability. For example, the elevator door design was also borrowed from the Ahwahnee hotel, but Kubrick used it to symbolize a gaping mouth. In fact the entire film can be considered in the same context. Kubrick borrowed the bare plotline narrative of Stephen King’s best selling horror novel not because he simply liked it, but because the book just happened to provide a raw template for Kubrick to encode his own story of genocidal history.

Kubrick’s choice of a series of imposing mountain range shots in the opening scenes may have also been linked with his desire to encode these pyramid and eye of providence metaphors. In particular, the sun shines over mountain peaks creating lens flares across the screen – quite simply, the mountain peaks are shining. The presence of Indian-like screaming in the opening score also reaches its peak at the exact moment at which the sun’s lens flare reaches its peak of brightness.

The battle against elitism was one of Kubrick’s primary motives as a film maker. It infected all of his films from Dr Strangelove right through to his final film Eyes Wide Shut. Early in The Shining he even identifies this directly with dialogue. As Ullman proudly shows off the Colorado Lounge we hear the following:

Ullman: “This place has had an illustrious past. In it’s heyday it was one of the stopping places for the jet sets … even before anyone knew what a jet set was. We had four presidents who stayed here. Lotsa movie stars.”

Wendy: “Royalty?”

Ullman: “All the best people.”

That’s quite an elitist statement.

The framed photos displayed in the Overlook all seem to be based around the same crowd of people. The figures in these pictures are frequently shown out of focus so that they appear as luminous apparitions.

The film is set in the 1970’s and so there should be a variety of colour photos relating to more recent decades in the hotel’s history, but they’re all black and white and all seem to be depicting some historical celebration or party event. Not only that, but the hotel shown in these pictures isn’t the Overlook. It’s another location entirely. Could the depicted party event be the declaration of independence or the formation of the Bavarian Illuminati, being that those events are also referenced elsewhere in the film? Maybe. However, there is one particular detail that suggests a different historical event.

The final photo of the film features the date 1921. I’ve searched around a great deal to find historical events related to that year and I’ve only found two things that resonate with the other themes described in this analysis. The first is that 1921 was the year of retirement from office for the US president Woodrow Wilson, who handed over all control of America’s banking systems to the privately owned Federal Reserve. The result of this was America’s abandonment of the gold standard, the Wall Street crash of 1929 and the great depression. Note that the exact date of retirement of Wilson was March 4th 1921 and the date July 4th 1921 is shown in the photo of Jack waving goodbye to us. Possibly significant concerning the 4th of July is this speech given by Woodrow Wilson on 4th July 1914 at Independence Hall. In it Wilson very cleverly dismisses the Declaration of Independence as an irrelevant historical document, no longer applicable to America.

Possibly in relation to Jack’s awful typing skills, I stumbled across the following 1913 New York Times article that mocked Woodrow Wilson’s typing skills.

Being that Jack is charged with “taking care” of the Overlook, which as noted is a representation of America, it’s only logical that he represents one of its Presidents. Several more details imply that Jack symbolizes Woodrow Wilson specifically. In the Gold Room party scene, Jack offers to pay for his drink and is told, “Your money’s no good here. Orders from the house.” When he enquires “I’m a man who likes to know whose buying their drinks Lloyd”, the bartender answers, “It’s not a matter that concerns you Mr Torrance. At least not at this point.” These cryptic innuendos make sense if we consider Jack as an incarnation of President Woodrow Wilson and his relationship to America’s monetary system. In particular “Orders from the house” could be a reference to Colonel Mandell House, the personal advisor who guided Wilson in surrendering the US government’s right to issue currency to the private bankers. Another possibility is that “Orders from the house” could be referring to the European-based House of Rothschild, a banking dynasty which had dominated and controlled the majority of Europe’s central banks for hundred’s of years and which was also rumoured to be the behind-the-scenes controlling force of the Federal Reserve System.

As we’ve noted, March 4th 1921 is the date that Woodrow Wilson retired. It’s exactly two months out from the July 4th date presented on the photo of Jack. And so in the final photograph we see Jack as the Master of Ceremonies, or President, waving goodbye (or saying hello) to us. A very important detail is that a man stood behind Jack has his hand placed upon Jack’s raised arm as if about to pull him back into the crowd and out of our sight.

And an even more important detail, noticeable in the HiDef release, is that in the palm of Jack’s hand is a small folded up piece of paper, held under his thumb.

Another reference is that the man with his hand on Jack’s arm is almost a dead ringer for a young Woodrow Wilson, bar the moustache. And the woman with him could easily pass for Woodrow’s wife Edith Wilson. Notice also that the woman has a broach on her dress that looks like a combination between a heart and a dove. The only online references I could find between this and Edith Wilson was that the french apparently gave her a diamond Peace Dove broach during America’s involvement in the failed League of Nations, later to resurface as the United Nations, but then it may just be a broach.

If this family resemblance is correct then it’s a clever trick by Kubrick, as audiences would ineveitably focus their attention on Jack’s face. Another possibility, and I know I’m stretching on this one, is that the woman at Jack’s side bares strong similarity to Woodrow Wilson’s daughter Margeret Woodrow Wilson.

The lyrics of a ballroom song called “Midnight, the stars and you” are heard as we puzzle over this photo, and they emphasize the importance of whatever message is conveyed in Jack’s hand, “Your eyes held a message tender, saying ‘I surrender all my love for you’.” Whatever message is held in Jack’s hand is absolutely crucial to the meaning of the 1921 photograph.

Here’s a Woodrow Wilson quote that links many of these ideas together:

“I am a most unhappy man. I have unwittingly ruined my country. A great industrial nation is controlled by its system of credit. Our system of credit is concentrated. The growth of the nation, therefore, and all our activities are in the hands of a few men. We have come to be one of the worst ruled, one of the most completely controlled and dominated Governments in the civilized world no longer a Government by free opinion, no longer a Government by conviction and the vote of the majority, but a Government by the opinion and duress of a small group of dominant men.” -Woodrow Wilson, after signing the Federal Reserve into existence.

There is some debate over exactly when and where Wilson spoke these words and there are some variations on its exact wording. Some sources even claim it’s a fraudulent quote. Resolving such a matter is beyond the scope of this article and therefore I invite the reader to explore the issue for themselves.

Here’s another quote from a policy article written by Woodrow Wilson called The New Freedom. (the quote can be found near the beginning of the article)

“Since I entered politics, I have chiefly had men’s views confided to me privately. Some of the biggest men in the United States, in the field of commerce and manufacture, are afraid of somebody, are afraid of something. They know that there is a power somewhere so organized, so subtle, so watchful, so interlocked, so complete, so pervasive, that they had better not speak above their breath when they speak in condemnation of it. They know that America is not a place of which it can be said, as it used to be, that a man may choose his own calling and pursue it just as far as his abilities enable him to pursue it; because today, if he enters certain fields, there are organizations which will use means against him that will prevent his building up a business which they do not want to have built up; organizations that will see to it that the ground is cut from under him and the markets shut against him. For if he begins to sell to certain retail dealers, to any retail dealers, the monopoly will refuse to sell to those dealers, and those dealers, afraid, will not buy the new man’s wares.”

Perhaps the note in Jack’s hand refers to one or more of these quotes by Woodrow Wilson. And even if the quotes and the books that cite them amount to nothing more than hearsay, it’s still possible that Kubrick believed them. The various topics he chose as film subjects required him to study history extensively.

This all perfectly ties in with the anti-elitist messages of The Shining. Extending this interpretation further, it must also be noted that the Federal Reserve Act which Wilson secured a legal passage, was allegedly conceived and written by a cartel of powerful banking families operating through a private club called the Jekyll Island Club. The Jekyll Island Club Hotel, where the group held their meetings, is still going today and its website boasts the following:

“At the turn of the century, tycoons, politicians, and socialites flocked to Jekyll Island to revel in their own luxury and America’s burgeoning wealth. The JekyllIsland Club was described in the February 1904 issue of Munsey’s Magazine as ‘the richest, the most exclusive, the most inaccessible club in the world.’ Its impressive members included such luminaries as J.P. Morgan, William Rockefeller, Vincent Astor, Joseph Pulitzer, William K. Vanderbilt, and other recognizable names on the roster were Macy, Goodyear, and Gould.”

And here’s another quote from the same page on the hotel’s site, specifically related to the Federal Reserve Act.

“Because of the concentration of internationally prominent business leaders, the JekyllIsland Club has been the scene of some important historical events, such as the first transcontinental telephone call placed by AT&T president Theodore Vail on January 25, 1915. Finance, as well as politics, was of paramount concern to many club members. J.P. Morgan could create or quell economic panics on Wall Street with the financial resources at his personal command. George Baker, head of the First National Bank of New York, and James Stillman, head of the National City Bank of New York, also members of the Jekyll Island Club, were nearly as wealthy as Morgan. In 1907 when a particularly virulent economic panic caused a run on the banks, one of these three men paved the way for a secret meeting on Jekyll. Travelling under assumed names, Senator Nelson Aldrich, four other bankers of national importance, and the Assistant Secretary of the Treasury made their way to Jekyll posing as duck hunters. Meetings the following week led to the development of the Aldrich Plan, which called for a centralized banking structure for the country. Although Congress did not pass the plan in 1912, President Woodrow Wilson and others used the Aldrich Plan as the basis for another plan that became the Federal Reserve Act, establishing the Federal Reserve System.”

Incidentally, while researching the history of the Jekyll Island Club, I found that the island features a location called Driftwood Beach. This links in yet again with the symbolism in The Shining, although possibly by mere accident. The strange pieces of misshaped wood seen on tables in the Colorado Lounge and near Ullman’s office are actually pieces of Driftwood.

Drftwood is basically twisted dead trees that sometimes wash up on beaches and are often used for ornamental décor.

Another possible interpretation of the year 1921 in Ihe Shining is that it could refer to the creation of the Council on Foreign Relations. The CFR is a powerful think tank and foreign policy group that has had great influence on US politics and economics since its inception and has included the membership of many presidents, as well as some of the same family bloodlines that were involved in the Jekyll Island Club. As far as I can tell, the CFR is not specifically referenced elsewhere in The Shining, but in 2001: A Space Odyssey, Dr Heywood Floyd tells the members of his private moon base meeting “Anyway, this is the view of the council”, at which point the camera angle shifts to show the pyramid and capstone symbolism of the room’s table with its illuminated screen at the apex. Here are links to documents that verify the CFR’s interest in space exploration [1] [2].

The case for CFR references in 2001: A Space Odyssey are plausible, but in The Shining references to Woodrow Wilson and the passing of the treasonous Federal Reserve Act are more prominent as an explanation for the year 1921.

Soldiering on with conspiracy territory, (we may as well get it all out the way in this chapter) Ullman describes in the Gold Room that, We can accommodate 300 here very comfortably”. If Kubrick really was a firm believer in conspiracy concepts like the Illuminati then he may also have had concerns about a slightly less well-known conspiracy theory – the Committee of 300, and hence this would be Ullman announcing to us which organisation the party guests represent.

Ullman’s mention of “Royalty” as “All the best people” is probably an important motif in The Shining. Kubrick’s prior film, Barry Lyndon, openly showed the ridiculous lengths that ambitious men will go to in pursuit of a Royal title in the British Honours System, also known as the Peerage System. This is a point at which Kubrick was exploring elitism that can absolutely be verified – ie there’s nothing theoretical in the matter. It’s absolute historical fact that Britain has a nobility club extending across the globe – part family bloodline and part loyalty-earned membership. In The Shining the circular formation of candle-like light bulbs in chandeliers at the apex of a pyramid during Halloran’s death could be related to the concept of Royal peerage. That’s a long shot, but remember that to crack the code of a Kubrick film no stone should be left unturned. While researching this article, I also found that hedge mazes were originally created as amusement for king’s and prince’s. Interesting.

Kubrick also liked to use phonetic puns to communicate his subliminal narratives and so Halloran’s comment over his telephone that, “I’m supposed to go up there (the Overlook) and find out if they have to be replaced,”could be jokingly referring to Halloran replacing the chandelier bulbs or falsely enlightened leaders, much like the step ladder guy in the Gold Room. Of course once he gets near the lit chandelier in the lobby he is murdered instantly.

Ullman, despite his polite persona, seems to be in cahoots with Jack regarding false enlightenment. He sits in front of a falsely illuminated window while interviewing Jack in his office, he gives all the practical and menial hotel work to Wendy as if it’s a given and he overlooks the presence of menial workers carrying furniture and luggage about the hotel. Could it be that he’s hired Jack for the job of president? The reports that I’ve read about the deleted ending of The Shining, in which Ullman visits Wendy and Danny in a hospital, pretty much confirm that he is indeed a high ranking figure of the elitist crowd that Jack serves during his term in office at the Overlook, but that’s a subject we’ll return to later.

Before we move on to the next chapter, if you’re not familiar with a lot of the conspiracy theories discussed here then you may well be jumping to a “Rob’s a bit of a nutter” conclusion. I’ve found that any mention of modern day conspiracies generates that reaction from a small number of readers, regardless of the evidence available. It basically amounts to wishful denial from people who want to maintain an illusion that modern governments care about their populations. Although I don’t necessarily believe in the Illuminati, the Committee of 300, the New World Order and so on I will say that the vast majority of centralized governments throughout history, be they Roman, Chinese, British, Russian, German or American, have shown themselves time and time again to be driven by the aspirations of corrupt groups of men who wish to live in luxury as an unchallenged elite. Only a fool could fail to recognise that fact. Kubrick knew it and whether he successfully pointed his accusing finger at the right people or organizations is not a matter I can resolve on your behalf. This chapter is simply my attempt to help you hear Kubrick’s conspiratorial messages.



“True Detective” is a TV series about the investigation of satanic ritual murders carried out by mysterious men. While the season ended in a rather straight-forward matter, the plethora of symbols and references peppered throughout the episodes send out profound messages about forces subtly influencing society. We’ll look at the deeper meaning of the first season of “True Detective”.


Warning: Gigantic spoilers ahead!

Taking place in the swampy backwoods of Louisiana, True Detective captured audiences’ attention with its interesting characters and dark atmosphere. Through its eight episodes, the series followed two detectives as they uncovered a series of ritualistic murders that were rumored to be carried out by rich and powerful men. While, week after week, fans of the show obsessed over small details in order to “crack the case”, the series ended in a rather plain matter: The murderer was a dirty, crazy, stereotypical redneck who was identified by the detectives a few episodes beforehand. There was therefore no mind-blowing plot twist (i.e. one of the detectives was behind it all) or shocking high-level conspiracy. And that left many fans somewhat disappointed.

However, looking back at the references, the symbolism, and the enigmatic dialogue peppered throughout the episodes, one can indeed wonder why some aspects of the story (i.e. Marty Hart’s family life) were so extensively developed while they were of no relevance to the final outcome of the investigation. Was the series, through these alternative storylines, trying to communicate something that went beyond the actual investigation? Something that encompasses us all?

Despite the straight-forward conclusion to the story, there is a deeper message communicated throughout the series:  That the ritual murders were not simply the product of the mind of lone crazy redneck – they’re the result of a deep-seated mindset, a toxic environment that goes back several generations and affects all aspects of society. This concept can be summed up in one word: “psychosphere” – a word detective Rustin Cohle uses in the first episode. Through a variety of symbols and messages, True Detectives shows us how the sick obsessions of the elite ultimately seep through the everyday lives of the masses.

Let’s first look at the premise of the story.

The Premise

The series begin with the discovery of the corpse of a young women, set up in a ritualistic matter.

The woman was found naked, bound, with stab wounds on her stomach. She is wearing a "crown of thorns" and antlers on her head.

On her back is tattooed a spiral, which is the symbol of the group carrying out the murders.

The authorities quickly conclude that it’s a satanic ritualistic murder. Rustin Cohle describes the killer as “meta-psychotic”.

“It’s fantasy enactment, ritual, fetishization, iconography. This is his vision. Her body is a paraphilic love map – an attachment of physical lust to fantasies and practices forbidden by society”.

After the autopsy, the detectives learn that the victim was drugged, bound, abused, tortured with a knife, strangled and posed outside for the world to see. In short, it bares all of the signs of mega-ritual of Satanic Ritual Abuse (SRA).

Around the body are strange triangles made of sticks.

Around the body are strange triangles made of sticks.

The reverend adds that he thought that these devil nets were just “something for children to do, keep them busy, tell them stories why they’re tying sticks together”. While the reverend says these words, the camera zooms into another set of sticks tied together.

As the reverend talks about telling stories to children to keep them busy, the camera focuses on a cross made of two sticks tied together - implying that religion might be "stories for children". It also foretells the link between the devil nets of the killer and the Church. In short, this series is definitely not pro-Christian.

Rustin Cohle and the Psychosphere

Played by Matthew McConaughey, Rustin Cohle qualifies himself as a realist or, in philosophical terms, a “pessimist”. The least one can say is that he has little faith in humanity and that he does not understand the constructs surrounding it – including religion.

“I think human consciousness is a tragic step in evolution. We became too self-aware. Nature created an aspect of nature separate from itself. We are creatures that should not exist by natural law”.

As a “pessimist” who hates humanity in general and a Texan working in Louisiana, Cohle is an eternal outsider. Indeed, he has a tendency of viewing the world from outside, almost as if he was an other-worldly figure. To accentuate this fact, Cohle appears to have a sixth-sense – bordering on extra-sensory perception (ESP) – that manifests itself throughout the investigation. He has visions, he “reads” people in a few seconds, and he can even “taste” colors.

In the very first episode of the series, Cohle tells his partner a sentence that sums up the main message of the entire series. While driving through Louisiana roads, Cohle refers to an obscure concept that has deep resonance in occult spheres.

“Got a bad taste out there. Aluminum, ash, like you can smell the psychosphere”.


The term psychosphere is not a common term in the English language. It originates from the science fiction literature of authors such as Roland C. Wagner and  H. P. Lovecraft – the creator of  the Cthulhu Mythos.

“Psychosphere” can be defined as “sphere of human consciousness” and takes its roots in Carl Jung’s concept of “collective unconscious”. It basically states that all thoughts that go through the human brain are “converted” by the neocortex and projected outwards into ethereal dimensions. Humans therefore live in an “atmosphere of thoughts”, a concept that is also referred to as “noosphere” by Vladimir Vernadsky and Teilhard de Chardin. According to them, the existence of this psychosphere causes humans to be compelled to respond to similar ideas, myths and symbols.

Although referred to in other terms, the concept of psychosphere is important in occult circles who conduct mega-ritals to influence the “collective unconscious” – often for nefarious purposes.

In the 1940s, the French poet and theater director Antonin Artaud predicted the advent of occult mega-rituals in media. Artaud was an adept of  several forms of occultism and well-aware of the transformative powers of theatrical rituals: he created the infamous “Theater of Cruelty” that intended to profoundly change the audience. Regarding the processing of the Group Mind, Artaud wrote:

“Aside from the trifling witchcraft of country sorcerers, there are tricks of global hoodoo in which all alerted consciousnesses participate periodically … That is how strange forces are aroused and transported to the astral vault, to the dark dome which is composed above all of … the poisonous aggressiveness of the evil minds of most people … the formidable tentacular oppression of a kind of civic magic which will soon appear undisguised.”

Occult researchers have often identified ritualistic murders as mass-rituals meant to shock the masses and disturb the psychosphere.

“[Some murders] are ritual murders involving a cult protected by the U.S. government and the corporate media, with strong ties to the police.

Such killings are actually intricately choreographed ceremonies; performed first on a very intimate and secret scale, among the initiates themselves in order to program them, then on a grand scale, amplified incalculably by the electronic media.

In the end what we have is a highly symbolic, ritual working broadcast to millions of people, a Satanic inversion; a Black mass, where the “pews” are filled by the entire nation and through which humanity is brutalized and debased in this, the ‘Nigredo’ phase of the alchemical process.

– Michael A. Hoffman II, Secret Societies and Psychological Warfare

This is what True Detective is truly about.

Rustin Cohle, who has a tendency toward ESP, states that he can actually “smell the psychosphere”‘ and that it tastes “like aluminum and ash”. In other words, the sphere of human thought around the crime scene is nothing less than toxic and foul. However, being himself part of the human sphere, Cohle cannot help but being part of it and, on some level, even embracing it.

In the "present day" scenes, where Cohle is discussing his investigation with detectives, Cohle drinks cans of beer and smokes cigarettes - aluminum and ashes. Is this a way of saying that, after years in the "psychosphere" that Cohle is now completely imbued with it?

The first ritual murder discovered in True Detectives was purposely staged to attract the attention of the masses. Not only is it a physical manifestation of the foul psychosphere, it is also an attempt to massively affect the psychosphere. These mega-rituals are purposely staged to shock and traumatize the masses, who then collectively send these thoughts to the psychosphere, creating the type of ambiance the occult elite revel in.

Throughout the series, an image appears in several places and through several people : Five men around a girl. This “pentagram of men” represents the occult elite abusing a child in a ritualistic matter. Through the psychosphere, the world appears to be aware of this, almost unconsciously.

The detectives find at the Tuttles house a video of a little girl being abused and sacrificed by five masked men.


While visiting the house of a woman whose daughter mysteriously disappeared, Cohle notices a framed picture of a young girl surrounded by five masked men.

Martin Hart's daughter placed five male dolls around a female naked doll.

While telling his story to detectives, Rustin Cohle weirdly transforms five cans of beer in to five little people and places them in a circle. Is he unconsciously telling the detectives who are the real culprits and that he never caught them?

Through symbols, the series tells us that the psychosphere is disturbed by the elite’s rituals and that its effects seep through the reality of the masses. However, these effects are not only symbolic: they influence society’s morals, values and behavior. This is represented by the evolution of Martin Hart’s family.

Martin Hart and his Family

Played by Woody Harrelson, Martin Hart is very much the opposite of Rustin Cohle. A simple look at the character’s names gives a good idea of their mindset. The name Rustin Cohle sounds like “rust and coal” – two materials associated with decay and toxicity – which represent his world vision. In contrast, Martin Hart’s last name sounds like “heart” – the muscular organ that keeps people alive. Far from being detached from the material world like Cohle, Hart intensely lives the emotional trials and tribulations of human experience. Like most humans, he is also deeply flawed. While considering himself to be a Christian, he has a propensity for adultery and violence.

It is however the evolution of his family that is the most telling. While his family has nothing to do with the main investigation, the series spends a great amount of time describing its evolution. More than simple “character development”, the Hart family represents how average citizens are ultimately affected by the foul psychosphere and the moral depravity of those that rule them.

Although Marty’s daughter Audrey has no apparent knowledge of or contact with those who conduct the rituals, she nevertheless appears to be deeply affected by it. As seen above, Marty found her daughter playing with dolls that appear to re-create “pentagram of men”. Later, her parents find a book full of upsetting drawings.

One of Audrey's sexual drawings feature a mask man touching a woman.


In another scene, Marty's girls are seen wearing a crown with ribbons - which is reminiscent to the Satanic antler crown with ribbons placed on the victims during the rituals.


The tiara ends up on a tree, not unlike the ritual victims.

The foul psychosphere appears to affect Audrey’s behavior and her very soul. Her grandfather foretells her future while talking with Marty about “kids today”.

“I’ve seen kids today. All in black, makeup on their faces. Everything is sex”.

While Marty basically dismissed these words as being an old man’s ramblings, Audrey eventually grows up to become exactly that what her grandfather said.

Audrey dressed in black with makeup on her face. In this scene, she got caught by her father having sex with two guys in a truck.

Audrey’s transformation from an innocent girl to a promiscuous teen represents how the occult elite’s depravity and immorality ultimately affects the entire population. While she is not a direct victim of the occult elite, she is an indirect victim through the foul ambiance she grows up in. We later learn that, as an adult, Audrey “sometimes forgets to take her pills”, implying that she has mental health issues and that she was indirectly traumatized by this context. Therefore, through various means, the series shows how the psychosphere is purposely disturbed to create a generation that is morally lost.

Now let’s look at the secretive group that is behind this all.

The Spiral – Representing the “Real Life” Occult Elite

As the investigation progresses, the detectives learn about a group of “rich men” sacrificing children. They also learn about the mythology surrounding it.

“There’s a place down-South where all these rich men go to devil-worship. They sacrifice kids and whatnot. Women and children all got murdered there and something about someplace called Carcosa and the Yellow King. He said there’s all these, like, old stones out in the woods people go to, like, worship. He said there’s so much good killing down there. The spiral – that’s their sign.”

We soon discover who’s behind these rituals: The elite of Louisiana, members of an ancient bloodline, the Tuttle family. As a Texan, Cohle quickly finds out that one member of the Tuttle family is Governor and another one leads the Church – therefore encompassing the spheres of power that are politics and religion.

As the detectives discover that the rituals are basically a family affair, they begin constructing the Tuttle family tree.

After the detectives caught Reggie Ledoux, the deranged redneck, the camera ominously focuses on a lone tree - a tree that is seen multiple times during the series. With its roots firmly gripping the Louisiana soil, the tree represents the family bloodline that rules the region.

The detectives learn that the Tuttles are responsible for a great number of missing children who were abused and killed in a ritual sacrifice. Since the family is extremely powerful, law enforcement and local media are completely silent. The family practices its own brand of Louisiana voodoo mixed with classic Satanic Ritual Abuse (SRA) as practiced by the occult elite. While the family’s area of action is very local, it does not take much extrapolation to understand that the Tuttles represent the occult elite that currently rules the entire world.

The Spiral’s taste for Satanic rituals, torture, mind control, and abuse of children is representative of the occult elite’s darkest obsessions. Even the Spiral symbol in the series is actually used by real life networks of shady men to secretly disclose their “preferences.” Here’s an FBI file describing the symbols used by “boy lovers”.

FBI file describing symbols used by children abuse networks.

The Spiral on a skull in Carcosa.

In True Detective, the Spiral’s rituals are drenched in a specific mythology heavily inspired by science-fiction/horror literature, notably from H.P. Lovecraft.

The Mythology

In True Detective, sacrifices are made to the “Yellow King” which is basically an effigy of a horned god and they take place in an abandoned structure dubbed Carcosa. The mythology surrounding the Spiral borrows heavily from science fiction literature, notably Robert W. Chamber’s The King in Yellow (aka the Yellow King), which mentions a lost city named Carcosa.

Along the shore the cloud waves break,
The twin suns sink beneath the lake,
The shadows lengthen
In Carcosa.

Strange is the night where black stars rise,
And strange moons circle through the skies
But stranger still is
Lost Carcosa.

Songs that the Hyades shall sing,
Where flap the tatters of the King,
Must die unheard in
Dim Carcosa.

Song of my soul, my voice is dead;
Die thou, unsung, as tears unshed
Shall dry and die in
Lost Carcosa.

The term Carcosa was also used by H.P. Lovecraft in his famous Cthulhu Mythos. Why is Lovecraft so often referred to in the series? His works are greatly revered in several occult circles and, considering the fact that the series is about satanic ritual murders, it makes sense.

H.P. Lovecraft

While H.P. Lovecraft’s Cthulhu Mythos, is usually considered as a near-satirical atheist work of fiction (it’s about monstrous alien gods), it nevertheless gained great notoriety with societies with a more metaphysical world view. For instance, Anton LaVey’s book The Satanic Rituals includes a chapter entitled “The Metaphysics of Lovecraft”

The Satanic Rituals consider Lovecraft to be a conduit of sorts for “unseen Powers”: “Whether his sources of inspiration were consciously recognized and admitted or were a remarkable ‘psychic’ absorption, one can only speculate.” The rituals consist of evoking names of the Cthulhu Mythos along with the inevitable “Hail Satan,” in mock ceremony evoking the elaborate proclamation and community response of the Catholic Mass.
– Dennis P. Quinn, Cults of an Unwitting Oracle: The (Unintended) Religious Legacy of H. P. Lovecraft

Kenneth Grant, an occultist who was a prominent member of Aleister Crowley’s secret society Ordo Templi Orientis (O.T.O) wrote extensively on the importance of Lovecraft’s works.

For Grant, writing in 1980, Lovecraft should be praised for his abilities to “control the dreaming mind that it is capable of projection into other dimensions.” It is well known that Lovecraft often gained inspiration for his stories in his dreams. For Grant, Lovecraft received actual arcane knowledge in his dreams, which was then expressed through the Cthulhu Mythos. Grant has inspired many magicians, some of whom have moved more into the realm of Lovecraft’s fictional writings.
– Ibid.

Lovecraft’s works are therefore highly regarded by occult or satanic groups who are heavily bent on rituals. Some symbols associated with these societies appear throughout the series.

Reggie Ledoux, one of the culprits carrying out rituals has a tattoo of Baphomet inside an inverted pentagram on his back, the sigil of the Church of Satan.

Although the detectives caught and killed Reggie Ledoux, they ultimately learn that the killings are still happening. Even at the end of the series, when the detectives get their hands of Errol Childress (the crazy stereotypical redneck), there are clues implying that he’s not the real culprit – he’s just a patsy.

Errol Childress – Patsy of the Elite

While investigating the Tuttle family, the detectives discover that the reverend has children from a mistress. One of them is Errol Childress, a “bastard son” who was treated badly. In fact, everything about him points toward him being a victim of a multi-generational satanic cult.

Errol has scars on his face because he was disfigured by his own father, which undoubtedly left him traumatized.

In this important shot we see that the Spiral symbol was burned into Errol's flesh, as if he was "branded" by it. In short, he is not the head of the club, he is more of a traumatized victim.

At the end of an episode, Errol eerily says "My family's been here a long, long time." and then proceeds to mow the lawn in a spiral pattern. This symbolically represents how everything the occult elite does is in plain sight - for those who have "eyes to see". It also shows how Errol is obsessed by this symbol and was programmed by it.

The show provides several clues hinting to the fact that Errol Childress is actually a victim of trauma-based mind control. First, he speaks with in distinct accents – a classic symptom of person with multiple personas. Errol effectively alternates between a typical Louisiana drawl and a distinguished British accent. The contents of his house is also quite telling.

Errol's house is full of dolls (many of which are beheaded). Not only do these dolls add to the "creep" factor, they are a classic symbol to represent multiple personas created through Mind Control.

In the opening sequence of the show, we the face of a child projected on a telephone (the one at Errol's house). The dial is on the child's head, a way of portraying how victims of the Spiral has their minds controlled.

While his father is one of the richest and most respected people in Louisiana, Errol lives in filthy shack with an equally filthy half-sister with whom he copulates. In other words, Errol is clearly not part of the “elite” but an illegitimate byproduct of it. While he is the ultimate “bad guy” of the series, it is rather clear that he’s simply another victim of the Spiral. Even people who worked for the family were victims.

When the detectives visit Delores Jackson, an ex-maid who worked for Tuttles, we also see signs of mind control.

Although Delores became mentally ill and generally unresponsive (as if she was traumatized in her life), she gets very excited when Rust shows her images of devil nets – as if they were trigger images. She then begins reciting lines as if they were programmed into her.

“You know Carcosa? Him who eats time. Him robes, it’s a wind of invisible voices. Rejoice! Death is not the end!”

It is therefore quite clear that the real people behind the Spiral were never caught in the series. The series ended the same way real life stories involving the occult elite often end: A mind-controlled patsy takes the fall and dies, leaving the real culprits untouched. While Errol did actually commit atrocious crimes, he was a product of a deeper system.

When the detectives finally found and killed Errol, they are sent to the hospital to heal their wounds. There, we hear a TV news report stating:

“The State Attorney General and the FBI have discredited rumors that the accused was in some way related to the family of Louisiana Senator Edwin Tuttle.”

This little piece of information confirms the the State Attorney General, the FBI and mass media in general are “in cahoots” with the Spiral because they are using disinformation to clear the family’s name.

Rust then tells Marty that, although they caught Errol Childress, their job was not complete.

“Tuttles, the men in the video … We didn’t get them all”

To which Marty replies:

“Yeah, and we ain’t gonna get ‘em all. That ain’t the kind of world it is, but we got ours”.

Marty’s grim assessment about “how the world is” basically means that the real occult elite does not get caught. By saying “we got ours”, he means that they got the what they were supposed to get: The chosen patsy. This is not a comforting message regarding the occult elite, but it is the sad truth.

In Conclusion

The series True Detectives spurred all kinds of discussions and theories about the identity of the killer. However, beyond the classic “whodunit”, there is a constant message communicated throughout every episode. It is about our society, about who rules it and about the unseen forces that influence us all. It is about the psychosphere, a concept that is obscure to most of us, but that is nevertheless extremely important in occult elite circles. Through mega-rituals amplified by mass media, the elite actively looks to generate shock, fear, and dismay in the general population, whose thoughts then get projected back to the psychosphere. This disturbance causes the human race to live in a toxic atmosphere, ruled by specific symbols and thoughts. Furthermore, as portrayed by Audrey in True Detectives, a disturbed psychosphere causes society to break down, to become immoral and obsessed with dark thoughts. This is what they revel in.

Despite all of this, the series ends with Rustin Cohle having an epiphany and “seeing the light” because, for a moment, he saw the “spirit world”, where his dead daughter waited for him. Cohle realized that, beyond this material world, the one that is ruled by powerful sadistic families, there is another dimension – an eternal one – where they have no power at all.

Critical Paranoia 2: Dark Night Rising

The Chicago Underground Film Festival is proud to present the world premier of a motion picture event Hollywood, DC Comics, and the Military Industrial Complex does’t want you to see:


You’re not allowed to believe in coincidences anymore. A Fast encroaching military police state, mind controlled assassins, domestic terrorism, secret societies, ritual sacrifices, clandestine psyop programs, evil old billionaires clamoring for world domination! Tired old plots of a comic book franchise or prophetic and deliberate enigmas wrapped in bubblegum and subterfuge? Who or what really killed Heath Ledger? Has the Dark Knight vehicle become nothing more than a harbinger for horrors such as the Sandy Hook and Aurora Shootings, and the events of September 11th? What is the true meaning hidden behind the Dark Night Rising? Over the rainbow and through the looking glass, how deep does the rabbit hole go? All the way to a bat cave perhaps.

Thursday May 14, 9:00pm
Theater 3

The Man in the High Castle himself will be in attendance for a Q & A after the screening.

Alex Jones pretty much broke the story of the Bohemian Grove and mentions the huge statue of the owl there but doesn’t mention the statue of Saint John of Nepomuk who is the Official Patron Saint of the Bohemian Grove.

The Club’s patron saint is John of Nepomuk, who legend says suffered death at the hands of a Bohemian monarch rather than disclose the confessional secrets of the queen. A large wood carving of St. John in cleric robes with his index finger over his lips stands at the shore of the lake in the Grove, symbolising the secrecy kept by the Grove’s attendees throughout its long history.

Read the whole wikipedia entry for This Saint in the Link above it is very important.

Here’s the link to the 1981 video of the news report mentioning the Saint John of Nepomuk.

Throughout the 1700s, Catholics suffered religious discrimination on the Eastern Shore — the saying of mass was declared a crime, Catholics were barred from public office and they were not allowed to have schools for Catholic instruction.

Private services were allowed, however, which led to the prominence of Old Bohemia, a large Jesuit plantation in Cecil County, Md. St. Francis Xavier Church on the plantation, now one of the oldest permanent Catholic institutions in America, became the center of worship for Catholics in northern Delmarva, and the base of operations for ministering to the entire peninsula. ~Source

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The Anti-Popery Act of 1704 initiated by new Maryland Governor, John Seymour threatened Catholic priests with jail if they celebrated mass. However, Queen Anne intervened with an act that allowed Catholics thc right to private worship when she was petitioned by prominent Catholic landowners,. The Jesuits were compelled to distance themselves from the seat of government in St. Mary Couny and establish the first permanent Catholic Church at the head water of the Bohemia river in Cecil County adjacent to the Delaware border. The 1708 census by Governor Seymour revealed that there were more than 500 Catholic families scattered on the Eastern Shore of Maryland and along the Delaware coastline. Rev. Thomas Mansell and other Jesuits would make periodic visits to the Catholics in Kent County and Dover from “Old Bohemia” by horseback. Sacramental records from St. Joseph’s Church Willings Allley, Philadelphia indicate that, Catholics from Kent County that shipped goods to Philadelphia, would avail themselves of’ periodic mass and sacraments.

In 1745, the Jesuit established a school for boys at Old Bohemia that was attended by Charles Carroll who signed the Declaration of Independence and his cousin, John Carroll, the first Catholic Bishop of America. The enrollment records also indicate that cousins, Matthew Lowber, Manassey Cain and Peter Lowber of Kent County attended the school. It is also recorded that Fr. Gailbrande ministered to these same families on a regular basis in Kent County. ~Source

Old Bohemia, the mother church of what is now the Diocese of Wilmington, has been restored as an historical site by a nondenominational organization, the Old Bohemia Historical Society. ~Source

George Villiger, S.J.  (from Old Bohemia)

Jesuit from old bohemia

Father Geo rge Villiger was born September 14, 1808, in Canton Aargau, Switzerland. From Father Edward I. Devitt, S. J., we are told that he was sturdy in build and rugged in constitution. It has been said that he often walked all the way from Old Bohemia to Lambson’s Station– a distance of thirteen miles. He had no assistants during his 22 years at Old Bohemia (October 1856-November 1878) and apparently he wanted none. Preferring to do all the work himself, he was indefatigable, and by his zealous labors did much for the advancement of religion and the improvement of the Church.

While at Old Bohemia Father Villiger made some additions. He placed the marble slab, with its appropriate inscription, over the entrance to St. Francis Xavier’s Church; added a vestibule and tower, and procured the sweet sounding bell which could be heard for miles around as it proclaimed the Angelus.

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Catholic Mass being held at the Bohemian Grove (Click Pic to View Larger)

Also, another thing that’s weird about Alex jones and the Bohemian grove is that Alex Jones says they’re worshipping Moloch or Molech. that’s not true. Molech doesn’t look anything like an owl. The only thing I can find associated with an Owl is Lilith. It’s ridiculous but then on they show real pictures and depictions of Molech but say “Other Depictions of Molech”. They try real hard here also to explain away the Molech-Owl association but it’s all, and I’ll use Alex Jones’ word. “BALONEY”!!



There was in their city a bronze image of Moloch extending its hands, palms up and sloping toward the ground, so that each of the children when placed thereon rolled down and fell into a sort of gaping pit filled with fire.There was in their city a bronze image of Moloch extending its hands, palms up and sloping toward the ground, so that each of the children when placed thereon rolled down and fell into a sort of gaping pit filled with fire.

Hollywood Insiders Dark Stars examines Illuminati symbolism, Predictive programming, 9/11 synchronicities, and Satanism in Hollywood and the music industry.

Hollywood Insiders Magick and The Matrix is about Abdul AlHazred’s “Necronomicon” and the Illuminati’s concealment of the truths it bares. This documentary takes a practical look at black magic and the forces behind it. Then, delves into “The Matrix-like” world the Necronomicon paints. It discusses the multi-dimensional beings that feed off of us, parallel universes, and explains much Illuminati and Freemasonic imagery.

Full Disclosure is a full-length documentary that takes a deep, analytical look at Illuminati and freemasonic symbolism in numerous movies. Examining each movie’s use of all-seeing eyes, pyramids, suns, and serpents; then reviewing more covert satanic symbolism rooted in Egyptian, Christian, and Islamic traditions. Examining [ Batman,Watchmen,The Simpsons,Men in Black,Tomb Raider,Blade,Hellboy,The Lion King,THX-1138,Conan the Barbarian,Stargate,The man who would be king,Spawn,Dogma,Gabriel,The Road to El Dorado]

This provocative and insightful film is the first in a series of documentaries that will reveal the secret knowledge embedded in the work of the greatest filmmaker of all time: Stanley Kubrick. This famed movie director who made films such as 2001: A Space Odyssey, A Clockwork Orange, The Shining and Eyes Wide Shut, placed symbols and hidden anecdotes into his films that tell a far different story than the films appeared to be saying.

In Kubrick’s Odyssey, Part I, Kubrick and Apollo, author and filmmaker, Jay Weidner presents compelling evidence of how Stanley Kubrick directed the Apollo moon landings. He reveals that the film 2001: A Space Odyssey was not only a retelling of Arthur C. Clarke and Stanley Kubrick’s novel, but also a research and development project that assisted Kubrick in the creation of the Apollo moon footage. In light of this revelation, Weidner also explores Kubrick’s film, The Shining and shows that this film is, in actuality, the story of Kubrick’s personal travails as he secretly worked on the Apollo footage for NASA.

Called by Wired Magazine an “authority on the hermetic and alchemical traditions,” and “erudite conspiracy hunter,” Jay Weidner is a renowned author, filmmaker and hermetic scholar. Considered to be a “modern-day Indiana Jones” for his ongoing worldwide quests to find clues to mankind’s spiritual destiny via ancient societies and artifacts, his body of work offers great insight into the circumstances that have led to the current global crisis. He is the producer of the documentary films, “2012 The Odyssey”, its sequel “Timewave 2013” and “Infinity; The Ultimate Trip”. Jay joins us to discuss his latest film “Kubrick’s Odyssey: Secrets Hidden in the films of Stanley Kubrick”. The acclaimed American film director Stanley Kubrick told an important story with all his films and they all connect with each other and communicate a message. The question is if Kubrick was murdered considering what he trying to reveal with his films. We start to examine the film “Eyes Wide Shut” and how it connects with mind control, the elite, satanic, archonic, and demonic forces. We also discuss the Brotherhood of Saturn, the secret space program and Arthur C. Clarke. Topics Discussed: Kubric’s Odyssey, Eyes Wide Shut, Operation Monarch, occult, sex-cults, Kubrick murdered, storytelling with films, A.I., pedophilia, Archons, Demons, Lolita, bear symbolism, Jim Garrison, Lee Harvey Oswald, NASA, the real space program, Babalon Bunch, Saturnian Society, JPL, the ringmakers, hexagonal rings on Saturn, Jupiter, Zeus, Saturn, Set, Buzz Aldrin comments on the Monolith Phobos, Lord of the Rings, Iapateus, Sargon, rings of Saturn, time trap and more.

The String Pullers: The Illuminati of Baviera!