Thoth’s Prophecy of Egypt

Thoth’s Prophecy of Egypt – As Transmitted Through The Hermetica -a fragment from Asclepius III, one of the 17-20 distinct documents said to comprise the Hermetica which are defined, by the editor and translator Walter Scott, as those Greek and Latin writings which contain religious or philosophical teachings ascribed to Hermes Trismegistus. Background This fragment was published in the book “Hermetica”, edited and translated by Walter Scott in 1924; reprinted by Shambhala Publications, 1993. Scott was a classical scholar who studied the Hermetica through much of his lifetime. Scott’s translations provide material which is not included in the “Corpus Hermeticum”. The Corpus Hermeticum comprises a collection which was translated into Latin during the 14th century as a single body of work. Scott translated this material along with what he considered to be the best of other documents, ignoring material which he considered to be rubbish – namely, the alchemical material, which comprises a large body of additional material. Ah, the hubris of classics professors!
Scott extensively discusses the historical origins of the documents and provides a fascinating account of the likely historical survival route of the documents he translated. Scott traces the survival of the Hermetica to pagan circles in Syria and Mesopotamia who never had to endure the Imperial Christian Fascist suppressions of the Romans, and who escaped Muslim persecution for a few hundred years by the artful device of becoming or inventing themselves as Sabians, a religious group named in the book of the Koran (hence deserving of respect by Muslims as “people of the book”). Eventually their documents ended up in Constantinople from whence it surfaced in Venice at the beginning of the Renaissance, no doubt driven out by the sack of Constantinople at the hands of christian Nordic brigands in the 13th century and by successive conquests and plundering of Turkey thereafter.
Scott presents his composite of how the classical teachers and scholars of antiquity (circa the first two centuries of Imperial Rome) would have described Hermes:”Hermes was a man like you and me – a man who lived in Egypt a very long time ago, in the time of King Ammon. But he was a man who attained to gnosis (that is to say, knowledge of God, but a kind of knowledge that involves union with God; and he was the first and greatest teacher of gnosis. He died, as other men die, and after death he became a god – just as you and I also, if we attain to gnosis, will become gods after our deaths. But in the dialogues which I and others like me write, and in which we make Hermes speak as teacher, we represent him as talking to his pupils at the time when he was living on earth; and at that time he was a man.”
– p. 6From Scott’s review, it would seem that the Hermetic tradition is expressed well by Flussas (Francois Foix de Candalle) in the 15th century. Among the Hermetics, Hermes has always been said to have the revealed knowledge of God prior to Jesus, prior to Moses and all of the Hebrew prophets, hence to have been even closer in some sense to the divine revelation of God, and definitely much more knowledgeable than the Hebrews. “The classical scholars inferred that Pythagoras and Plato got their wisdom from the priests of Egypt, and the priest of Egypt got it from their sacred books, which were the books of Thoth….which were secretly held, not available to outsiders.” -p. 4
With this high esteem for this body of thought, it should not surprise us, accordingly, to find hermetic philosophical influences in the christian literature which was consolidated by the Latin scholars of Imperial Rome and established by them as the “new testament” corpus for presenting the new imperial religious dogmas. Indeed, the harmony of certain aspects of the hermetic doctrine with christianity induced the early Renaissance christians to translate the hermetic material which apparently migrated into Venice during the 14th century.
Scott has difficulty attributing the source to the Egyptians, thus he considers that the documents which he has translated to date from about 300 AD. He calls them Greek, but does recognize the uniquely Egyptian doctrines which form the structural basis of the lessons:”God is self-generated; that God is hidden; that God is nameless; and yet innumerably-named; that God is bisexual; that God is life and the source or author of all life, etc…” -p. 4Scott chooses to see this as a small Egyptian content, but in this way, Scott falls to the same error of euro-centric provincialism which was endemic to his contemporaries and is still practiced to an amazing extent by late 20th century academics. This small Egyptian content (which had been around for at least 2500 years before the Greeks began to write their literature) provides a major portion of the structural basis of the Hermetic doctrine, the essence of the principles from which all of the teachings, as the necessary logical implications, must follow. Every discussion of specific examples by Hermes in the various documents makes reference to Egyptian things, or to things PRIOR to Egypt. Every document of the Hermetica is drenched with references to life along the Nile. It would be better to recognize the STYLE of the Hermetica as essentially Greek, the teachings as essentially Egyptian.
Scott reports honestly that the classical scholars and the early Renaissance scholars attributed the Platonism of the Hermetica to the Hermetica, in other worlds, that Plato got his philosophy from the Hermetica. But Scott attempts to argue the opposite, seeing the Hermetica as a pagan religious doctrine based on the philosophical outlook of the Greeks as expressed by Plato.
I would rather take the lead of Flinders Petrie, a well noted archeologist and founding father of egyptology, who dated the Hermetica to the era 500-200 BC, considering them to be essentially Greek translations of Egyptian philosophical compositions. To summarize the entire story, it is likely that the Hermetica is a tiny surviving portion of the flood of knowledge created by the Hellenics as they vigorously copied all things Egyptian into the Greek language. They were able to do so, apparently freely, after the collapse of the Pharaonic state and the conquest of Egypt by the Assyrians and the Persians. The Greeks at this time no doubt provided safe-havens for Egyptians, especially for Egyptian materials on the lam from Mesopotamian “conquistadores”, who showed about as much respect for Egypt’s past as the Spanish demonstrated for the Aztecs and Mayans. During the pan-Hellenic era after Alexander’s conquest, Egypt’s Greek rulers restored the Egyptian past in many vital ways, including elaborate restoration and maintenance of the temple system. Under their care, the center of Greek Hermetic activity was no doubt in Alexandria, from whence it spread in many directions throughout the Mediterranean world. But apparently the only material which survived the dark ages of the Imperial Christian Fascism of Rome was outside the empire, in Mesopotamia, or in Syria, where the Romans feared to upset the populace with an Imperial Christian Fascist Inquisition.
From there it may have migrated to Constantinople. It was eventually brought to Venice, quite possibly along with the Jewish refugees who imported the ceramic, metal, and glass arts from Syria, Turkey, and Lebanon which became the material basis of the early Renaissance in Northern Italy. The rest is Western publishing history, or in the silent traditions and activities of the secret societies.

Asclepius III – A FragmentScott translated ASCLEPIUS from Latin documents by Apuleius. The Greek original has been lost. Acclepius III, in which is found the Hermetic prophecy, is an exposition on the nature of cosmology and hence, on the nature of God, time, the cycles of life, the nature of the world, destiny, etc. A prophecy of Egypt emerges, given mainly as an example through which to express certain philosophical percepts. What follows now is a small fragment from Asclepius III which contains the prophecy:
Trismegistus:
Do you not know, Asclepius, that Egypt is an image of heaven, or, to speak more exactly, in Egypt all the operations of the powers which rule and work in heaven have been transferred to earth below?
Nay, it should rather be said that the whole Kosmos dwells in this our land as in its sanctuary. And yet, since it is fitting that wise men should have knowledge of all events before they come to pass, you must not be left in ignorance of this: there will come a time when it will be seen that in vain have the Egyptians honoured the deity with heartfelt piety and assiduous service; and all our holy worship will be found bootless and ineffectual. For the gods will return from earth to heaven; Egypt will be forsaken, and the land which was once the home of religion will be left desolate, bereft of the presence of its deities.
This land and region will be filled with foreigners; not only will men neglect the service of the gods, but … ; and Egypt will be occupied by Scythians or Indians or by some such race from the barbarian countries thereabout. In that day will our most holy land, this land of shrines and temples, be filled with funerals and corpses. To thee, most holy Nile, I cry, to thee I foretell that which shall be; swollen with torrents of blood, thou wilt rise to the level of thy banks, and thy sacred waves will be not only stained, but utterly fouled with gore.
Do you weep at this, Asclepius? There is worse to come; Egypt herself will have yet more to suffer; she will fall into a far more piteous plight, and will be infected with yet more, grievous plagues; and this land, which once was holy, a land which loved the gods, and wherein alone, in reward for her devotion, the gods deigned to sojourn upon earth, a land which was the teacher of mankind in holiness and piety, this land will go beyond all in cruel deeds. The dead will far outnumber the living; and the survivors will be known for Egyptians by their tongue alone, but in their actions they will seem to be men of another race.
0 Egypt, Egypt, of thy religion nothing will remain but an empty tale, which thine own children in time to come will not believe; nothing will be left but graven words, and only the stones will tell of thy piety. And in that day men will be weary of life, and they will cease to think the universe worthy of reverent wonder and of worship. And so religion, the greatest of all blessings, for there is nothing, nor has been, nor ever shall be, that can be deemed a greater boon, will be threatened with destruction; men will think it a burden, and will come to scorn it. They will no longer love this world around us, this incomparable work of God, this glorious structure which he has built, this sum of good made up of things of many diverse forms, this instrument whereby the will of God operates in that which be has made, ungrudgingly favouring man’s welfare, this combination and accumulation of all the manifold things that can call forth the veneration, praise, and love of the beholder.
Darkness will be preferred to light, and death will be thought more profitable than life; no one will raise his eyes to heaven ; the pious will be deemed insane, and the impious wise; the madman will be thought a brave man, and the wicked will be esteemed as good. As to the soul, and the belief that it is immortal by nature, or may hope to attain to immortality, as I have taught you, all this they will mock at, and will even persuade themselves that it is false., No word of reverence or piety, no utterance worthy of heaven and of the gods of heaven, will be heard or believed.
And so the gods will depart from mankind, a grievous thing!, and only evil angels will remain, who will mingle with men, and drive the poor wretches by main force into all manner of reckless crime, into wars, and robberies, and frauds, and all things hostile to the nature of the soul. Then will the earth no longer stand unshaken, and the sea will bear no ships; heaven will not support the stars in their orbits, nor will the stars pursue their constant course in heaven; all voices of the gods will of necessity be silenced and dumb; the fruits of the earth will rot; the soil will turn barren, and the very air will sicken in sullen stagnation. After this manner will old age come upon the world. Religion will be no more; all things will be disordered and awry; all good will disappear.
But when all this has befallen, Asclepius, then the Master and Father, God, the first before all, the maker of that god who first came into being, will look on that which has come to pass, and will stay the disorder by the counterworking of his will, which is the good. He will call back to the right path those who have gone astray; he will cleanse the world from evil, now washing it away with waterfloods, now burning it out with fiercest fire, or again expelling it by war and pestilence. And thus he will bring back his world to its former aspect, so that the Kosmos will once more be deemed worthy of worship and wondering reverence, and God, the maker and restorer of the mighty fabric, will be adored by the men of that day with unceasing hymns of praise and blessing. Such is the new birth of the Kosmos; it is a making again of all things good, a holy and awe-striking restoration of all nature; and it is wrought in the process of time by the eternal will of God. For Gods will has no beginning; it is ever the same, and as it now is, even so it has ever been, without beginning. For it is the very being of God to purpose good.

Note: The remainder is a philosophical treatise which is highly interesting. It sets forth in high literary form the ancient cosmology of the universe as an endless return of of cycles. Destiny, prophecy, and desire are all clearly related in this cosmic wheel of necessity.

Asclepius:
Is will then, Trismegistus, summed up in purpose?
Trismegistus:
Will, Asclepius, issues from purpose; and from will issues each several acts of will. Not without effect does God will a thing, for he is fully supplied with all things; and all things that he wills are good. He has all things which he wills, and wills the things which he has; and all that he purposes and wills is good.
Such is God. The Kosmos is Gods image; and since God is good, the Kosmos also is good.
Asclepius:
Do you say, Trismegistus, that the Kosmos is good?
Trismegistus:
Yes, Asclepius; and I will show you that it is so. God dispenses and distributes goods, namely, sense, soul, and life, to all kinds of beings in the Kosmos; and in like manner, the Kosmos gives and supplies all things which seem good to mortals, namely, the succession of births in time, the formation, growth, and ripening of the fruits of the earth, and the like. For you must deem the Kosmos a second god, Asclepius, a god who governs all living things, both those which have souls and those which are soulless. For if the Kosmos has been and is and will be a living and ever-living being, nothing in the Kosmos is mortal. It is the everlasting life of each of its several parts that makes the Kosmos what it is; and seeing that the Kosmos is ever one, and is a living and ever-living being, mortality can have no place in it. It must therefore be filled with life, and with eternal life, if it needs must live for ever.
It is God then that everlastingly governs all the sources of life in the Kosmos; he is the eternal dispenser of life itself. But when life has once been dispensed to all the (intracosmic) sources of life, the supply of it is maintained in accordance with eternal law; and the manner of its maintenance I will proceed to explain. The Kosmos moves within the very life of eternity and is contained in that very eternity whence all life issues, and for this reason it is impossible that it should at any time come to a stand, or be destroyed, since it is walled in and bound together, so to speak, by eternal life.
And the Kosmos is itself the dispenser of life to all things in it here below, and the place in which are contained all things which are subject to control beneath the sun. The movement is of the Kosmos itself consists of a twofold working; life is infused into the Kosmos from without by eternity; and the Kosmos infuses life into all things that are within it, distributing all things according to fixed and determined relations of number and time, by the operation of the sun and the movements of the stars. The process of time is wholly determined by Gods law ; but the lapse of terrestrial time is marked by the changing states of the atmosphere, and the variations of heat and cold; while that of celestial time is marked by the return of the heavenly bodies to their former positions as they move in their periodic revolutions.
The Kosmos is that in which time is contained; and it is by the progress and movement of time that life is maintained in the Kosmos. The process of time is regulated by a fixed order and time in its ordered course renews all things in the Kosmos by alternation. All things being subject to this process, there is nothing that stands fast, nothing fixed, nothing free from change, among the things which come into being, neither among those in heaven nor among those on earth.
God alone stands unmoved, and with good reason; for he is self-contained, and self-derived, and wholly self-centered, and in him is no deficiency or imperfection. He stands fast in virtue of his own immobility, nor can he be moved by any force impinging on him from without, seeing that in him are all things, and that it is he alone that is in all things; unless indeed one should presume to say that. he moves (not in time, but) in eternity.
But it should rather be said that eternity also is motionless; into eternity all movements of time go back; and from eternity all movements of time take their beginning. God then stands unmoved; and eternity likewise is ever changeless, containing in itself a Kosmos which is without beginning, even that Kosmos which we rightly call imperceptible to senses. This (sensible) Kosmos has been made in the image of that other Kosmos, and reproduces eternity in a copy. Now time, though it is ever in movement, possesses a faculty of stability peculiar to itself, in that its return into itself is determined by necessity. And accordingly, though eternity is stable, fixed, and motionless, yet since time is mobile, and its movement ever goes back into eternity, it results from this that eternity also, though motionless in itself, appears to be in motion, on account of its relation to time; for eternity enters into time, and it is in time that all movement takes place.
Hence it follows that on the one hand eternity, stable though it be, is also mobile, and on the other hand, time, mobile though it be, is rendered stable by the immutability of the law by which its movement is determined. And in this way it is possible to hold that God also moves within himself, though God, like eternity, is motionless; for the movement of God, being made stable by his greatness, is no movement, inasmuch as his greatness is necessarily motionless. The being, then, of which I speak, whether it is to be called God, or eternity, or both, and whether God is in eternity, or eternity in God, or each in the other,-this being, I say, is imperceptible by sense; it is infinite, incomprehensible, immeasurable it exceeds our powers, and is beyond our scrutiny. The place of it, the whither and the whence, the manner and quality of its being, are unknown to us. It moves in absolute stability, and its stability moves within it.
Eternity then is not limited by the conditions of time; and time, which admits of numerical limitations, is eternal in virtue of its cyclic recurrence. Thus time as well as eternity is infinite, and is thought to be eternal. But eternity is rightly held to rank above time, in virtue of its fixity; for it is firmly fixed, so as to be able, by its rigid immobility, to sustain those things which are in motion. God and eternity then are the first principles of all things which exist. The Kosmos does not hold the first and highest place, because it is mobile; for its mobility takes precedence of the immutability with which it, obeys the law of its everlasting movement, which is a secondary sort of eternity. It is this sort of eternity that enters into all the parts of which the Kosmos is composed. For the Kosmos, changeless in virtue of the unalterable law by which its motion is determined, revolves with an everlasting movement. That movement has had no beginning, and will have no end; it manifests itself and disappears by turns in the several parts of the Kosmos, and that in such fashion that again and again in the chequered course of time it manifests itself anew in those same parts in which it disappeared before. Such is the nature of circular movement; all points in the circle are so linked together, that you can find no place at which the movement can begin; for it is evident that all points in the line of movement both precede and follow one another for ever. And it is in this manner that time revolves.
The divine mind is wholly of like nature with eternity. It is motionless in itself, but though stable, is yet self-moving; it is holy, and incorruptible, and everlasting, and has all attributes yet higher, if higher there be, that can be assigned to the eternal life of the supreme God, that life which stands fast in absolute reality. It is wholly filled with all things imperceptible to sense, and with all-embracing knowledge; it is, so to speak, consubstantial with God.
The cosmic mind the recipient I of all sensible forms I and of all kinds of knowledge of sensible things.The (merely) human mind is . . ., and is dependent on the retentiveness of mans memory, that is, on his remembrance of all his past experiences. The divine mind I descends in the scale of being as far as man, but no farther; for the supreme God willed not that the divine mind should be interftised with all things, lest it should be put to shame by mingling with the lower animals.
The knowledge which corresponds to the character and extent of the human mind is based wholly on man’s memory of the past; it is the retentiveness of his memory that has given him dominion over the earth. The knowledge which corresponds to the nature and character of the cosmic mind is such as can be procured from all the sensible things in the KOSMOS. But the knowledge which corresponds to the character of the supreme Gods mind, this knowledge, and this alone, is truth; and of this truth not the faintest outline or shadow is discernible in the Kosmos. For where things are discerned at intervals of time, there is falsehood; and where things have an origin in time there errors arise.
Thought, however, differs from mind I in this respect, that our thought attains by mental effort I to the kind of knowledge which corresponds to the character of the cosmic mind; and having come to know cosmic things, it furthermore attains to a knowledge of eternity and the supracosmic gods. And thus it comes to pass that we men see, as through dark mist, the things of heaven, so far as this is compatible with the conditions of the human mind. Our powers, when we aspire to the sight of things so high, are limited by narrow bounds; but great is mans happiness when he has seen that vision. You see, Asclepius, how lowly is our station, and how lofty are the things of which we treat; but to thee, O God supreme, I give my thanks, that thou hast shed on me the light whereby I see…

 The Book of Thoth by T.J Laverne, Phineas and Aurora


Norse Mythology – Neil Gaiman – Thor – Loki

Norse Mythology – Neil Gaiman – Thor – Loki

Introducing an instant classic—master storyteller Neil Gaiman presents a dazzling version of the great Norse myths.
Neil Gaiman has long been inspired by ancient mythology in creating the fantastical realms of his fiction. Now he turns his attention back to the source, presenting a bravura rendition of the great northern tales.In Norse Mythology, Gaiman stays true to the myths in envisioning the major Norse pantheon: Odin, the highest of the high, wise, daring, and cunning; Thor, Odin’s son, incredibly strong yet not the wisest of gods; and Loki—son of a giant—blood brother to Odin and a trickster and unsurpassable manipulator.Gaiman fashions these primeval stories into a novelistic arc that begins with the genesis of the legendary nine worlds and delves into the exploits of deities, dwarfs, and giants. Once, when Thor’s hammer is stolen, Thor must disguise himself as a woman—difficult with his beard and huge appetite—to steal it back. More poignant is the tale in which the blood of Kvasir—the most sagacious of gods—is turned into a mead that infuses drinkers with poetry. The work culminates in Ragnarok, the twilight of the gods and rebirth of a new time and people.
Through Gaiman’s deft and witty prose emerge these gods with their fiercely competitive natures, their susceptibility to being duped and to duping others, and their tendency to let passion ignite their actions, making these long-ago myths breathe pungent life again.

An Amazon Best Book of February 2017: Neil Gaiman putting his own fingerprints on the Norse myths? Cue the hyperventilation of delighted readers. That reaction is genuinely earned in this tight retelling, as Gaiman darts between a Tolkienesque tone in the epic origin stories and his own bright wit in the tales centering on the adventures of Thor, Loki, and Odin. Those new to Norse mythology might be astonished by how bizarre some details are. (For example, the ship made of the fingernails and toenails of the dead might make you wonder how much the Vikings genuinely enjoying sailing.) The doomsday of Ragnarok will cause a jolt of disquiet among those who are used to Hollywood endings, and Thor himself will be a surprise for those who are familiar with Hollywood Thor—but those surprises are often where the fun lies. Fans more well-versed in Norse myths should still appreciate the humor and spark that Gaiman infuses into the stories he has selected to retell, adding to the existing rich literature. Many who read Norse Mythology will make this volume their joyful leaping-off point into a strange and mesmerizing world of gods, giants, undead goats, betrayals, a slanderous squirrel, elves, dwarves, and Valkyries. And don’t forget that ship made of the finger- and toenails of the dead. —Adrian Liang, The Amazon Book Review

Review
“Who else but Neil Gaiman could become an accomplice of the gods, using the sorcery of words to make their stories new? The author of American Gods transforms Norse myths into addictive reading for young and old, with high-wattage retellings that preserve the monumental grandeur of the Nordic universe but also turn it into a world that is up close and personal, full of antic wit and dark intrigue.” (Maria Tatar, chair, Program in Folklore and Mythology, Harvard University)

“The fascinating ancient tales in the Prose Edda and Poetic Edda have always needed gifted storytellers to breathe new life into them from century to century, and who better now than Neil Gailman to retell the tantalizing Norse myths with great gusto. Gaiman has such a profound understanding of the conflicts of Odin, Thor, Loki, and other gods that he revitalizes them through his imaginative depictions. His interpretation of major Norse myths will draw readers into a strange realm that will dazzle and baffle and lead to a new appreciation of Norse mythology.” (Jack Zipes, editor of The Norton Anthology of Children’s Literature)

 

Goetic Evocation

“The Devil has become a totally alien force, not to be assimilated but to be destroyed. We are not to recognize the evil in ourselves and consciously suppress it; rather, we are to deny that it is in us, insist that it lies somewhere outside us, and therefore strive for the perfection that will come when we have driven off its assaults. Whatever the merits of this theodicy, its psychological difficulties are manifest.”

Goetic Evocations: Theory and practice behind conjurations

Jeffrey Burton Russell, The Devil: Perceptions of Evil from Antiquity to Primitive Christianity (pg. 111)
Editorial Reviews
Review
“Russell is not only a conscientious historian, anxious to examine in texts, myths, legends, art and literature the persistence and transformation of a particular idea. He is also an introspective essayist who acknowledges his own continuing struggle to understand the nature and source of evil.”―Robert Coles, New York Times Book Review

“This is a serious work by a first-rate medievalist who has turned his eyes to antiquity in order to elucidate the sources of man’s experience of the evil one. The result is scholarly, readable, and comprehensive. . . . Russell’s notations are copious and impressive, attesting to the vast amount of research that has gone into this study. The text is richly illustrated with some fifty well-chosen plates. . . . An exceptionally lucid study and a major contribution to the field.”―Review of Books and Religion

“All readers . . . will be enriched and stimulated by this honestly presented biography of the Evil One. The Devil, in religious myth, personal vision, and mystical reality, offers invaluable material for reflection and meditation.”―Studia Mystica

“This fascinating story of ‘the Devil’ explores the concept and personification of evil (defined as ‘the infliction of pain on sentient beings’) from its ancient beginnings into New Testament times.”―Seventeenth Century News
–This text refers to an out of print or unavailable edition of this title.Book Description
This lively and learned book traces the history of the concept of evil from its beginnings in ancient times to the period of the New Testament. A remarkable work of synthesis, it draws upon a vast number of sources in addressing a major historical and philosophical problem over a broad span of time and in a number of diverse cultures, East and West. Jeffrey Burton Russell probes the roots of the idea of evil, treats the development of the idea in the Ancient Near East, and then examines the concept of the Devil as it was formed in late Judaism and early Christianity. Generously illustrated with fifty black-and-white photographs, this book will appeal to a wide range of readers, from specialists in religion, theology, sociology, history, psychology, anthropology, and philosophy to anyone with an interest in the demonic, the supernatural, and the question of good and evil. –This text refers to an out of print or unavailable edition of this title.

The Origin of Satan by Elaine Pagels
From the religious historian whose The Gnostic Gospels won both the National Book Award and the National Book Critics Circle Award comes a dramatic interpretation of Satan and his role on the Christian tradition. With magisterial learning and the elan of a born storyteller, Pagels turns Satan’s story into an audacious exploration of Christianity’s shadow side, in which the gospel of love gives way to irrational hatreds that continue to haunt Christians and non-Christians alike.
GodDevilSatanBobby HemmittDr Alim Bey – Citi Hampton

 

The Devil: Perceptions of Evil from Antiquity to Primitive Christianity Hardcover – October, 1977
by Jeffrey Burton Russell
This lively and learned book traces the history of the concept of evil from its beginnings in ancient times to the period of the New Testament. A remarkable work of synthesis, it draws upon a vast number of sources in addressing a major historical and philosophical problem over a broad span of time and in a number of diverse cultures, East and West. Jeffrey Burton Russell probes the roots of the idea of evil, treats the development of the idea in the Ancient Near East, and then examines the concept of the Devil as it was formed in late Judaism and early Christianity. Generously illustrated with fifty black-and-white photographs, this book will appeal to a wide range of readers, from specialists in religion, theology, sociology, history, psychology, anthropology, and philosophy to anyone with an interest in the demonic, the supernatural, and the question of good and evil.

Source Bobby Hemmitt (The Prophet)
https://www.youtube.com/results?search_query=Bobby+Hemmitt+%28The+Prophet%29
Warfare and Physical Reality
https://www.youtube.com/watch?v=p8EmpK-E7rM&t=1867s
http://siriustimes.com/estore/395-bobby-hemmitt

The Origin of Satan Hardcover – May 30, 1995
From the religious historian whose The Gnostic Gospels won both the National Book Award and the National Book Critics Circle Award comes a dramatic interpretation of Satan and his role on the Christian tradition. With magisterial learning and the elan of a born storyteller, Pagels turns Satan’s story into an audacious exploration of Christianity’s shadow side, in which the gospel of love gives way to irrational hatreds that continue to haunt Christians and non-Christians alike.

Deterrence 2000
The President of the United States must deal with an international military crisis while confined to a Colorado diner during a freak snowstorm

Lara Croft: Tomb Raider 2001
Video game adventurer Lara Croft comes to life in a movie where she races against time and villains to recover powerful ancient artifacts.
The film opens with Lara Croft (Angelina Jolie) in an Egyptian tomb, seeking a diamond at one end of a chamber. As she approaches she is attacked by a large robot. After an intense chase and battle, she disables it by ripping out its motivational circuits. She takes the diamond, which is revealed to be a memory card labeled “Lara’s Party Mix”, and inserts it into a laptop computer inside the robot, whereupon it plays music. Now it is revealed that the scene took place in a practice arena in her home, and that her assistant Bryce (Noah Taylor) programmed the robot, SIMON, to challenge her in combat.

It is the day of the first phase of a planetary alignment, culminating in a solar eclipse, which (in the film) happens once every 5,000 years. In Venice, the Illuminati search for a key to rejoin halves of “the triangle”, which must be done by the final phase of the alignment. Mr. Powell (Iain Glen), an Illuminati member, makes assurances that they are almost ready, but in reality he has no idea where to find the key.

Lara’s butler, James “Hilly” Hillary (Chris Barrie), tries to interest her in several projects; but she ignores them. May 15, as Hilly is aware, is the day that Lara’s father disappeared many years earlier. She has not recovered from his loss.

Later that night, Lara has a dream reminding her what her father said about the alignment and an object linked to it called the Triangle of Light. Waking, she is aware of a clock ticking. Searching for it, she discovers a secret chamber under the staircase with a carriage clock that had spontaneously begun ticking. Bryce probes it and discovers a strange device hidden inside the clock.

Since the device resembles a clock, Lara consults a clock expert friend of her father’s, Mr. Wilson (Leslie Phillips). She believes it is connected to the “Triangle of Light”, but Wilson disavows knowledge of the clock or the Triangle. Lara encounters Alex West (Daniel Craig), a fellow tomb raider with unscrupulous methods. They are attracted to each other, but Croft cannot abide his for-profit attitude. That night, Lara is contacted by Wilson, who tells her that he gave her name to a man named Manfred Powell in regards of the clock. In reality, Wilson is also a member of the Illuminati.

The next day, Lara sees Powell in his home, and shows him photographs of the clock. Later, while discussing it with Bryce, she points out that Powell was lying about his knowledge. That night, as Lara does a bungee ballet, armed commandos invade the house and steal the clock despite her attempts to fend them off.

The next morning, Lara receives a letter from her father, arranged to arrive after the beginning of the alignment, where he explains that the clock is the key to retrieve two halves of the mystic Triangle of Light, which is revealed to be an object of phenomenal destructive power that granted its wielder power over time and space. He says that it was made from a metal found in a meteor crater made by a meteor that had fallen to earth during a previous alignment. Initially housed in a city built in the meteor crater by those who worshiped the object, misuse of the Triangle’s power destroyed the city and so it was split into two halves; one was hidden in a tomb in Cambodia, the other half in the ruined city itself, in modern-day Siberia. Her father urges her to find and destroy both halves before the Illuminati can find it.

In Cambodia, West figures out part of the puzzle on how to retrieve the triangle half, but Lara manages to successfully grab the piece. Before everyone can leave, the liquid metal which came out with the piece brings the statues in the temple to life and attacks the team killing some members. Lara is left to fight off and destroy a huge six-armed guardian statue which is the last one to come to life. She successfully defeats it and leaves the temple by diving through a waterfall. She then travels to a Buddhist town where a young monk welcomes her. After a worship service, an aged monk who is the leader there gives Lara some tea and as they converse, he tells her that he knew her father before.

She and Powell arrange to meet in Venice, since each of them has what the other needs to finish the Triangle. Powell proposes a partnership to find the Triangle, and informs Lara that her father was a member of the Illuminati, which she vehemently denies. Though hesitant at first, she, along with Bryce, meets with Powell for the trip to Siberia. Inside the tomb, there is a giant model of the solar system, which activates as the alignment nears completion. Lara retrieves the last half of the Triangle, but when Powell tries to complete it, the halves will not fuse. He realizes that Lara knows the solution to the puzzle, and kills West in order to persuade her to complete the Triangle to save both West’s life and her father’s. Lara reluctantly complies, and they then struggle for control of the Triangle, with Lara prevailing.

Lara then finds herself in a strange alternate existence facing her father Lord Richard Croft (Jon Voight). He explains that it is a “crossing” of time and space, and urges her to destroy the Triangle instead of using it to save his life. She leaves her father and returns to the chamber, where time is slowly running backwards from the point where Powell killed West. Croft takes the knife he threw into West’s chest and reverses it, then destroys the Triangle, which returns time to its normal flow and directs the knife into Powell’s shoulder. The chamber begins to self-destruct, Everyone turns to leave, but Powell tells Croft that he killed her father and retrieved his pocket watch with a picture of Lara’s mother inside. Lara and Powell engage in a hand-to-hand fight. Lara kills him, retrieves it, and escapes as the chamber crumbles.

At the mansion, Hilly and Bryce are shocked to see Lara wearing a dress. She goes into the garden to her father’s memorial, then returns inside, where Bryce has a reprogrammed SIMON, ready to challenge Lara once again. Hillary reveals a silver tray holding Lara’s pistols, which she takes with a smile.

Epoch
A top-secret weapons specialist must unravel the secret behind a towering alien structure that appears suddenly, hovering above the earth.
Four billion years ago, before life had developed on Earth, a cosmic object fell in the seas of our planet. In modern times in the mountains of Bhutan, a huge artifact makes its way to the surface, producing a powerful electromagnetic pulse causing worldwide blackouts.

Alarmed by the electromagnetic phenomenon and under request of the government of Bhutan, the American NSA launches a military and scientific reconnaissance operation on site, led by Dr. K.C. Czaban (Stephanie Niznik) with the technical assistance of terminally ill engineer Mason Rand (David Keith), picked up on the Mexican border in time for the mission. The team finds the artifact suspended in the air and object of veneration from the natives, who call it the Torus and consider it a gift from the gods with extraordinary healing properties.

The US team enters the Torus, but an air strike by the Chinese Army against the artifact prompts an unexpected response from the object, which destroys two Chinese military planes and kidnaps a US soldier. Unsuccessful diplomatic negotiations escalate the tension in the area between Chinese and US armed forces, while inside the Torus the scientific team goes to the core of the huge machine. They discover how ancient the artifact is and speculate it could have been the spark of life on Earth, as well as the cause of multiple extinctions in the course of the eras. Fomented by NSA agent Allen Lysander (Ryan O’Neal), conflict explodes between the troops of the two factions and the Torus reacts, blanketing the planet with a thick cloud cover, evidently starting the process for a new mass extinction.

By Presidential order, the US soldiers plant a nuclear bomb inside the Torus to destroy it, and Czaban and Rand unsuccessfully try to deactivate the device to keep it from detonating. However, the Torus absorbs the blast and, seemingly satisfied by the extreme sacrifice attempted by the two scientists, ceases its actions, sheds its external shell and, in the form of an energy sphere, leaves Earth. Four months later, Rand, now cured after his exposure to Torus, receives from Czaban the news that she is pregnant, despite being sterile before their encounter with the alien artifact.

Wishmaster 1997
An evil genie, the Djinn (Andrew Divoff), escapes from an ancient statue and wreaks havoc in this horror film from director Robert Kurtzman.
Wishmaster is a 1997 American horror film directed by Robert Kurtzman. The film was executive produced by Wes Craven, and is the only film of the Wishmaster series with his name attached. The plot of concerns a djinn, a wish-granting, evil genie entity who is released from a jewel and seeks to capture the soul of the woman who discovered him, thereby opening a portal and freeing his fellow djinn to inhabit the earth.

A narrator (Angus Scrimm) explains that when “God breathed life into the universe…the light gave birth to Angels…the earth gave birth to man..the fire gave birth to the djinn, creatures condemned to dwell in the void between the worlds.” If a person wakes a djinn, that person will receive three wishes but the third wish will free legions of djinn on Earth. In 1127, the djinn (Andrew Divoff) asks a Persian emperor to make his second wish. When the emperor wishes to see wonders, the djinn uses his powers to torture and mutilate people in the palace. The emperor is horrified, but the djinn tells him to use his third wish to set things right. Before the emperor can make his third wish, Zoroaster (Ari Barak), a sorcerer, explains the consequences of the third wish and reveals a fire opal, which pulls the djinn inside and traps him.

In present-day America, Raymond Beaumont (Robert Englund) supervises workers lowering a box containing an antique statue of Ahura Mazda onto a ship. The worker (Joseph Pilato) who is operating the crane is drunk and drops the box, killing Beaumont’s assistant (Ted Raimi) and destroying the statue. A dockworker steals the fire opal from the rubble and pawns it. Eventually the jewel reaches Regal Auctioneers, where Nick Merritt (Chris Lemmon) instructs appraiser Alexandra “Alex” Amberson (Tammy Lauren) to examine it, which wakes the djinn. Alex sees something inside the jewel and leaves it with her close friend and colleague, Josh Aickman (Tony Crane), to analyze. As he is collecting data, the gem explodes, destroying the lab and releasing the djinn. Josh is killed, upon his wish for relief from his physical pain.

Alex tracks the gem to the statue which she tracks to Beaumont, who sends Alex to visit Wendy Derleth (Jenny O’Hara), a folklore professor, who explains the history of the gem and the djinn. Later, Alex learns that the djinn needs to power the gem with human souls and then grant her three wishes before he can open the gateway to release the djinn on Earth. Meanwhile, the djinn takes the form of a dead man and uses the name Nathaniel Demerest. He grants wishes in exchange for souls while he searches for Alex. Each time the djinn grants a wish, Alex sees troubling visions. She consults Derleth, but realizes that she is talking to the djinn, who has killed Derleth and taken her form. The djinn confronts Alex and offers her three wishes, as well an extra “test” wish; she orders the djinn to kill itself. He shoots himself in the head with a gun but his wound heals instantly, revealing the djinn as an immortal. Using the first of the official three wishes, Alex wishes to know her opponent, the djinn. He teleports her to his world within the gem which terrifies her. She wishes herself back to her apartment, alone.

The Djinn had been threatening Alex’s sister, Shannon (Wendy Benson), so Alex hurries to a party Beaumont invited them to earlier. The djinn follows, again disguised as Nathaniel Demerest. When Beaumont wishes his party would be unforgettable, the djinn causes artwork to kill the guests. Eventually the djinn corners the sisters and attempts to scare Alex into making her third wish. Alex wishes the crane operator, Mickey Torelli, had not been drunk at work, undoing the events that followed and trapping the djinn in the fire opal again.

The now sober crane operator lowers the crate with no problems. Alex visits Josh—now alive again—who notices that Alex seems pleased with herself, though she does not explain why. Inside the jewel on the statue of Ahura Mazda—now in Beaumont’s private collection—the djinn waits on a throne, waiting to be released.

 

Guardian 2004
With a spate of violence that rocks the inner city, L.A.P.D. and ex-Marine John Kross investigates its cause: a new drug called Chaos. With help from his partner Carpenter, they delve into the mystery, only to discover a link between the drug and a terrifying supernatural power unleashed during the gulf war, witnessed by Kross twelve years ago. Now, Kross must race against time to stop the destruction, battle his own demons and come to grips with his destiny as he discovers that his reality has been mapped by a power much greater than himself.

Myths from Mesopotamia: Creation, the Flood, Gilgamesh, and Others (Oxford World’s Classics) Revised ed. Edition
by Stephanie Dalley
The ancient civilization of Mesopotamia thrived between the rivers Tigris and Euphrates over 4,000 years ago. The myths collected here, originally written in cuneiform on clay tablets, include parallels with the biblical stories of the Creation and the Flood, and the famous Epic of Gilgamesh, the tale of a man of great strength, whose heroic quest for immortality is dashed through one moment of weakness.

Recent developments in Akkadian grammar and lexicography mean that this new translation–complete with notes, a glossary of deities, place-names, and key terms, and illustrations of the mythical monsters featured in the text–will replace all other versions.

About the Series: For over 100 years Oxford World’s Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford’s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Polaria: The Gift of the White Stone Paperback – September, 1996
by W. H. Muller
A study on the Tradition of the Hidden Pole underlying all myth and religion. A first-time, revealing investigation into the coded works of H.P. Lovecraft (America’s “secret alchemist”) and traditional Alchemy, Polaria is an exploration of the meaning behind meanings, a Book of Origins beginning where others end. It is a guide leading one out of the labyrinth of existence and the limitations of Space-Time. In true esoteric fashion, Polaria serves as a beacon to the spiritual depths of life.

 

The Black Goddess and the Unseen Real: Our Uncommon Senses and Their Common Sense Jun 1988
by Peter Redgrove
In this work, the author shows how we are surrounded by invisibles; forces which animals know but humans have come to ignore or only participate in unconsciously. These forces include electricity, magnetism and the deeper reaches of touch, smell, taste and sound.

Dictionary of Ancient Deities Jul 19, 2001
by Patricia Turner and Charles Russell Coulter
Nothing reveals more about a civilization than the gods and goddesses it worshipped. For thousands of years humans have fashioned stories about divine beings to explain their most mysterious, terrifying, and exalted experiences. Today the names of many of these deities have fallen into obscurity. The Dictionary of Ancient Deities brings these gods and goddesses back to light.

Here, in one superbly written volume, is every known divine being throughout recorded history, from Athena and Brahma to the evil demon king Ngworekara of the African Fan people and the Babylonian dream messenger Zaqar. With over 10,000 entries, The Dictionary of Ancient Deities is the most comprehensive reference of its kind, covering not only gods and goddesses, but also spirits, places, festivals, sacred texts and objects, heroes, monsters, demigods, and the plethora of fantastic mythical beasts that have populated the human imagination from time immemorial. The encyclopedia also includes many deities often missing from standard collections, notably from Inuit, Native American, and African cultures. Alphabetically arranged entries provide the name of each deity (with alternate spellings), followed by the tribe or culture that worshipped the deity. Most importantly, the entries–whether brief descriptions or longer essays–offer lucid and engaging explanations of the origins and functions of the god or goddess.

With a comprehensive index and an extensive bibliography, The Dictionary of Ancient Deities is the best choice for anyone intrigued by the rich pantheon of divine beings that have mirrored the human psyche and shaped our earliest civilizations.

 

Encyclopedia of Ancient Deities 2 vol set Reprint Edition
by Charles Russell Coulter
Throughout history, humans have pondered the question of their existence. In nearly every society, part of the answer has included some form of god or goddess. For the Mayans, one such deity was Ajtzak, who tried to create humans from wood; for the Yorubas of Africa, Shango controlled the thunder and lightning. The Chinese of the Shang dynasty era worshipped Shang Ti. Evil deities were also part of the answer, as in the case of the Kuvera, the Hindu chief of evil in the Vedic period, and Tu, the Persian or Islamic demon of fatal accidents. All of the known ancient gods, many heretofore obscure or known only from mythological literature, are included in this exhaustive reference work. The focus is on their origins, histories, and functions. The people who believed in each deity are identified, along with alternate names or spellings both old and modern. The descriptions that follow are of the functions, origins and physical nature of the deities. Extensive cross references are provided for alternate spellings and names.

The Rotting Goddess: The Origin of the Witch in Classical Antiquity Feb 1, 1998
by Jacob Rabinowitz
Witchcraft in antiquity, and particularly the Goddess Hekate, has never been seriously studied, but sidelined as an variety of magic, or as a purely literary phenomenon, or as identical to the much-later Salemists. Here, then, is the first complete and comprehensive study of the topic from the time of Homer to the Greek Magical Papyri (800 bc400 ad), examining the slow stages by which Hekate was demonized and the mythology of the evil witch arose, and how it was not until hundreds of years later that the actual practice of witchcraft developed.

 

Outside the Circles of TimeNov 20, 1980 | Import
by Kenneth Grant
Outside the Circles of Time is the fifth volume in the series of Grant’s Typhonian Trilogies. This is a work that covers an extremely wide area and exposes – to quote from the jacket of the 1980 edition – “a network more complex than was ever imagined: a network not unlike H.P. Lovecraft’s dark vision of sinister forces lurking at the rim of the universe”. Outside the Circles of Time explores a complex of such ideas, from Blavatsky’s Secret Doctrine, Crowley’s The Book of the Law, Lovecraft’s Necronomicon, and Frater Achad’s researches. It also explores the work of Soror Andahadna, a contemporary Priestess of Maat whose work has parallels with that of Frater Achad some decades previously when he announced the inauguration of the Aeon of Maat in 1948. On the more orthodox premise that each Aeon lasts 2,000 years, we are at the beginning of the Aeon of Horus, so the Aeon of Maat might appear a long way off yet. However, the following passage from Outside the Circles of Time puts the matter in a different light:

“Myths and legends are of the past, but Maat should not be thought of in terms of past or future aeons. Maat is present now for those who, knowing the ‘sacred alignments’ and the ‘Gateway of Inbetweenness’, experience the Word ever coming, ever emaning, from the Mouth, in the ever new and ever present forms that are continually being generated from the mystical Atu or House of Maat, the Ma-atu . . .”

GodDevilSatanBobby HemmittDr Alim Bey – Citi Hampton

Flying Serpents and Dragons: The Story of Mankind’s Reptilian Past

Flying Serpents and Dragons: The Story of Mankind’s Reptilian Past
Quite a few civilisations of this world trace their ancestry to such dragon-like …. The dragons and flying serpents that so permeate ancient mythology were actually large- …… The name LA-RA-KA means “see the bright light” and the third city assigned to ….. [Comment: Both Boulay and Sitchin seem to be under the mistaken …

[PDF] flying serpents and dragons by R A Boulay  – poloneum
www.poloneum.com/FLYING%20SERPENTS%20AND%20DRAGONS.pdf

A highly original work that deals a shattering blow to all our preconceived notions about our past and human origins. Worldwide legends refer to giant flying lizards and dragons that came to this planet and founded the ancient civilizations of Mesopo-tamia, Egypt, India and China. Who were these reptilian creatures? This book provides the answers to many of the riddles of history such as: What was the real reason for man’s creation? Why did Adam lose his chance at immortality in the Garden of Eden? Who were the Nefilim who descended from heaven and mated with human women? Why did the serpent take such a bum rap in history? Why didn’t Adam and Eve wear clothes in Eden? What were the “crystals” or “stones” that the ancient gods fought over? Why did the ancient Sumerians call their major gods USHUMGAL, which means literally “great fiery, flying serpent?” What was the role of the gigantic stone platform at Baalbek? What were the “boats of heaven” in ancient Egypt and the “sky chariots” of the Bible?

Page 166 and beyond have some Awesome subjects. (1) IS THERE REALLY A MISSING LINK? Man is a puzzle in the evolutionary chain. The scientific theories of evolution explain the general course of events that cause life forms to develop on Earth, but evolution cannot account for the emergence of Homo Sapiens or modern man. (2) THE REPTILIAN APPEARANCE OF THE ANCIENTS. The Patriarchs of the Old Testament and the Sumerian antediluvian kings and priest were all part saurian, being the children of the mating of a reptile god and as earthling. This was also true after the deluge when the kings were also semi-divine. (3) STHE CROSSOVER OF REPTILES AND MAMMALS. When the space men arrived here, they found conditions much to their liking and very similar to those of the mother planet. The reptiles were the dominant forms of life on land and of these, dinosaurs represented the culmination of their evolution. These creatures were far from being slow, stupid, and maladapted beasts. Many were fleet of foot; all were highly evolved; and in their time each of them was adapted supremely well to the conditions, in which they lived. (4) THE ORIGIN OF THE STORIES OF GENESIS. It is often expressed by Biblical commentators that the Hebrew legends of the story of Creation of Man and his Downfall are original, since they have yet to be discovered in Mesopotamian or other ancient literature or legend. (5) WHAT DID THE ANCIENT GODS LOOK LIKE? The space travellers found our antediluvian Earth much to their liking because it approximated conditions on their home planet. The climate was warm and stable and more importantly, there was little cyclonic activity. (6) WHEN DID THE SERPENT GODS LEAVE, OR ARE THEY STILL HERE? The period before the Deluge was the heyday of the gods. World mythology refers to this period as the Golden Age when the gods are said to have ruled on Earth. The Deluge is a watershed in the history of Mankind. It ended the Golden Age and started the rule of Man. The junior gods seemed to have remained for some time after the Deluge and directed the activities of Mankind. Man was used as a tool in their family squabbles. It led to widespread destruction all over the world. The millennium following the Deluge marked the end of many great civilisations ostensibly by means of weapons of mass destruction. (7) A GREAT CULTURAL SHOCK! Mankind is probably not yet ready for the truth. The average man and woman need their fantasies – the myths and religious stories that make life so simple and uncomplicated. Perhaps one of these days we will be shocked into accepting the truth, when our ancestors return ….

AtlantisDragonEgypt PyramidsGreat Pyramids
Mythology – ReptiliansSerpent

Gods of Eden: Egypt’s Lost Legacy and the Genesis of Civilization

By Andrew Collins
A groundbreaking historical documentation of the secret history of pre-Pharonic Egypt and the race of angels that built it.•By the author of From the Ashes of Angels and Gateway to Atlantis (more than 30,000 copies sold in the United Kingdom).•Unlocks the secrets of how the Great Pyramids and the Sphinx were built.•Explains the traces left by the race of Elder gods that founded ancient Egypt through ancient texts of the Hall of Records.•Proves the foundations of ancient astronomy 10,000 years ago.Hidden deep below Egypt’s Giza plateau is perhaps the key to unlocking the mysteries of the Great Pyramid, one of the seven wonders of the world. Built using a technology unequaled even today, the ancient Egyptians claimed they inherited their advanced culture from a race of Elder gods who lived during a previous age known as Zep Tepi, the First Time.In his earlier companion book From the Ashes of Angels, renowned historical writer Andrew Collins provided historical and scientific evidence showing how these Elder gods, who were the flesh and blood members of a race of fallen angels, founded ancient Egypt. Now, in Gods of Eden, he describes the remarkable achievements of their culture.
Assembling clues from archaeology, mythology, and religion, Collins shows us how this great society mastered acoustic technology and employed the use of sound to raise heavy objects into the air and pierce holes through solid rock. It was with this technology that they were able to construct gigantic structures that have marveled adventurers and archaeologists worldwide. With findings based on more than 20 years of research and scholarship, Collins reveals the fascinating historical destiny of this culture of fallen angels and the imprints and legacies they left behind at the genesis of civilization.
AtlantisDragonEgypt PyramidsGreat PyramidsMythology – ReptiliansSerpent

Movies, TV Shows, Commercials interpreted…

How to Interpret Movies – Interpreting Films

Movies, TV Shows, Commercials and Books that reach the masses of people on the planet tend to carry continuous ongoing themes and symbols at ad nauseam repetition. Most people are confused by the story’s, choice of characters and plot lines and for the most part just see them as great sources of entertainment. Why are these forms of media so imperatively important that Millions of dollars are spent every year to produce them?

Before interpreting one will need a broader context of understanding. But at the root “Why” is the start of the process. It is important to ask “Why” to each thing that is perceived in being ones’ current reality, until it takes you further back in history, deeper in space and time to where you never realized how far you have gone. “Why” is a key. Why is this? Why is that? “Why” helps one to step out of conditioning, in order to start recognizing the conditions. You don’t just stop at the contemporary past. You go further, wider and deeper. Why do we have these general social structures? Why do people interact with each other the way they do? Why does the world operate as it does through economics, education, entertainment, labor, law, politics, sex, war and religion? Why do we have religion? Can one find more answers in religion? Why is there racism, discrimination, sexism and so on? Why do movies often portray one thing but the opposite exists in reality?

Somewhere within the list of names and subjects towards the top of this page the preceding information was gathered. Many “Why” questions were answered. Please Stop Now? Warning ahead. Strap on your seat belts. The proceeding information is going to get outrageous. Can you handle it? Ready? Set. Go! Unique beings are in control of every major structure on the planet also known as the 9 areas of activity by Neely Fuller (also see Dr. Frances Cress Welsing (Neely’s counterpart) and Mark Passio for Occult Symbols Interpreted). These unique beings carry within them an innate pathology (rooted in oneness disconnection as explained by Young Pharaoh) that governs their leadership, use of media channels, story lines and plot lines. The pathology projected through various forms of media are confusing to many and the viewer tends to find little connection to them.. Below you can see some keys to make sense of the madness and begin to see yourself in the Movies, TV shows, Commercials, advertisements, books and recognize the subtle messages they share on a continual basis. In Frank Herberts Dune 1984 movie whom Dan Winter (who shares a peak into Galactic History) and Bobby Hemmitt (who uncovers hidden knowledge) among several others claim Dune is more accurate than the Bible in describing history and the state of the world in the past and present. The Baron Vladimir Harkonnen played by Kenneth McMillan is the uncle to Feyd-Rautha Harkonnen (10174 AG – 10193 AG) is one of the antagonists of Dune. Feyd played by Sting (British born) was the younger nephew (Modern day Britain) of Baron Vladimir Harkonnen of House Harkonnen The orange haired Baron has horrible skin and black color finger nails and toe nails, unpredictable, does not adhere to typical moral standards and exhibits extreme gluttony. Feyd-Rautha Harkonnen was nominated by Baron Vladimir as the “Na-Baron” – heir to House Harkonnen. The Baron favored the young Feyd-Rautha over Feyd’s older brother “The Beast” Glossu Rabban played by actor Paul Smith (of America ethnicity), Count of Lankiveil. Feyd was both intelligent and charismatic, and was dedicated to the Harkonnen culture of sadism and cruelty, though potentially only due to his upbringing. 1:49:19 minutes into the movie Baron says to Feyd “And when we have crushed these people enough, I’ll send you Feyd” (Contemporary, New age and evolved (Britian). Also visually likeable yet still carrying the seed of deceit to maintain the subversive leadership and oppression of the people). Who are the people he is symbolically referring to and what is the manner in which the Great villain Baron will send Feyd? Dune is a great movie to apply the keys of interpretation through symbolism and mythology some of which is mentioned within this contextual jump start. Note: Dialects or accents equal nations or cultures. Also actors are selected with strategic intent. The nationality or what nation an actor is born into may also be very important to why the actor is chosen for the role.

Melanin – Most movies that reach the masses have symbolism with references to melanin in some way. It is often referred to as ancient essence, spice, shadow, cinder, soot (from a match or a fire), ever moving ever changing essence, transforium (in the Transformer movie series), vibranium (in the movies Avengers, Captain America, and the Black Panther), an intelligent dark essence, darkness in the blood, chaos in the blood and hundreds of many other phrases and names. A battle to control or harness the power of chaos. It carries great fascination but it is still a threat. Fear based images and cautionary images are often used to describe it. There are numerous, extremely important and phenomenally profitable uses for melanin; The Melatonin Miracle, Nature’s Age-Reversing, Disease-Fighting, Sex-Enhancing Hormone by M.D.’s Walter Piepaoli and William Regelson with Carol Colman. Also see Kaiju Remedies from Pacific Rim movie. And see Dr Jewel Pookrum (Melanology). As well as Top 10 facts about melanin. Melanin extraction as exemplified in the movies The Dark Crystal and Dune. The famous Avengers characters Captain America’s shield is made from vibranium (hence a vibrating, ever moving substance). In the movie Avengers Age of Ultron the on screen character Helen Chung says “The vibranium atoms aren’t just compatible with the tissue cells, they are binding them. And Shield never thought to…” Ultron interrupts her and interjects “The most versatile substance on the planet. And their using it to make a Frisbees (aka Captain American’s shield; using melanin to not only bind with tissues but also to bind with metals to enhance their strength capacity) The Black Panther’s black skin suit is also made out of vibranium (aka, code word melanin). Also see how Transformium is also connected to a melanin reference in Transformers Age of Extinction.

Kundalini – Kundalini references symbols such as the snake, reptile clothing and/or accessories, rhythm, dancing, creativity, surge of energy, octopus, electricity, lightning, thunder, unpredictability and many more. Kundalini manifests itself in many unlimited forms and it is a threat. The protagonists and antagonists will usually be fascinated by it and/or some symbolic melanin representation form. They will fight to acquire it, figure out how to harness its power, control it or fight against it or suppress the many forms it arises from. It is also possible for each one of the scenarios to be present in the interior film…seemingly like a world wind of confusion for the viewer…what is the feeling impression the viewer is receiving from the film at the exact moment symbols, dialect and dialogue are present? This is critical. It happens through the presentation of symbols, slight gestures, point of view shots, where the eyes focus on simultaneously to what is happening in the background and foreground scene, and vice versa while the screen play dialogue is shared. Actors are selected for specific reasons, scenes, looks, dialect, personality and Idiosyncrasies. Translate this also to the seemingly miscellaneous actor that crosses the foreground and background almost in a blur simultaneously to dialogue, scene shifts or climactic moments. Pay attention to their racial skin color, hair color, clothing and what they are doing. Also pay attention to objects in the background and foreground, their color, texture, name, wording and signage. The presentation of confusion persists because scenes are jumping from one to another so fast that it is often hard to keep up with what is happening and shown down to the finest details. But keep your eyes on the prize, focus on the patterns that occur consistently throughout most films and movies containing black actors. Note what is happening in the background is just as important as the foreground. For instance, one scene showing a black male in the group of other races in the background, the subsequent scene general shows a black female. Then sometimes they are shown together again or separate and/or apart from each other on different sides of the same scene. It weaves in and out on repeat through the entire film and movie but it is done so slight that it is often easily missed. In cases with no black actors are in the films foreground or background, default to the black, orange hair color or darkest hair color. It is almost like the weaving of symbolic Kundalini energy (yen and yang) throughout the film.

Heroes – The protagonists and the antagonist are often referred to as heroes. Heroes are often presented as creations either by science, some freak accident or trauma. They do the phenomenal work of suppressing kundalini on behalf of the greater ruling populus. The heroes are the great, strong, clever, resourceful and fearless characters that are connected to the ancient blood line yet control and suppress the manifestation of the ancient blood line within themselves and others…Superman unchained could destroy the world so he must be kept in check (via encoding like a robot or slave) by the Justice League, thus the “always serve and protect” mantra is continually repeated, encoded in the viewer and shared. Superman was once portrayed as very positive trust worthy character but is now portrayed as an untrustworthy and almost villianistic, rageful, unpredictable, alien character where the world has turned against him branding him as an outsider that must be kept in his place, locked up or restrained in order to exploit him for his strength and talents. Also reference the movie Bicentennial Man , iRobot among several other movies that will be added here later. For more information about demi-human programing visit Humans Season 1, HumanSimulacra.pdf  source montalk.net, Simulacra and simulation PDF by B Conrad Williams source www.bconradwilliams.com and The Simulacra by Philip K. Dick.

Ancient people are often referred to as goons, goblins, demons, monsters, monkeys, gorillas, reptilians, lizard people, crocodiles, snakes, goats, deers, bears, witches and thousands of many other names and phrases. The movies or media generally expresses them as untactful (lacking tact), unstable, unreliable, flighty, aggressive, narrow mindedness, over sexualized, over flirtatious, happen stance place holders, long winded and even possessing no capacity to provide relevant input relating to solving a problem in a plot and a very long list of other negative connotations to think about a person who stems symbolically from the ancient blood line. It also should be made clear that the mixing of the blood during slavery and beyond, make a new form of monster; having both ancient and contemporary blood, and make it nearly impossible to unravel the ancient bloodline throughout the color spectrum of races specifically in America; spanning from black to white. Thus, the use of the black man and the black woman are only contextually the greatest symbols representing the ancient people. The trait (rooted in oneness disconnection) is inherent in all races. Few are aware of it within themselves but the masses of people will not ever and or cannot dismantle its harmful destructive discord. However, keep in mind the most capable beings to overcome sustained suffering are of the bloodline who survived the middle passage of slavery and beyond in the western hemisphere with an emphasis on blacks in America. Keyword on the term suffering. Slaves were at the mercy of their masters and overseers, in many ways this dynamic has not changed. Tangent thought each race or group capitalizes on suffering imagery displayed in movies and other media but none of their bloodlines suffered the middle passage of slavery. Contrived images or experiences of suffering to mimic that of the ancient ones does not count although the movie or media logic is that it does. On the flip side, going back to slavery, any terrifying activity that could be thought about was most likely done and inflicted on the slaves, often while shackled or constrained from escaping. Horrific events occurred; beating, torturing, castrating, cutting off hands, feet, tongues and other body parts, being eating alive, boiled alive in hot water and oil, whole bodies roasted over fire and eating like bar-be-que, starved, treated worse than animals, eating the worst left over pieces of food, burnt, poisoned, branded, raping of women, children and men in front of the family by male and female perpetrators usually by another race (which contributed to dismantling typical gender roles and magnifying various areas of gender identity), as well as making parents breed with children and visa versa, hence the term “Mother Fucker” (an untrustworthy environment), tearing families apart. Imagine the extreme shame, physical and psychological trauma from being so humiliated, accused of wrong doing when there was none, cheated on, degraded, violated, victimized and the masses of people confined to these inhumane conditions were so powerless and unable to do anything about it. See Goodbye uncle Tom! “Warning Graphic Content” for a theatrical peak into some imagery of the slave experience. They were “miraculously” resilient. Historians share accounts where people were amazed about how black people’s bodies quickly recovered from the horrifically, terrible trauma of being crammed in the boats for so long crossing the seas and the tortures of slavery. The elites know the black blood line is the most significant symbol of suffering. Although the suffering symbolage stands true this banner is denied the victims and their bloodline, snatched and given to their pathological oppressors. The elite also know that this blood line is literally connected to the precursor of every culture, language, race, country and continent around the entire world. In the beginning was blackness. From the blackness further evolution, transmutation, or scientific contrivance has occurred. Although the movie series of Hostel (specifically Hostel 3) was and is extremely gruesome and difficult to watch it focuses on contemporary suffering and torture for the thrill and pleasure of the perpetrators and the fright of the victims. It is jam packed with religious and occult symbols. Through this movie series it is fascinating to observe the oneness disconnection in its extreme workings. But watch this movie series after reading through this entire text. Once you can piece together the symbols it is less frightening to watch because one begins to realize a mythological story is being told. Tangent thought; ode to Ludacris’s song “How Low can you go” which is a phrase most likely unknown to the author that genius-lly captures the essence of the ancient beings thrill ride in this life in the midst of all the various unlimited forms of experience and suffering which contributes to creating a new God form essence on this planet and in the universe.  The “Lower” one has gone the greater the change and opening up to deeper realms of experience.

There are underlining messages in movies that are outrageous and confusing to many. However, they are based on the perspective of the elites who see life in a much broader since then the masses of people on the planet do. They have the ability and power to share the story’s given to them by the mass from the elite’s perspective and frame of reference. It is subtlety slipped in to the plot to where the masses have very little idea that it is present. Universal truths are open to the elite.  Thus, the universe evolved and created its most unique expression in terms of a human or a person. In the universal state, more telepathic and the most “recent” state, more empathetic in the form of humanity through feeling, suffering, expressing, and creating on a micro and macro level.  Allude to Jesus coming to earth to experience the infirmities of the flesh and what it feels like to be human. This developed within him a profound love and respect for humanity. The ruling authority is in the business of fulfilling prophecy. In “considering the opposites” vilifying the victims whom are the progenitors of the prophecy and trying to stand in their stead as the true fulfillers of prophecy. How is this done? By documenting or presenting via news, media, TV shows, movies and films a barrage of instances of suffering and allowing the elite to experience life unfiltered through fun, happiness, evoking sadness and crying, emotional sensations, ecstasy, sex, anger, rage, revenge and even murder or sacrifice unhindered, to a degree; all of which are elements in developing humanity. The elite must be allowed to have full access to all these polarities for optimal mental and physical stimulation. Thus, experiencing all that life has to offer is encouraged. But on the flip side, for their worldwide subjects experiencing all life is hindered by rules, laws, policies, stigmas, dogmas, cultural morals (can also be known as religions). It is the ability to project worldwide images of suffering shown to the masses in epic movies and various media channels that encode the masses with the belief that entitles the elite to the birthright of the Gods and an obligation to rule and be superior over the masses. However, prophecy said this will be the case. The “fool” the ones most deeply rooted in oneness disconnection (also considered the least experienced or rather having the least historical time chart) will rule in the last days. Regardless of the 2017 movie story line or plot in The Boss Baby film, the symbolic Boss Baby is the born leader of this dispensation. All other cultures have had their chance to lead; now is the Boss Baby’s turn? Why a baby? Because it is symbolically the newest entity created amongst the races. And why a “born leader”? Because leading is in its nature (meaning DNA make up). In the presence of other races it eases into and eventually takes on the leadership roles. One does not have to know how to build at first, just lead others who know how to do it, learn from them and then do it one’s self later on. It possesses a unique genius imagination to build it better; continuous ongoing improvement.

Pineal Gland – Is referred to in movies and other media as magic wand (Harry Potter wands and Will Smith 2017 movie “Bright”, staff (staff of Tahuti, Caduces), sword (Optimus Primes’ sword flares up like a flame or gun and Vultrons sword in the shape of a flame, as well as Star wars Jedi lightsaber different colors are different forms of Pineal Gland activation and how it manifest certain energies in the world) Tangent thought (“Hot like fire, Im gonna take you higher, you can’t resist, kiss, kiss, kiss….” [making the connection to spark the flame of pineal activation]…Aaliyah’s Hot Like Fire song. “Come on babe light my fire” Lauryn Hill’s Superstar Song. Also consider Celion Dion’s song “Back to life” a song written by Cia, an alternative perspective, it sounds like it’s about the third eye or pineal gland awakening – The last key factor to consider in fulfilling prophecy is exercising the pineal gland and stimulating greater mental and physical functions is the intention of the elite as well as to do this in a race against time before the Gods wake up, while simultaneously trying to keep them asleep, whomever they might be in various economic forms and locations within the planet, hampering their pineal activity through poisons and various forms of moral dogma restrictions. The God like energy would be that portrayed as the most powerful or terrifying supervillains. However, because many of the glands are calcified and no matter what type of stimulation an individual encounters, it will not cause the pineal gland to awaken. However, technology (which is outside the body) is a tool that mimics pineal activation. The pineal gland is a biological tool, connected to all the sensory perceptions of the body, possessing the ability to be connected universally and to cross into other dimensions. So in place of the gland, technology is used to help spirits cross dimension in order to operate and control dimensional time travel, rewrite history or change destiny as depicted in The Legends of Tomorrow 2017 TV Series. Regardless of how Vandal Savage appears in the TV series he represents a Moore or rather a symbolic black man (whom possess within his DNA or semen to annihilate all races from the planet. He is the greatest natural threat. He is the symbolic sabbatic goat or the Satan). Yes, it is far-fetched but if you watch every DC cartoon or show that has Vandal Savage in it sometimes he is a very light skinned black person, with Moorish clothing and a black man as his voice. Movies will often choose an actor is white but begins to have black persons features but yet is still not black to play the role of a symbolic person.

Before the original Gods went to “sleep” and reincarnated losing memory of the past and semblance of cultural identity’s they created/orchestrated cultures to house and retain ancient information and knowledge of the past and prophecies foretelling the future. The Gods are scattered and hidden within cultural fragments around the world in the form of races we see today. The darkest skinned people amongst each cultural are hit hardest with the greatest attack, whom symbolically represent the greatest symbol of ancient representation. Yes, this is based on skin color. The bloodline most connected to the most ancient of people on the planet within each culture are that of a dark skinned bloodline. This is not referring to African people in particular whom from a contemporary perspective are consider the same as the new age races and cultures. The terms “Black” or “African American” are the newest age classifications whom are most connected to middle passage drama and possess the greatest DNA connection to all races. Each mythology from every culture, language, race, country and continent attacks this blood line…Attack on the Titian’s; suppression tactics are similar around the world; for instance racism in China explained by Dr Umar Johnson. It is the flushing out, purging out, rooting out of this bloodline in ad nauseum repetition around the world throughout mythology, movies and various media channels. Why did the Gods create this process? Maybe to intention a new being through generational alchemy or a new form of the God essence in the universe. However, who knows? maybe that question is solved by going back to ancient prophecies or mythology…Let the Stone tell the tale… Note the architects intention-ed the innate pathology that exists within every culture to be in opposition to the ancient ones. It is inescapable from their DNA, physical composition, vibrational receptivity, thought processes and or pathology. “Cultural sensitivity can be systematically masked” to seem undetectable via training but beware it is deeply ingrained in the essence of the beings DNA. Governed by an entities make up, there is no escaping the inner workings. This inner operation spans all ethnic color lines and is rooted in oneness disconnection, Thus peeling back the surface, “against the ancient ones” and “projected superiority” over the ancient ones based on the color lines is unfortunately ever present. Yet on the flip side it is fortunate for the “sleep Gods”…Toast to evolution and suffering. Tangently, on their quest for true connectedness with this earthly/natural plan, unfortunately will never be fully realized. Also, the quest for true cultural reciprocated understanding will always be the wantingness for the carrot dangled at the end of a stick; never achieving fulfillment. It keeps life propelling forward creating new imaginings of the present and future. Subtle forms of people interaction are shown in films at ad naseum repetition. Note the films symbolically represent real life people interactions with exquisite detail. They never waver from “against…” or “projected superiority” based on color in their portrayed behavior. Look for them. Look for the pattern. It is always there. Regardless of the constant barrage of derogatory symbolism representing the ancient race (with black people from America representing the greatest symbol) in movies they are Highly entertaining and packed with a lot of information about that blood lines past and present with acute details of past and present day chaos and implosion behaviors of the “sleep Gods” as they putrefy beyond recognition, cohesiveness, sense of self, culture and identity. As said before in The Great Wall (2017) Movie all the races on the planet have their own mythology of their battle with the ancient blood line of whom are repeatedly represented a natural threat verses a technological threat, and also as insignificant, place holders and people that don’t really matter to the world. Dr Na’im Akbar explains in excellent detail the black psychosis; the craze that baffles the world and all cultures. In essence, what is asked and projected is “what is wrong with these crazy people. They have lost their minds. Their behavior is destroying themselves, filled with emotions and little logic. How are they surviving the chaos.” It is also interesting to note Chang for his candid spot on view of the black people in particular.

Asian Interviewer: “Can you address their concerns Mr.Chang?”

CHANG: “The concerns of Black people? Yes I can. The fact is, that we all live under a system of White Supremacy. We Asian people look back at our long history of conflict with the European. We observe their strategies and develop our own, in response and in kind. There is no need for loud mass movements on our part, because we intend to overtake them in time, through action and personal sacrifice”.

Asian INTERVIEWER: “And the Black man?”

CHANG: “He does not count into our situation. He is simply here. We do not hate the Black man. We just love the Asian man most. Real love–not cliche. We want to see Asian man happy, so we employ him. We eat together. We spend time with each other. We want his kids to be educated, so we invest in our own schools that offer our children the technical abilities to change the world’s power structure in our favor. We want to see the Asian man safe, so we purchase and organize our own communities. We want him to remain Asian, so we reduce the outside influence of others ideologies and cultures. While he fought to sniff behind the White man, the Black man has had the opportunity and every right in the world to do the same, but he chooses to indict people like me for not hiring him over my own brothers. For me to do this would be foolish and that would not be Asian love. In contrast, the Black man will fight for the right to be up under everyone else other than other Black people who he should feel the most love for. If our indifference to their situation make us racist, then what would you call the Black man’s indifference to his own situation?” source: www.FarrahGray.com

..can you blame him. He is speaking the truth. Blacks are considered untrustworthy, insignificant in many social and economic structures, wayward (difficult to work with, control or predict because of unusual or perverse, inappropriate destructive behavior), obstinate, backwards and many other negative connotations. This evaluation holds a lot of truth based on the putrefaction theory of the soul (putrefaction in the biological sense is the process of decay or rotting in a body or other organic matter, not only the body but of the mind matrix system and also of the soul.) Like fermenting grapes to produce wine. The older it is the more potent and the most change has occurred from its original form. In other words, very ancient souls decay and the Ka or essence, DNA, experiences, traumas, memories, past life reincarnations is pasted down from generation to generation to the present, since the beginning of time. The older the soul the most transmutation has occurred from the original souls. Genetic Reincarnation. “Everybody is a compilation of all the DNA that ever existed and the line that you are from the time you broke away from the thing you call the divine. And you didn’t break away from it, you, your just another expression of the aspect of its essence, having the particular experience that you are. We are the best of our ancestor’s genes, we are the latest tech version and the highest tech model. Until we give our children that same thing.” ~ Professor James Smalls. However, going back to Chang Blacks do not have the same opportunity. Black people have to work symbolically “ten times harder than everybody else to get in the same situation that a white person would get with a snap of the figure” reference video on Mr. Chang page.

Movies do present the two general categories of symbolic “blackness” which operate “against” each other, the sleepers and the awake. You can’t tell them apart by racial color; only by their actions. One projection of the sleepers is the fight or distrust between one black person and another black character, undermining one another. Arguing and bickering back and forth or engaging in behavior that is inappropriate, unstable and not productive.  On the other hand, there are varying degrees of awakedness. The awakened could be the side that is portrayed as the villains or the antagonists. It takes thinking in opposites to uncover these gems; looking at what is portrayed as bad and configuring it to be good. The sleepers and the awake in movies are often referred to as “Girl(s), Boy(s), Baby(s), kid(s) (a kid is another name for a young goat; remember the sabbotic goat reference mentioned earlier), young man, young woman, sweet heart, honey, honey bunch, and sweetie” and many other names and phrases that imply less than adult (When the same phrases are flipped back on to the ruling classes offense taken). These names are used by the ruling cultures and the “subordinate” even amongst themselves, jokingly, romantically and platonically. Symbolically never reaching true adulthood, forever subject to infancy (my crib; my home) or adolescence (my girl friend, my boy friend); “When I grow up” continues on into adulthood and death. On one hand, the symbolic projection is somewhat true there is always a subtle master slave relationship where the masters are the caretakers or providers giving the slaves the things it needs to survive, due to the mal distribution and allocation of resources and wealth (Dr Claud Anderson POWERNOMICS). The sleepers and the awake as symbolically represented in the epic Claymore animated series. However, note the awakened ones are symbolically represented as bad horrific monsters with innate uncanny abilities and powers. Sleepers abide generally in base levels of consciousness (elemental spirits highly connected to the earth plane, materialistic satisfaction). Note black Americans amalgamated and putrefied into having no cultural identity, loosing sense of self and in many ways are shiftless and unstable in character and emotions due to the middle passage, slavery, Jim Crow laws, discrimination and racism; this leaves a nature that is highly impressionable by the dominant cultural stimulus) who represent the masses of people aka “negas” (contemporarily carrying a subordinate and derogatory connotation by in the past “negas” represented “God”) around the planet and the awake have varying levels of greater consciousness who are more connected to dimensions…this concept is somewhat unclear and confusing. The black Green lantern character John Stewart in the animation cartoon series wearing the ring is only limited in his creation ability and power by his imagination and or connecting to other dimensions. The villains do anything and try anything to break his attention in order to dismantle the power of the ring (pineal gland illumination; thus the ability to tap into other dimensions) Also check out the movies The Ring 2002 Horror Film (Fear of the ring) and The Lord of the Rings (control of the rings) of which both talk about different aspects of fascination about the ring (Pineal gland). In the Lord of the Rings the future of civilization rests in the fate of the One Ring, which has been lost for centuries. Powerful forces are unrelenting in their search for it. But fate has placed it in the hands of a young Hobbit (ode to Boss Baby) named Frodo Baggins (Elijah Wood), who inherits the Ring and steps into legend. A daunting task lies ahead for Frodo when he becomes the Ringbearer – to destroy the One Ring (considering the opposites and the movie Gantz:o allude to many “rings”; not just one) in the fires of Mount Doom where it was forged…Being dimensionally connected allows the use of universal forces to create some of the most impactful and long lasting experiences for mankind “How did they do that dance, create that invention, come up with that music, sing that song, etc and so on (Historical black inventors in particular), things that are completely amazing and mind boggling that gives an anchor for the rest of the world to follow along or “culture vulture” from, take possession of, replicate and enhance”…may be purported as coming from “another dimension” (as if to suggest “Alien” or “stemming from another world” but really it seems to be of this dimension…the one experienced every day. Could it just be simply tapping into the overwhelming unlimited potential that exists in each person; myth? Lie? Cliché? Does each person on the planet possess unlimited potential? Maybe that is the threat. The intention to suppress so hopefully nothing comes out or arises that is depicted as being greater than the ruling populous. But on the flipped side the use of suffering to contrive new inventions or new ways of existing on the planet. Or considering predestination the past and present may have been intentioned to be this way. And suppression was and is used for a tool of change, advancement, reconfiguration, small pockets of immense energy escape through the cracks of pressure; emerging some of the most talented and or legendary thinkers, doers and entertainers in history. Who knows?…we will see as time carries on whether an exact answer arises…

Today in movies, ethnic appearance, hair color, clothing color and combinations of the three are very significant to represent the spread of racial stereotypes in movies and other media. Very often  one will notice a person who is something like a melungeon (Abraham Lincoln was one; Tri-racial describes populations thought to be for example of mixed European, African and Native American ancestry) signifying that there is something else darker mixed with in the DNA/blood line that causes the actor look “off-white” with slight negroid resemblance features but yet still has not crossed the thresh hold of being black and is a person whom can classify and probably most likely does classify themselves as white. Actor Rami Malek’s ethnicity is 87.5% Egyptian and 12.5% Greek, has a popular television role in Mr. Robot. Actor Ron Perlman is of jewish decent (i.e off-white) who seems to resemble a black slave joker salesman who markets the products of the master or he also can resemble or symbolize a moore through his attire and his unique black eye sun glasses in the Pacific Rim movie. Not too long ago “Blackface” was used in films, theatrical events, commercials and other forms of media. Check out this scene from an Indian film where some of the actors are in Blackface in movie Aayirathil Oruvan. Blackface is a form of theatrical makeup used predominantly by non-black performers to represent a black person. The practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as the “happy-go-lucky darky on the plantation” or the “dandified coon“. (1) ….Stereotypes embodied in the stock characters of blackface minstrels not only played a significant role in cementing and proliferating racist images, attitudes, and perceptions worldwide, but also in popularizing black culture. (7) In some quarters, the caricatures that were the legacy of blackface persist to the present day and are a cause of ongoing controversy. Another view is that “blackface is a form of cross-dressing in which one puts on the insignias of a sex, class, or race that stands in opposition to one’s own.” (8) Nowadays the same thing is accomplished using a white person character actor with deep dark brown/nearly black color to black hair generally denotes a symbolic ancient black person either with an American or British accent. Secondly a white person with red hair (orange hair color) generally denotes a half breed sub par from white and could also denote a symbolic black person or person stemming or tainted with the ancient bloodline in some circumstances. If two protagonist characters or two antagonist characters are male and female or male to male or female to female, one having black hair and the other having orange hair or one having blonde hair and the other having black hair, they will generally express a love hate relationship throughout the movie plot. They will bicker back and forth, weave in and out of arguments. Possibly flirt back and forth. Or long to be with each other as their ideal mate if only the circumstances were right (ode to Superman and Lois Lane, Batman and Cat Woman. One may be able to think of other character combinations). Genuine complete romance amongst male to female characters with the pre-described hair color combinations will never be accomplished or solidified during the plot of the show. These two characters are often in juxtaposition to two white characters who may be romantically involved (have reached true romance during the plot of the show), have a stable family structure and other positively noted relationship features. The hair color of one actor will be either a blonde with another actor whom has auburn hair color or two auburn color white character actors together with either an American or British accent. Dialects equal nations or bloodlines. An American is often depicted as a “dirty blond”, black or brunette hair color which is not quite blond still in the elite class but “tainted” due to the unique mixing of races in the Americas. America is beholden to Britain. Britain being the father and the Americas being the wayward, beast, extremely arrogant son (child) and or confidant, friend, buddy,  brother or sister. Actors with the British accent tend to carry any hair color. Remember we mentioned the movie Dune in the beginning. The Baron would represent the ancient being/s that created the various cultures to use them for his ultimate desire to rule and dominate cultures, the planet, and its resources. However this idea once again feeds in to the “Consider the opposite” where really the elites have the desire and intention to rule and dominate cultures and resources but yet tell the world they are the victims who need everyone’s help to fight against the fictional character Baron(s) around the planet; unfolding it this way the elites would seem like pathological liars…

Point of view shots to a black hand in a generally white film or media generally coupled with a scene of trying to do or accomplish something…the nature to do (be commander and chief or in a place of authority, power and influence), accomplish and thrive as portrayed in the symbolic ancient people is a no no…if you try you must fail, if you try to take authority your authority must be usurped quickly, undermined, snatched away before any confidence is solidified. It typically happens during a climactic part of the film to really give the greatest impact of suppressionary encoding in the viewer who will hopefully be of the ancient lineage to further the sleepness and further the divided between cultures and male and female energies (suppression of kundalini). Point of view shots with a black person in the middle of the background or passing through the background during a conversation between two white protagonists should be watched critically. What is the dialogue saying at the precise time a black person walks past? Eye direction is also key. Where is the protagonist and antagonist looking at the exact time a black actor “passes through” or conversation, or a specific word or phrase is spoken? The black person character actor is generally oblivious to what is happening during the foreground conversation but they may be within the point of view shot anyhow simultaneously to conversation ensuing in the foreground is becoming extremely intense. Note an unconscious feeling impression is solidified in the viewer at that exact point in time of an intense of climactic scene. Also note what that feeling is and you can uncover the underlining plot line when typically, the next face or image you’ll see immediately following a climactic scene is a black face (black male or black female) or symbolic black representation image. This is repeated with ad naseum repetition amongst major movies, films and commercials. A point of view shot to the slightest resemblance of freckles on a protagonist is intentionally shown on a white person and it denotes half breed or sub par white person and could also symbolically denote a black person in some circumstances.

In a movie during group conversations when one black person is among the other group members who generally are white or a mix of races, the dialogue will show in most cases that the black person whom may play a supporting (not a significant role) is the one that “accidentally”, “unintentionally” or rather “intuitionally” steers the conversation to the best idea or plan of action in the plot. The other characters catch on but not at first. The first reaction is a dismissal. If no black person is present default to the black-haired character or the orange-haired character. Also note the idea shared by the “black actor” is initially and quickly sloughed off as insignificant but then the group conversation steers right back to that idea, expounds upon it and the leader of the group ends up being the one who indirectly claims it as his or her own and gives the direction to the rest of the group so they can go forth and overcome the threat or obstacle presented in the movie or film. This is hard to describe; these scenes can be confusing because the scenes and the dialogue are happening so quickly plus it is an intense time where everyone in the movie is needing to solve the problem in the plot to get to the next step in the film. Regardless of the conversation concept these sequences are on repeat in nearly every film who possesses the basic scenarios described in this paragraph.

The black woman depicted as a “monster” generally has characteristics of a highly sexuallized nature (uses her feminine wiles to get what she wants and manipulate outcomes) and imposing character; make the connection to cat woman in the black suit or with black hair; also note the movie The Purge, Election Year ( the DVD can be found at the bottom of the Gantz:o page)…Trying to stop the Goddess Ishtar deity energy from rising up and confusing the nature of that energy. The intention is to vilify it and suppress her kundalini manifestation. This is also done with the black male character actors as well. We have to remember that sexual kundalini energy is bad and it must be shunned, suppressed and/or punished. What better way to get the point across then to infuse his or her character with monster like characteristics. As just mentioned this same tactic is often done with black male actors. Juxtapositionally it holds one of the greatest symbols of fascination steering us to view a black woman, orange haired woman or symbolic woman of the ancient bloodline as a harlot, monster or outcast (someone who should be shunned). Check out Salem TV Series – Tituba aka Salem witch trials. This maybe should have been mentioned earlier but is still has a connection to Tituba and other actors; The concept is a subtle yet forceful push to “Make America British Again.” Note the British hand of power in the movie industry. Paying British actors to act as Americans. Ashley Madekw is a British black actress with a British accent but in this film or TV series carries an American accent.

The “monster” is also depicted as a cyborg (half man half robot. This cyborg link takes one to the depiction of a black man) and juxtapositionally Frankenstein (a man once dead created out of various body parts put back together and electronically raised from the dead. This would be connected to the yaukoo story or the creation of the white man. However the character film used to symbolically represent the beastly black male – then God’s who are or once were sleep/dead and made up of many forms, types or pieces of DNA. See the American Gods TV series on starz), Wonder Woman (made/formed/fashioned out of clay brought to life by thunder bolts of Zeus), Superman (an alien trying to live and operate as a human) and many other mythological symbols and characters. Regarding cyborg, there is a light on his forehead (3rd eye, pineal gland which is a portal to other dimensions, he is considered one the smartest Avengers, contrary to the movies you will need to watch of the cartoon animation films or series with cyborg in it to understand that he often comes up with the best ideas or is one of the key components in the plan to defeat the films antagonist(s)), a light in his chest area also considered the heart chakra (symbolic feeling center), a light near or above his loins or root chakra (where the soul resides, the little Sun within the body; the body being the HUGE avatar (1 & 2) juxtaposed to the tiny speck of light consciousness one inhabits the body through; animating the body with the personality and idiosyncrasies. Bobby Hemmitt talks more about this.

It is hard to describe and phrase properly but “Consider the Opposites” is a key concept. Maybe it is easier to understand the concept in the form of lies. As Bobby Hemmitt would say “the enemy doesn’t just lie some of the time; The enemy lies all the time” in the form of opposites. As mentioned before try considering some of the antagonist attributes as good instead of what the movie is trying to portray as bad. Often movies will project fear based emotional references to steer the viewer to be afraid of a particular subject. For instance the Freddie Krueger premise is to don’t go into a deep sleep or he will come after you and terrorize you in your dreams…must do whatever it takes to stay awake. This fear based theme is also repeated in movie “The Invasion“. Note the pineal gland is generally most active in deep sleep thus the greater potential for astral travel and crossing into other dimensions.

Please watch the movie Gantz:o. Below is an excerpt from the page.

The talk with the super monster God. In front of the protagonist holding the ripped off dead head of the fiercest super warrior (who was played by the only black actor in a Japanese film) (note there is a subtle connection between the war against the sleepers and the awake; using the sleepers to fight against the awakened ones; the sleepers despises the awakened beings. And symbolically become the greatest super warriors against the awake) in its hand and holding its index figure out pointing to the protagonists’ forehead/3rd eye symbolic position and holds it in this position as if to say it is giving the protagonist a chance to have a change of heart or else he will be killed. In essence, the God wanted to find one person who truly believed in him by this gesture of sparing the protagonists’ life. This compassionate moment becomes the Gods downfall because it was so concerned about sparing the protagonist life that it neglected to pay attention the ensuing danger around him. This sympathetic gesture may have been intended to convert the protagonist from an enemy to an ally. However, the innate hatred of Gods wins out. When indeed the protagonist never trusts or believes in the Monster/God. He is only trying to find a way through the dialogue to spare his life…you can’t convert one’s nature…It is as it is…for instance a dog or an animal will always be so…(Dion fortune reference: says in chapter VII. The Pathology of Non-Human Contacts “Non-Human is like a pet animal, not a fellow-creature. That, frankly, is the only possible ground upon which they can be approached. If we expect no more of them than we should a pet bird, if we manage them as we should manage a kitten, we have got as near to the solution of the problem as we are ever likely to get….”) no matter the constant training and affection will not steer them down the path to becoming human.

In view of the dialogue the protagonist drops his gun realizing it is a losing battle to fight and quickly says “Wait”…”Let me ask you” “Why are we…”Killing each other?”

The monster responds to his question indirectly.
Monster/God: Do you feel like your’re in God’s presence?

The protagonist: God?

Monster/God: God is the absolute power.

The protagonist: Your God?
scene pause
The protagonist: Are you? (responding as if the Monster/God is obligated to give him a response; projected superiority interjection)

The monster/God: This world has many (Gods). I’m merely one of them. There is no defying that fact?

Remember throughout the whole dialogue the monsters finger is still against the protagonist forehead/3rd eye symbolic position. However immediately after the monster speaks the last line the ditsy lady warrior (whom just pledged her romantic commitment to the protagonist) blast the arm of the monster that was pointing at the forehead of the protagonist, therefore dismantling/evaporating the monsters ideology before it sets in/transmits solidification in the viewers mind. She has claimed the protagonist, not the monster. She will fight tooth and nail to defend that honor. The monster says “I see” meaning that it understands that monsters (Gods) should not trust people. And proceeds to shoot laser beams out of its eye (ode to Superman eye beams) and tries to destroy the city and the remaining warriors.

Tangent thought; at the center of each eye is a black hole or a portal. The eye looks similar to the Milky Way Galaxy. There is also a light beam that goes through the center of a black hole and out the other side. In the article “Scientists Unravel Secrets of Monster Black Hole at Center of Milky Way” What is the analysis behind the Superman eye beams anyway? The projection of the lying entity that always thinks and projects in opposites says to itself about descendants of the ancient bloodline that focused attention destroys also “Don’t look me in the eyes” this act is offensive; but flipping the pathology 180 degrees one can deduce that focused attention creates. Perhaps creating the sensation to feel or experience compassion or oneness. The innate encoding robotically says to itself whenever it comes into the presence of the symbolic ancient blood line “must break attention, must do whatever I can to break attention, I must follow where, what or who their eyes are focusing on and break that attention, the descendants of the ancient blood line must always focus their attention on me, I will be their source and their stimulant, they must not create, or I must control their ability to create so I always end up possessing the essence of their creations but quickly destroy the creator of it, so I can absolve myself of guilt because I don’t want them or anyone to know that I stole it from them, fore I am the true creator.”

Tangent thought again: blacks in slavery got the “Be seen and not heard” beat into to them and encoded in their minds by their masters. Subsequently “You should never look a white man in his/her eyes; This is an offense. It is a sign of disrespect. It is construed as challenging or bucking up against perceived authority. So instead keep your eyes low or look to the ground when you encounter them. One must present the impression of being subtle, abased, insecure and inferior.”

The movie industry launched a worldwide massive campaign against the descendants of the ancient blood line (specifically the symbolic black male) in Superman vs. Batman: Dawn of Justice Movie. Note that in the logo the Superman’s “S” is swallowed up by the Batman symbol. Meaning the “S” is smaller and centralized within the Batman symbol. Both Superman’s and Iron man’s hair is historically dark in color. Both Batman’s dark aubur hair color and Superman’s historically black-hair color are symbolic to black male  yet they carry a white American elite status. The butler is British (father figure, guider, supporter, confidant, buddy, moral or conscious authority to Batman. It may be outrageous to allege that Alfred had some to do with orchestrating the death of batman’s parent’s. The least character to consider as a villain is often the most villianistic and twists the story line into a major shock). Superman black hair is symbolic to the ancient blood line. Superman and Batman’s love interests have either orange or black hair. Batman is a white man whom participates in all knowledge, dark arts and the occult. Superman represents the symbolic black man whom participates in morality and whom has alien lineage. In the beginning of the film Justice League Full Movie 2017 Joker boldly and confidently toys with Superman as he is a gullible child whom will not tap into his ultimate power and whom could easily kill the Joker. By the way the Joker character looks very similar to black person in history if one replaces the white skin with black skin; see Goodbye uncle Tom! “Warning Graphic Content” around 1:11 minutes into the movie. If true the Joker is the “Gentleman” who advertised the slaves for sale and made sure they were ready for auctioning so master would get the highest price for the sale. With so many tricks up his sleeve and innovative ways to market and advertise masters’ products all while shuckin and jivin, Joker seems like a fitting name. The Joker wears a top hat, Victorian-era attire (The era when the slave trade made the nation rich and wealthy beyond imagination). On some images of Joker there will be reptilian clothing.

If Superman gets fed up and ensues with anger, rage and suffering he busts through moral code that binds his actions. It is the projection of moral limitations that keep his power shackled. The love interests represent the symbolic black women. Batman has unlimited wealth, power and the greatest access to surveillance of the world. Note Superman’s “False God” theme. Input the black man and the projected theme is the black man is a False God. Then flip it 180 degrees, they are saying the symbolic black man is a God …interesting … Thus, follow the hair color to get to the real message they are trying to share. This “God” theme is repeated in The Purge movie imagery. A black male teen is wearing a mask with “God” written across the forehead. This same image was used in a lot of commercials and billboards across cities and towns. Another repeated image is a black teen wearing a mask with an upside down cross on it at the symbolic 3rd eye position; points to the symbol of the symbolic black man/3rd eye awakening as an/the anti-christ

This is an idea section that will continually be updated and tweaked for better clarity. stay tuned.
Fun MoviesKundaliniMelaninMelanin and MythMovies
The Invasion Adolabrath – Adolabroth – Adolebroth Maafa21
Bobby HemmittNeely Fuller Neely & Frances  – Dr Claud Anderson
Eckhart Tolle Dion Fortune Mark Passio – Citi Hampton
– Alexyss K Tylor – Dr Alim Bey – Dan Winter – Dan Winters
– Yahweh – Yahweh Yaldabaoth – Yahweh-Yaldabaoth
Yaldabaoth – Melatonin – Melatonin Miracle
– No Apology Necessary










Claymore Episodes Manga Series

Claymore (manga)
Episode 1 (Eng Dub) FULL

Plot /Setting

The series is set on a fictional medieval island where humans are plagued by Yoma , humanoid shape-shifters that feed on humans. A mysterious group, known as The Organization, creates human-Yoma hybrids to kill Yoma for a fee. These female warriors wear armored uniforms. The public refer to them as “Claymores,” alluding to their Claymore swords, or “Silver-eyed Witches,” due to their silver eyes.

Yoma and Claymore warriors alike are powered by a demonic energy, Yoki, which allows shape-shifting and extreme strength. When warriors use too much Yoki, they “awaken,” becoming a super-Yoma called an Awakened Being. The act of awakening is likened to the feeling of sexual climax, so while both male and female warriors existed in the past only the women proved to be successful warriors and so the creation of male Claymores stopped altogether.

The island world is divided into 47 districts, with one warrior assigned to each. Claymore warriors No. 1 through 47 are ranked on their baseline Yoki potential, strength, agility, intelligence, sensing and leadership. A warrior’s rank rises and falls according to the warrior’s strength in relation to other warriors. It is unclear whether the warriors strength comes from training/experience or if the potential lies within the warriors themselves.

In addition to all having different names, most warriors (usually high in rank) further their individuality by possessing a unique sword technique, fighting style, or yoki ability. The sword techniques are unique to the Claymores: yoma and awakened beings do not fight with swords and a normal human body could not perform them. Examples of sword techniques are: twisting the arm around and thrusting for a drill-like strike, unsheathing and re-sheathing the sword faster than the eye can see, or vibrating the sword so quickly the enemy cannot tell where the blade is coming from. A few fighting styles include: stretching the arm, fighting with two blades, and releasing a burst of yoki for a momentary burst of speed. For yoki ability, there are several Claymores who can sense yoki over vast distances and very accurately in close quarters. This appears to be, while not offensive, a very rare and valuable ability and the Claymores in the Organization with this ability are usually highly ranked. In addition, there are four Claymores that have offensive techniques that are yoki based. The first is Galatea’s ability to control her opponents yoki for brief periods during battle, usually to cause the enemy’s attack to miss. The second is Teresa’s: her ability to sense yoki is so strong that she can sense it moving around her opponents body and can therefore sense how and when her enemy would attack next, a technique later copied by Clare. The third ability is that of Raftela who is able to manipulate the vision and movements of other Claymores. She is employed as an anti-training warrior.

http://www.youtube.com/watch?v=adcWUBzrb6A

Claymore Season 1 Episode 1

Relation to Medieval Europe

The setting of Claymore has close ties to medieval Europe, but contains key differences as well. One of the biggest references to medieval times in the series is the holy city of Rabona, which contains a magnificent cathedral resembling the historical Chartres Cathedral, a paragon of the Gothic architecture of medieval France. On a side note, the humans of Claymore look and dress like their counterparts in the past. Further connections with medieval times can be seen in the title of the series. The warriors called Claymores all wield claymores, which is a type of medieval two-handed longsword. This sword has become famous as a symbol of the dangers of European life only a few centuries ago, when such massive swords were wielded to protect nations, homes, and cultures. Thus, the use of claymores in the anime series serves as another reference to the dark medieval period, where death was common, and could come from anywhere.

The Black Death, or the bubonic plague, was a truly terrifying epidemic. One could never be sure where the next outbreak would occur—one’s own loved ones might be the cause of your infection and eventual death. In Claymore, the threat of the Yoma epitomizes this terrible anxiety. Unseen, undetectable monsters that hunger for human flesh—the Yoma truly represent the deepest fears of human beings. The harsh reality of life in medieval Europe is reflected in the fictional detail of the Organization’s greediness. It charges exorbitant fees to send Claymores to eradicate Yoma, which many villages cannot afford to pay. Much like in medieval times, the poor of Claymore often must face the prospect of a gruesome death without any outside assistance.

The eponymous half-human, half-Yoma warriors of the series also have their basis in medieval superstitions. Known as “Silver-Eyed Witches”, they are viewed with suspicion and fear by most humans, which parallels medieval notions of the supernatural. In the Middle Ages, the persecution of witchcraft was a widespread phenomenon, since magic, particularly black magic, was associated with the devil. Most of those accused of being a witch were women, and they were indiscriminately hanged or burned at the stake.

Story arcs

Main article: List of Claymore characters

The first arc introduces the protagonist of the series: No. 47, Clare, who saves a young boy, Raki, from a Yoma. The next arc flashes back to the time of Teresa, warrior No. 1 of her era. And the young girl she saves from Yoma—Clare. The arc ends with their tragic encounter with Priscilla.

Flashing forward to Clare’s time, the Slashers arc introduces Miria (No. 6), Deneve (No. 15), Helen (No. 22) and Galatea (No. 3). The Gravestones arc introduces Ophelia (No. 4). The Witch’s Maw arc introduces Jean (No. 9), Riful and Dauf. The Northern Campaign arc introduces Flora (No. 8), Undine (No. 11), Isley and Rigaldo. Raki and Priscilla reappear here.

– Animated Series – Adolabroth
– Hates the prisoner but loves the jail house reference
– Claymore Episodes – Morality – GANTZ:O Movie
– Humans – Non Human – Kundalini

No. 6 Episode 1 English Dubbed
In a near future world after the last great war, most of mankind now lives in a handful of city states. There, for the privileged elite, life should be perfect. But for young Shion, the only thing perfect has been the nightmare his life has become since letting a strange boy called Rat spend the night in his apartment. Banished to the outskirts of the city and stripped of all privileges for helping the mysterious stranger who has since disappeared, Shion now finds himself in even worse danger as his inquiry into a new series of mysterious deaths results in his being arrested on suspicion of murder! But even as Shion is being sent to the city’s Correctional Institute, the long missing Rat reappears to rescue him! Now, on the run, the two young men have only one chance at survival: uncover the mysterious secrets that lie at the sinister heart of No. 6!
Tomoki Sakurai is a perverted teenage boy whose motto is “Peace and quiet are the best,” and often has dreams of meeting an angel. He finds it difficult to live in comfort when he has to put up with Sohara Mitsuki, his next-door neighbor with a killer karate chop; Eishiro Sugata, an eccentric pseudo-scientist bent on discovering the “New World”; and Mikako Satsukitane, their school’s sadistic student council president. One night, while he was witnessing a strange anomaly in the sky, a UMA (Unidentified Mysterious Animal) crash-landed nearby. Tomoki discovers that what fell from the sky is a winged female humanoid named Ikaros from an unknown world of Synapse, who soon declares herself to be Tomoki’s servant. From then on, more creatures known as “Angeloids” arrive; with this, he loses his peace and quiet, but at the same time finds pleasant things the Angeloids bring him, and fight the forces that fall upon Earth.

Death Note – Episode – English Dubbed – HQ

The plot of the series primarily revolves around high school student Light Yagami, who decides to rid the world of evil with the help of a supernatural notebook called a Death Note. This book causes the death of anyone whose name is written in it and is passed on to Light by the Shinigami Ryuk after he becomes bored within the Shinigami world.

Kaiju Remedies from Pacific Rim Movie

Black Market Body Parts Harvesting

The below website leads you back to the link above
www.Kaijuremedies.com Symbolic black market for body part harvesting for the purpose of repairing, healing and regenerating productive bodies.
The exploration of the Darkside energies.

Pacific Rim is a 2013 American science fiction monster film directed by Guillermo del Toro, and starring Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Burn Gorman, Robert Kazinsky, Max Martini, and Ron Perlman. The screenplay is by Travis Beacham and del Toro, with a story by Beacham.

The film is set in the future, when Earth is at war with the Kaiju, colossal monsters which have emerged from an interdimensional portal on the bottom of the Pacific Ocean. To combat the monsters, humanity unites to create the Jaegers, gigantic humanoid mechas each controlled by at least two pilots, whose minds are joined by a neural bridge. Focusing on the war’s later days, the story follows Raleigh Becket, a washed-up Jaeger pilot called out of retirement and teamed with rookie pilot Mako Mori as part of a last-ditch effort to defeat the Kaiju.

Principal photography began on November 14, 2011, in Toronto and lasted through April 2012. The film was produced by Legendary Pictures and distributed by Warner Bros.. It was released on July 12, 2013, including in 3D and IMAX 3D, receiving generally positive reviews; the visual effects, action sequences and the nostalgic style were highly praised. While it underperformed at the box office in the United States, it was highly successful in other markets. It earned a worldwide total of more than $411 million—$114 million in China alone, its largest market—becoming Del Toro’s most commercially successful film to date.

A sequel titled Pacific Rim: Uprising, directed by Steven S. DeKnight and produced by Del Toro, and with Kikuchi, Day, and Gorman reprising their roles, is scheduled for release on February 23, 2018.

In 2013, alien monsters called Kaiju emerge from an interdimensional portal called “The Breach” at the bottom of the Pacific Ocean. Over the course of 2 years, the kaiju wreak havoc upon coastal cities along the ring of fire, such as San Francisco, Sydney, Manila and Hong Kong. Humanity responds by constructing giant mecha called Jaegers, to combat the alien threat. Each Jaeger is co-piloted by two or more people, who share a mental link via a process called “Drifting” to share the mental stress of piloting the machine.

In 2020, Gipsy Danger, piloted by brothers Raleigh and Yancy Becket, defends Anchorage from a Kaiju named Knifehead. They leave their post, disobeying orders from Marshal Stacker Pentecost, in order to rescue a fishing boat, only for the Kaiju to ambush them, wrecking the Jaeger and killing Yancy. Raleigh manages to pilot Gipsy Danger alone, killing Knifehead, but quits the Jaeger Program. Several years later, the world governments decide to end funding for the continuous construction of Jaegers in favour of anti-Kaiju coastal walls, since Kaiju are appearing more frequently and Jaegers are being destroyed faster then they are built. The remaining Jaegers are relocated to Hong Kong under Pentecost’s command, who plans to destroy the Breach using a tactical nuclear weapon.

Pentecost tracks down Raleigh to a wall construction site to recruit him for the assault, though Raleigh still remains traumatised by Yancy’s death. Travelling to the Hong Kong base, the Shatterdome, Raleigh is introduced to Mako Mori, the director of the Jaeger’s restoration program and Pentecost’s adoptive daughter. Four Jaegers remain in operation – the refurbished Gipsy Danger, the Russian Cherno Alpha, Chinese Crimson Typhoon, and the Australian Striker Eureka that will carry the bomb, and piloted by father and son Herc and Chuck Hansen. To find a new co-pilot, Raleigh participates in tryouts, deciding Mako is “drift-compatible”. During their first test, Raleigh falls out of alignment reliving Yancy’s death, causing Mako to become lost in the memory of the Kaiju attack on Tokyo that orphaned her, nearly firing Gipsy’s energy cannon. When Pentecost relieves Mako of piloting duties, as a result of this incident, Raleigh reveals to him his reasons, that during the drift, he learned that Pentecost rescued Mako in the Tokyo attack, and that he is protecting her, due to her own vulnerabilities.

Pentecost consults Kaiju experts Newton Geiszler and Herman Gottlieb. Hermann claims the Breach will stabilise and the Kaiju will increase in number, but it will allow the assault to succeed, while Newton suggests attempting to drift with a Kaiju’s brain to learn more about them, but is dismissed by his colleagues. Newton attempts it regardless, discovering Kaiju are bioweapons grown by alien colonists. Pentecost instructs Newton to find black market dealer Hannibal Chau to obtain another Kaiju brain to drift with it. Newton realises the Kaiju hive mind gained access to his brain, since drifting is a two-way link, and two new Kaiju, Leatherback and Otachi, are sent simultaneously to find him.

All Jaegers save Gipsy Danger are dispatched to intervene. The Kaiju destroy Crimson Typhoon and Cherno Alpha and kill their pilots, while Leatherback paralyzes Striker Eureka with an EMP blast. Pentecost sends Gipsy Danger to help, the only Jaeger powered by a nuclear reactor while the others are digital. Gipsy kills Leatherback and Otachi shortly after during her search for Newton. Newton and Hannibal go to harvest Otachi’s secondary brain, discovering she is pregnant. The infant Kaiju bursts out, devours Hannibal, before choking on its own umbilical cord. Newton and Hermann drift with the infant’s brain, discovering the Breach only opens in the presence of a Kaiju’s DNA.

Pentecost reveals to Raleigh he has terminal cancer due to piloting a first-generation Jaeger which lacked radiation shielding. The last time he piloted a Jaeger was in the Tokyo attack, during which he was forced to kill the Kaiju alone, making him and Raleigh the only pilots who have piloted a Jaeger without a copilot (known as solo combat). Two new Kaiju, Raiju and Scunner, are detected guarding the Breach, prompting Gipsy and Striker, piloted by Pentecost and Chuck, to go ahead with the assault. Approaching the Breach, the Jaegers are attacked by the Kaiju, and a new “Category Five” Kaiju, Slattern, resulting in the death of Raiju and the injuries of Scunner and Slattern, but Striker is crippled. Learning the truth from Newton and Hermann, Pentecost and Chuck decide to detonate the bomb while Gipsy self-destructs its reactor to seal the Breach. After Striker’s bomb destroys Scunner and further injures Slattern, Gipsy slaughters the Kaiju, riding its corpse into the Breach. Raleigh removes Mako from Gipsy and manually sets Gipsy to self-destruct, escaping before it explodes and seals the Breach.

Raleigh and Mako’s escape pods surface in the Pacific Ocean, where both embrace as rescue helicopters arrive. In a mid-credits scene, Hannibal cuts his way out of the Kaiju infant.

DVDDVD PackDVDSFun MoviesPacific Rim Movie
GANTZ:O MovieClaymore Episodes
Dark MatterDark Side EnergyDarkside Energy
The Darkside EnergyMythology
Black MarketBlack Market Body PartsBody Part Harvesting