Mirror image film poster showing Nicole’s ‘open’ eye in the midst of sex: the characters’ inner pysches and problems are about to be mirrored in the ‘real’ world, as they realize they have been blind and ‘profane.’

By: Jay

Eyes Wide Shut is a film that failed to live to the expectations of many. It was supposed to be an edgy thriller that made statements about upper echelon decadence, while also utilizing the real world sex life of Tom Cruise and Nicole Kidman as a kind of doorway bridging the gap between reality and fantasy – something that does come up in other Kubrick films, such as 2001: A Space Odyssey.  In this Kubrick film, however, we have a statement about who runs the “show.”  The show is both the film itself, as well as reality, and Kubrick wants viewers to realize that reality is run by our present showmasters of the videodrome. The viewer is supposed to reflect upon the decadence of the Eastern elite establishment, but also notice that viewing the film itself is homage to present social hypocrisy, since the film is a wannabe voyeuristic step into the sex lives of others. In this regard, it functions as an initiation. None of the other analysts and commenters have really noticed this. Virtually every review I have read sees it as some elaborate “MKULTRA/Illuminati” mind control thing (as is supposedly everything on those sites), while other reviews from professors and academia see it as a social or psychological commentary.

I think it has elements of all this, but the real goal is, I believe, an initiation process. The viewer is at the film because he or she is curious about Hollywood secrets and elite lives. Think of all the silly gossip magazines we have.  The “average Joe” went to see the film for a glimpse of Nicole Kidman, and Kubrick wants the viewer to see the hypocrisy in such an action, given that most people will “judge” the film’s secret society cult. Eyes Wide Shut, then, is a descriptor of the audience, as well as the characters in the film, who don’t really understand the socio-political power base that runs things. The power base is not, according to Kubrick’s film, the average politician or wealthy doctor or lawyer in New York.  Indeed, this is precisely Kidman and Cruise’s characters’ status: they are unwitting inductees. Thus throughout the film, the viewers eyes are wide shut to the reality of the power structure, just as Kidman and Cruise’s characters are, until the end, when they have their eyes “opened,” as they both say at the end. Let us proceed.

The opening scene shows us Mrs. Harford (Nicole Kidman) between two pillars. This is the doorway to the initiation, in other words. The two pillars figure prominently in Freemasonry as the entranceway to the divine, as borrowed from Solomon’s temple:

Nicole stands between two pillars – Jachin and Boaz, setting the initiatory tone for the film.

The two pillars of Freemasonry borrowed from Solomon’s Temple, indicating the doorway to the “mysteries”

The doors of their perception are about to change as they enter the party marked with an inverted pentagram.

Ziegler, Harford’s friend, invites the couple to his parties frequently under the auspices of eventually getting them to participate in the orgies. As it turns out, there are two parties, and Mr. Harford’s old college buddy, Nick Nightingale, plays piano for both. Initially, both Harfords resist the temptation to sleep with other people, yet appear to have the desire given their own marital sexual problems. However, what we continue to suspect is not that the events are randomly occurring, but rather that it has been organized. It is not an accident that Bill Harford’s college buddy has shown up. Alice gets drunk and is then hit on by Sandor Szavost, a wealthy Hungarian.  Szavost is likely a reference to Anton Szandor LaVey, the founder and High Priest of the Church of Satan.  I think this is a symbolic reference, just to let us know the crowd they are being allowed to party with is ultimately an upper echelon Satanic cult. It is also interesting to note that the original story (“Dream Story”) is written about a couple who undergoes the experience in upper class Austria around the turn of the century, since Germany is the origin of the actual members of the Order of Illuminati.

Bill discovers that Ziegler is involved in some shady dealings, and apparently has some connection to drugs and beauty queens. “Mandy,” a beauty queen we later discover, is knocked out from drugs - ‘asleep’ and nude, and we will find Alice experience something similar. Mandy has almost overdosed, and Dr. Harford tells her she cannot keep doing what she is doing: we don’t know if it’s a suicide attempt or not.  It is also interesting that the nude woman in the painting above Mandy is sprawled out in the same position, as if to allude to the film’s thesis of a thin borderline between fantasy or dream, and reality.

Next, we see the Harfords going about daily activities. Notice again the inverted pentagrams in the background:

More inverted pentagrams pop up.

The Harfords then have a big argument over sex and the desire to cheat, and Alice tells Bill she once wanted to have sex with a young man years ago at a hotel. Throughout their condo we see images of gateways in gardens, indicating again that this is a film about initiation. Gardens also bring to mind Eden, and the expulsion of Adam and Eve due to sin, or it could refer to their coming initiation into the “garden of the gods,” so to speak, as they are about to experience the underworld in overworld.

Garden/doorway imagery.

Bill then leaves to visit a patient who has passed away, and begins his languorous escapade for an extra-marital affair.  He finds out his patient’s daughter has a crush on him, but Bill decides to remain faithful and leaves. He begins to suspect marriage is bad for others, too, as Sandor had tried to convince Alice. Bill then roams the streets looking for sexual fulfillment, passing hookers and sex shops. He then gets harassed by a group of guys who (for no reason whatsoever) call him a homosexual, showing society’s obsession with sex.  Bill bumps into a pretty hooker and is invited to her apartment. He concedes, and steps into the world of the lower class, finding that sex is an “issue” everywhere. More symbolic imagery is used, as we see the prominent placement of books on sociology in the whore’s apartment. Kubrick is showing us that he is making a statement on sociology – but not the one most people think. It’s the true sociology of how the world is really run.  Bill is interrupted from his cheating and decides not to. There are also numerous masks inside the hookers apartment, showing you that society wears a mask, has a fake facade of Christianity – since there are Christmas trees everywhere – yet is anything but traditionally religious. Instead, the masks show society as a fraud. But beyond that, Kubrick wants the viewer to see that those who really run things are masked – they constitute a secret team of wealthy, upper class who remain in the shadows. In fact, this is in my estimation, to be another clue that the hooker is also not a real hooker – she is part of the secret society (hence the masks in her apartment), and is being used to reel Bill in, just like Nick Nightingale.  Most hookers don’t study sociology.

The whore is a hired member of the secret society and her apartment has masks as a clue.

Bill leaves and runs across his buddy Nick playing at another club in town. Nick tells him about the after party – the second party that Sandor had mentioned to Alice it turns out, where Nick plays piano blindfolded. Bill is intrigued, and decides to try to sneak in, after tracking down a cheesy mask and costume at the only costume store still open. The password, Nick tells Bill, is “Fidelio,” bringing to mind the theme of marital faithfulness that has been constantly in question in the film so far.  Bill finds the costume shop, named The Rainbow, which is what the two women who propositioned him at the party had already mentioned – that he can find what he is after “at the end of the rainbow.”  This is a Wizard of Oz reference, and the mirrors and “Alice” have already suggested Alice in Wonderland.  Bill is still oblivious, however, to the synchronicity which, in my opinion, has been planned.  The events are Bill’s initiation, and he is being tested to see if he will be faithful either to his wife, his ambiguous sense of moral, or, ultimately, to the cult – hence, “fidelio.”  It should be noted as well that the cult is clearly Satanic, and Lucifer, the fallen angel of Scripture, who sought to dethrone God, is the light-bearer.  And of course light is a prism or rainbow.

Bill finds what he has been led to – the end of the rainbow.

The costume shop is run by a foreigner who pimps out his daughter, we discover, and I suspect this reference to underage sex also implies connection to the Satanic cult, since my analysis is that events are all planned. Tom then takes a cab to the mansion and sneaks in using the password. There we see a kind of initiation ritual where numerous models are inducted into the cult in a kind of mock Catholic mass, with Bill noticing everyone wearing masks.

Masked balls go back to ancient times, but the past few hundred years they have come to mark the party life of certain cadres of the upper echelons of power. Renaissance Britain had many masked balls, as well as France, and according to Vatican insider and exorcist, Malachi Martin in his famous book Hostage to the Devil, such ritual orgies certainly do take place.  Bill is tricked into revealing his identity and we get the impression the cult is going to kill him, until a girl steps forward to “ransom” herself for him. I suspect this is Mandy from earlier in the film, who now wants out of the secret society. Her way out will be death, as Bill will discover her name in the obituary for an overdose.  Here is a great example of a modern masked ball of upper class elites.

Bill takes the cab home and Alice wakes up giggling and laughing, as if she had been drugged. He tells her she was dreaming, and she starts to cry. He asks what the “dream” was and she says it was “so weird” – “we were in a deserted city and our clothes were gone. We were naked and I was terrified and I felt ashamed. And I was angry because you…rushed away to find clothes for us. As soon as you were gone it was completely different. I felt wonderful. Then I was lying in a beautiful garden stretched out naked in the sunlight and a man walked out of the woods. He was the man from the hotel I told you about – the Naval officer. He stared at me and he just laughed. He just laughed at me….He was kissing me and then we were making love, then there were all these other people around us – hundreds of them everywhere – they were all fucking. And then I was fucking other men, so many I don’t know how many I was with. I knew I could see me in the arms of all these men…and I wanted to make fun of you, to laugh in your face. And so I laughed as loud as could. And that must have been when you woke me up.”

This, in my opinion, is a key clue to the fact that they are both being inducted into the cult. Either Alice has been drugged and doesn’t recall being used, thinking it was a dream, or she is a willing part of the initiation process for Bill, insofar as she has already been brought in. Either are possible. Bill is distraught and tries to track down the cult again, but is warned not to inquire any further. Bill decides he still wants to have an affair, and calls up the whore, only to discover she is nowhere to be found and that she has aids.  Bill leaves and wanders the streets again, only to find that he is being followed by shady characters. He finds out in the paper that Mandy has overdosed, and he goes to the morgue to find out that she had most likely been killed.  Bill goes to talk to Ziegler and Ziegler reveals that he is in the cult and was there that night when Bill snuck in. Ziegler warns him to not investigate any further, while Bill is shocked that his good friend is part of a secret society magick sex cult. It is also interesting that Ziegler’s house is decorated with paintings of what appear to be British aristocracy.

Ziegler tells him that he figured out that Nick had mentioned the cult. Ziegler tells Bill he had him followed and found out he had been seeking out why Nick had disappeared. Ziegler then says, “Bill, suppose I tell that everything that happened there, the threats, the girl’s warnings, suppose I said all of that was staged.  That it was a kind of charade. That it was fake?…to scare the shit out of you to keep you quiet about where you’d been and what you’d seen.”  Bill tells Ziegler he saw Mandy’s body, and Ziegler says she was the one at the party. Bill asks what kind of charade ends with someone ending up dead.  In other words, we find out that it was a ritual killing. Bill comes home to find the mask that he had lost on the pillow next to Alice, who is asleep. In other words, we are to suspect either that Alice knows he was there, or she is telling him that she is involved. Bill breaks down and “tells her everything.”  Bill has been initiated into top dog Satanic masonry – not just the local low-level stuff. Significantly, Cruise’s character gives the Masonic sign of Secrecy – the hand on the chest with forefinger extended up, as mentioned in of Richardson’s Monitor of Freemasonry, page 86 .

Oath of Secrecy

Here is Satanist Aleister Crowley giving the sign of secrecy.

Bill confesses to Alice and they both are upset. After the confession the realize they had promised to take their daughter Christmas shopping that morning. In the shopping scene we see another inverted pentagram and a purposefully placed “Magic circle” game, as well as another display labelled “magic.” The couple has now stepped into the magic circle and their eyes are no longer shut. They have been “illuminated.”  We had already seen a “magic circle” of models at the initiation ritual in the mansion. In the toy store, Bill and Alice discuss what they should do, deciding that they should be “grateful.” Alice says “we should be grateful that we have managed to survive through all our adventures, whether they were real or only a dream.”  Bill asks if she is sure, and Alice says she will forgive one night and Bill says “No dream is ever just a dream.” Alice responds that they are “awake now, and hopefully, for a long time to come” “Forever,” they both say. ‘Let’s not say forever,” Alice retorts, “it frightens me. But I do love you, and you know, there is something very important we need to do as soon as possible – fuck.”

Alice and Bill are surrounded by pentagrams and the “Magic Circle.”

So the film is certainly about the different issues of marital problems our society creates, with its decadence and veneer of Christianity, as well as its sexual issues, but that is only half the story. The story is about the couple “waking up” and seeing the social power structure as it really is – rich elites who are into bizarre cults and weird sex magick. If you want your eyes opened, this is the whole point of the film. The power structure is about power and sex, but not just any old thing – particularly ritualized sex and gnostic, masonic, Satanic cult versions. This was the point of the Eden imagery, as well as the Alice and Wonderland and Oz references – the transition both from a fantasy reality of the dreamworld and base sexual desires, into the fake world of the film itself, as well as the transition from eyes shut, to awake. Not only was it supposed to be an initiation for the couple, the viewer is supposed to be initiated to the nature of the underworld, as well. This is what all the other reviewers have missed.

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In this interview, I quiz writer Mark Hackard about a plethora of topics, including medieval and modern philosophy and its degeneration, conspiracy and government, the new world order and Russia, eastern and western theology, esoterism and film, psy ops and mass media, transhumanism, literature, and a host of other issues.  Mark is a Russia specialist and an exceptional social/political writer.  Mark writes for Alternative Right and his articles can be found here and at TakisMag here.  Check out Mark’s appearance on RT here, discussing Brzezinski.

to the riddleFilm poster. Image: Wikipedia.

By: Jay

Roman Polanksi’s 1999 The Ninth Gate is not his best film, but it does contain a high level of esoteric symbology and twilight references pertinent to researchers. Based on the novel The Club Dumas by Arturo Perez-Reverte, the film follows an antiquarian book dealer named Dean Corso (Johnny Depp) who is hired by a wealthy collector to track down the authentic copy of The Nine Gates which legend holds the Devil himself penned. An obscure 17th century Spanish mystic, Aristide Torchia, authored the 1666 copy of Lucifer’s original, which properly decoded grants adventurers the ability to ritually summon Satan. I’ve viewed it several times and the devil didn’t appear, but as I wandered about online I decided my notes contained the great esoteric secret! (I am joking.) What other analyses often missed is the film’s similarity to Eyes Wide Shut, both of which give clues and revelations concerning the nefarious practices of many of our real world “elite.” Littered with masonic and alchemical imagery, The Ninth Gate is a film about occult initiation as much as (I argued) Kubrick’s Eyes Wide Shut is.

It is worth mentioning that Polanski’s fleeing the United States due to his decades-old rape accusation was also surrounded by accusations of the practice of witchcraft in the same Hollywood circles connected to the Manson killings. I am of the opinion these rituals and killings were actually the work of a higher network of dark forces, and not primarily that of the actors and directors commonly named. Author Peter Levenda provides evidence of this contention in his volume of Sinister Forces on The Nine, which invites legitimate speculation surrounding synchromistic associations of “9,” as nine is also the Ennead, as well as the 9 major gods of Egypt. It is also important to consider the date Polanski released the film, 1999, as “999” is an upside down “666,” and Eyes Wide Shut was released the same year.  Such triplicities also factor into witchcraft and Satanism, as witchcraft holds to a “law of threefold return,” where good or evil intentions are returned threefold in a kind of karmic way, and in Satanism, where tripling things is seen as a way of inverting the Trinity. Nine is therefore a tripled triple, and holds heavy significance for esotericism.

With the principle of the Ennead in mind, as derived from the nine gods worshipped in the Heliopolis of ancient Egypt, we can extrapolate the process of Corso’s awakening, as he opens the “gates” as the film progresses (though the Egyptian pedigree of the Ennead is up for debate). The gates are not literal gates, of course, but symbolic synchronistic events that occur, leading Corso down a specific path. Like an actor in play, Corso is led, step by step, through each of the pictured engravings in the book, and it is to these images we will now turn. Croso’s rapacious aptitude for scamming clients out of valuable, rare works catches the attention of the wealthy collector, Boris Balkan. Balkan takes an interest in Corso’s reputation, as he scams an unwitting couple out of a priceless copy of Don Quixote, which ironically presages his own coming adventure. In Cervantes’ work, Don Quixote is driven mad by reading endless works of chivalry, erecting in his mind a fantastical world where he is a knight sent forth on a deluded crusade. The film’s usage of the novel serves as a warning to those who embark on a perilous quest for power through occult means, leading ultimately to the demise of all involved (but one in this case).

Don Quixotically.

Balkan recruits Corso to hunt down the other two copies of the Nine Gates after his presentation on witchcraft, wherein he offers to show him his private collection of ancient books on the Devil and the occult. As the reluctant Corso accepts Balkan’s invite, we notice the elevator code to reach Balkan’s secret floor atop the skyscraper is (of course) “666.” The next clue that emerges is the painting on Balkan’s wall of the castle that figures later in the film. A symbolic foreshadowing, the castle is the locale of the final ritual in the film, as will be elaborated below, but here it is important to point out that background and symbolic imagery play throughout the film, leading the viewer down Corso’s path.  Balkan explains the legend of the mythical Devil’s book, The Nine Gates of the Kingdom of Shadows which he claims to possess.  Balkan shows his copy to Corso and the first engraving we see is that a knight on a quest (recalling Quixote) heading toward a castle with the inscription, “Silence is Golden.” As Corso agrees to hunt down the other two copies for a hefty price to compare them, we can see that twice the castle has appeared with the knight giving the Sign of Harpocrates. Thus, the first step is that of seeking gnosis, or hidden knowledge – the esoteric.

“Hush yo mouf!” -Shaft

As Corso embarks on his quest, he encounters femme fatale Liana Telfer (Lena Olin), the wife of “suicided” collector, Andrew Telfer who opened the film’s beginning. Liana seduces Corso with intention of exchanging sex for the return of her copy Balkan obtained, and in the midst of sex and scuffle, Corso notices a entwined serpent tattoo on Liana’s thigh. Liana is unsuccessful in obtaining the copy, but the following day in the library as Corso researches the gates deeper, he spots an engraving of a serpent around a tree, biting its own tail, which matches Liana’s tattoo. The inscription is “Sic Luceat Lux,” meaning let the light shine, and we are given another clue regarding film’s meaning. The ourobouros is symbolic of several things, but principally it is the Platonic and Egyptian symbol of the universe as a whole. The light is that of Lucifer, and the tree is the tree of knowledge of good and evil from Genesis 1-3. St. Paul comes to mind, who wrote: “…Satan himself is transformed into an angel of light” (2 Cor. 11:4). In other words, the gnosis of the serpent, known for his wisdom, is the chief meaning the film is going to convey, but this gnosis comes at a great price, as we shall see.

The Tree of Gnosis with ouroboros.

After catching a glimpse of the mysterious “Girl” who is tailing him, Corso returns to the book to find the next engraving to be that of a woman riding the beast/dragon, with the aforementioned castle in flames. Somewhat shocked by this synchronicity, Corso put the homework on pause. The harlot riding the beast is well-known imagery from St. John’s Apocalypse, which reads as follows:

“So he carried me away in the Spirit into the wilderness. And I saw a woman sitting on a scarlet beast which was full of names of blasphemy, having seven heads and ten horns. The woman was arrayed in purple and scarlet, and adorned with gold and precious stones and pearls, having in her hand a golden cup full of abominations and the filthiness of her fornication. And on her forehead a name was written:

MYSTERY, BABYLON THE GREAT,
THE MOTHER OF HARLOTS
AND OF THE ABOMINATIONS
OF THE EARTH.

I saw the woman, drunk with the blood of the saints and with the blood of the martyrs of Jesus. And have when I saw her, I marveled with great amazement.” (Apoc. 17:3-6)

Hos ridin tha beast.

Since The Ninth Gate has a clearly Crowleyan/sex cultish element to it, it should be noted wizards, sorcerers and gnostics generally make terrible exegetes. Never allowing for any sensible historic principles of hermeneutics and exegesis, occultic interpreters find fertile ground for speculation and deception in prophetic biblical texts, with St. John’s Apocalypse occupying the choice place. Having nothing to do with anyone’s personal speculations and finding their principal fulfillment in the first century destruction of Jerusalem and in Roman paganism, cults for centuries have borrowed these texts for all manner of gibberish. In this case, the Crowleyan strands have tended to see the Apocalpyse as a gnostic means by which the “beast” and its attendant powers might be ritually conjured. For the purposes of analyzing the film, the references are instantiated in the cast of characters Corso encounters, with the “Girl” filling the role of the Harlot of Mystery Babalon. It’s also a reveal in that the woman in the engraving is holding the book – it’s her book, showing the Nine Gates book in the film is the Girl’s book.  It also brings to mind the “Babalon working” Kenneth Grant wrote about, as one of Crowley and rocket scientist Jack Parson’s attempts to bring about the birth of the “Antichrist.”  Grant’s book The Ninth Arch also may be what is referenced here.

As Corso returns to work after finding his apartment ransacked, a bust of Dante is visible, hearkening to the Inferno. Like a dark version of Dante, Corso’s Vergil will be the Girl, also functioning as an inverted Beatrice. Corso’s journey is actually a ritual and spiritual quest, all coalescing to a summation. As mentioned earlier, Liana seduces Corso, and knocks him unconscious. When Corso returns to his book store, he finds his partner Bernie ritually murdered. Hung upside down, the next engraving matches the “hanged man” image familiar to masonry and tarot. Sensing he’s in over his head, Corso tries to give up the quest, but Balkan insists he continue, coaxing him with more cash.

How’s it hangin?

The hanged man is a warning not to venture into mysteries presumptuously or with importunity. This is explained in the next scene, when the next engraving is also a warning about danger descending from above, the Ceniza bothers explain. The cherub in the picture even has a mustache like the Ceniza brothers, and the significance of them being twins also relates to Tarot, as the “Lovers” card is sometimes Gemini, or the twins. You can see here the resemblance between the two. The “lovers” symbology picks up the sex magick theme again, as Corso will attain concourse, intercourse and union, with his angelic partner, the whore of Babalon. Corso also discovers here the engravings differ, with LCF (Lucifer) signing some copies, and not others.

17th century version of the lovers or the twins.

The fist copy compared is the Fargas manuscript, where Corso notices the image of the old man with keys knocking on a door. The old man in the engraving resembles Fargas himself. Corso sees LCF again, and turns the page to reveal a fool or jester entering a labyrinth (Corso). The old man is a reference to the Hermit in the tarot deck, which signifies withdrawal, philosophical reflection and wisdom, and in some cases gives the wisdom to overcome some obstacle or puzzle. For the film’s narrative, Corso stumbles upon the divergence in the manuscripts at this point, which is the key to decoding the message: Lucifer penned the original, and the engravings in each differ to reveal a specific clue. Corso also discovers his Girl guardian seems to possess supernatural powers, yet reluctantly followers her lead, while she appears and disappears as the situation dictates. At this juncture, it becomes evident the events as a whole are being organized by higher forces: Corso laments he is a pawn in a larger game.

Led Zeppelin ain’t here, old man.

Another clue to the events being arranged is the recurring rings worn by the major characters, signifying membership in the Satanic cult at the heart of the film.  Corso next visits Baroness Kessler who reveals the existence of this cult, the Order of the Silver Serpent, whose membership rosters include old nobility, nuveaux riche, actors and musicians. The Order was created to “preserve the secret of the Devil,” she claims, but had fallen into mere hedonistic pleasure as an outlet for secret orgies. Eyes Wide Shut comes to mind, and strikingly, the mansion used for the orgy scene in both films is Mentmore Towers. Mentmore has long been home to strange activity, from the Beatles engaging in Transcendental Meditation, to it also being the site used for Bruce Wayne’s estate in Christopher Nolan’s Batman films. Passing from the hands of the Rothschild family to the Maharishi Yogi Foundation, it is now owned by the Rueben brothers. Like Bill Harford in Eyes Wide Shut, Corso is being led down an alchemical path that is opening “gates” in his psyche. Baroness Kessler opines that the members of the Order are deluded their belief power and wealth comes from the Order, when it is the Devil himself that grants the power – the very thing that will occur with Corso. [Correction: the estate is not Mentmore, but Chateau de Ferrieres, a French Rothschild estate built on the pattern of Mentmore. Thanks to a reader. -Jay] 

After rescuing Corso from Liana’s goon, the Girl marks Corso’s forehead with her blood like a reverse version of Ash Wednesday. Corso’s being harassed and followed, as well as his interactions with the concierge again bring to mind Eyes Wide Shut, as Balkan organizes another muder: this time, of Baroness Kessler through poison and immolation. Corso reveals to the Baroness the three variations in three manuscripts make 9, thus solving (he thinks) the Devil’s riddle. Nine is, in Western hermeticism, the number of initiation and judgment, and therefore entire thrust of the film is Corso’s initiation process (think of 9/11 as mass ritual as some researchers have posited). As Corso studies the next engraving, it details an initiate being flogged by another knight outside the castle, with others being impaled on a rack. Corso, like the initiate in the picture, is at that moment “flogged” and knocked unconscious, awakening to find the Baroness poisoned as the library catches fire, making her another sacrifice.

Faithful flagellant followers and fools.

The Girl and Corso then tail Liana to her French hometown of St. Martin, where her family owns a palatial estate (Mentmore) discovered to be the site of elite Satanic rituals. The ritual features a bed-altar (for sex magick), with a large image of the serpent entwined around the tree, recalling again the gnosis of Eden’s Tree of Knowledge the serpent illicitly offered “to become like God” (Gen. 3:1-7). “St. Martin” also calls to mind the French mystic Louis Claude de-St. Martin, who participated in a revival of gnostic ideas during the time of the French Revolution. Martinism bears striking resemblances to Freemasonry, and probably borrowed its grades and ranks, as well as elements of cabalism and Jacob Bohme. Later adherents of Martinism would be involved in occult “revivals” elsewhere, such as reportedly Gerard Encausse, or “Papus.” Polanski may have had this in mind when including it in the script, drawing another connection to the occult.

As the ritual commences, Balkan arrives to kill Liana and steal the book, ousting the rest of the cult as cowards and frauds. Corso then follows Balkan to the mysterious castle in the wilderness we’ve seen throughout to find him engaged in his own personal ritual magick ceremony designed to grant him entrance to the ninth gate – apotheosis and immortality. Another potential reference to Dante, Corso falls through the floor as he descends into the bowels of the castle, stuck immobile with his head protruding. In the Inferno, Dante has certain sinners so transfixed.  Following this, Balkan immolates himself in the ritual after pronouncing it to be the path to “equality with God,” with the Inferno imagery coming to full fruition. Balkan becomes the final sacrifice while Corso escapes by falling even further and hurriedly collecting the manuscript it’s engulfed. Before leaving however, Corso is seduced by the Girl who has reappeared.  Outside the enflamed castle the “woman rides the beast,” and the final engracing is fulfilled as they copulate, leading to a union of fallen angel and man. In some far eastern occultic and ancient practices the goal of sexual union is precisely that of union with a “god,” and here the suggestion is definitely Tantric sex magick.

Other have noticed the parallels, with this image from Davidicke.com making my point.

In the bedeviled afterglow the Girl reveals to Corso that the final engraving is a forgery and that the Ceniza brothers have the real final secret. When Corso returns to Spain to the brothers’ shop, he discovers they too have disappeared and a final page on a shelf is all that’s left, featuring the true engraving, which is an image of the Girl herself “riding” the beast. The final scene is Corso walking into an illuminated castle gate, as he has performed and undergone all the necessary ritual enactments. The explanation of this strange ending is what I have given above – the journey itself was the process of Corso opening the “gates” to gnostic illumination. The final “secret” was his own union with the whore of Babalon, allowing him entrance to immortality. Contrary to what most viewers would’ve suspected, the entire journey was about Corso himself as the initiate on the path to discovery, not the cult or the power-mad elites seeking apotheosis through impossible means. Ultimately, The Ninth Gate is a gnostic allegory of illumination through the union of opposites, where Corso “unites” with his celestial babe guardian (fallen) angel, like Dante with Vergil and Beatrice – a counter-initiatic trek into Dis. The “gates” were not opened through the working of cult rituals, but in the psyche of Corso as synchronistic ritual events were occurring all around him along the way, functioning as a reverse telling of Dante. For millennia, occultic con men have held out promises of immortality and self-salvation, all the way back to the original con of the serpent in the Garden – and all of these cons are built on appeals to man’s vanity and pride.  All along the way, that long historical path is littered with the skulls and damaged psyches of duped individuals who fell for the perennial scam, as Dante’s Inferno is littered with the skulls of sinners, priests and popes.

Stuck in a rut. Inferno engraving by Dore.

Film poster.

Completely rewritten.

By: Jay Dyer

It’s always fun to go back and watch the movies you grew up with. However, it can also be a laughingly disturbing experience, akin to finding out that uncle you had that was so cool was actually an alcoholic. One of the best examples of such nightmares that has receded into the recesses of the mind is the Jim Henson/George Lucas production Labyrinth (1986), starring David Bowie and Jennifer Connelly.  Famously known for Bowie as “Jareth,” the Spandez-sporting witch who can transform into an owl (and trap you in an Escher maze), Labyrinth is undoubtedly packed with Kabbalistic, Jungian and hermetic symbolism that is worth investigating.

Seemingly a childish mish-mash of various fairy tales into a puppeteer’s hodgepodge, I decided it was also necessary to re-write the very first Jay’sAnalysis analysis, and look back on my own development of thought almost a decade later.  I’m embarrassed to say the writing was sub-par, and quite likely ten years from now, this present writing will be equally as lacking.  So after ten years, and a few million reads later, let’s look at Labyrinth afresh.

The narrative centers around Sarah (Jennifer Connelly) on the eve of puberty and womanhood, yet still entranced by the ease and simplicity of her childhood fantasy world. Sarah’s mother has apparently run off to be an actress we derive from the Playbill issues in her bedroom, and predictably in fairy-tale fashion, Sarah hates her “wicked stepmother.”  Sarah’s obsession with fantasies thus derives from her inability to cope with the harsh reality of the emotional let-downs of the real world. The opening scene presents her in a park/garden, where she wears a virginal white dress emblematic of Edenic purity, reciting invocatory lines from the child’s book, The Labyrinth. The curious feature of these scenes is her placement in front of the phallic obelisks, foreshadowing the hermetic and masonic to come.

Before delving into the inner, psychical journey Sarah will take into her own subconscious (the labyrinth), it is worth considering the classic mythological significance of labyrinths.  Labyrinths have had a wide usage since ancient times, the most famous of course being the story of Daedalus in Homer, who constructs a dancing ground for Ariadne, and later is the architect of the labyrinth for King Minos in which Theseus battles a minotaur.  In Latin poet Ovid, the labyrinth is so skillfully crafted, even as the architect he has a difficult time escaping.  Ovid records in Metamorphoses VIII:

“The scandal concerning his family grew, and the queen’s unnatural adultery was evident from the birth of a strange hybrid monster. Minos resolved to remove this shame, the Minotaur, from his house, and hide it away in a labyrinth with blind passageways. Daedalus, celebrated for his skill in architecture, laid out the design, and confused the clues to direction, and led the eye into a tortuous maze, by the windings of alternating paths. No differently from the way in which the watery Maeander deludes the sight, flowing backwards and forwards in its changeable course, through the meadows of Phrygia, facing the running waves advancing to meet it, now directing its uncertain waters towards its source, now towards the open sea: so Daedalus made the endless pathways of the maze, and was scarcely able to recover the entrance himself: the building was as deceptive as that.”

The Labyrinth of Sarah’s own unconscious mind.

Henson/Lucas’ labyrinth hearkens back to the labyrinth of classical mythology, as well as relating to the perennial journey of the hero on his quest to the underworld.  One can see how the transference of the earthen labyrinth and abyss-like waterways can be read as an allegory of the unconscious mind, the underworld of Hades and death, as well as being associated with the worlds in which we enter in our dream state.  This astral realm, intimately connected to the realm of the subconscious is the wellspring from which the archetypes of experience spring, corresponding to the archetypal forms in the outer world of phenomenal experience, as we will see below.

Upon entering the labyrinth learns quickly that things are not as they appear – fairies bite, not bless. Doors are not where they appear and missing where they should be. In the medieval world, labyrinths were a symbol of making our way though this wayward world to heaven. In Jung, the Labyrinth is also an image of the individual’s unconscious psyche. We will see Sarah fall several times in the film, deeper and deeper into the labyrinth. In “The Process of Individuation” by M.L. von Franz in Carl Jung’s Man and His Symbols, the author explains of the meaning of the labyrinth as subconscious:

“The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is “open” to other influences in one’s unconscious shadow side and how uncanny and alien elements can break in.” (pg. 176)

Sarah and her obelisks.

Sarah has entered another world, an alternate from our own, which seems to purposefully mirror all the elements in her bedroom.  Considering Henson’s usage of kabbalistic and gnostic imagery, symbolism and tradition in his The Dark Crystal, it is not outside the sphere of possibility to posit a kabbalistic version of alternate worlds in the case of Sarah’s psyche/subconcious.  Kabbalisitc scholar Gershom Scholem explains in his famous Kabbalah of these worlds:

A young Bowie sketches out the Kabbalistic Sephirot.

“The common element in all these doctrines is supposition that during the first steps toward emanation, certain abortive developments took place which had no direct effect on the actual creation of the present worlds, although remnants of these destroyed worlds did not entirely disappear and something of them still hovers disruptively among us….Most kabbalists agreed that there is no essential break in the continuity of the influx of emanation which led to the development of additional areas of creation as well, such as the world of the intellect, the world of the spheres and the lower world.  But they maintained that whatever preceded these secondary stages was part of the divine domain, which they symbolically portrayed as a series of events in the world of emanation, whereas from this point on.” (pg. 117)

This quote gives a clue into what is going on within Sarah: In her bedroom we see Escher’s maze, the various creatures that populate the maze, a small marble labyrinth, the Wizard of Oz, other fairy tales, and a statue of Jareth.  In other words, the world construct of Jareth’s labyrinth is actually a construct of Sarah’s subconscious, where the transference of her pain over her mother manifest in the beastly and foreign forms of the other-worldly maze.  Upon entering the labyrinth learns quickly that things are not as they appear – fairies bite, not bless. Doors are not where they appear and missing where they should be. In the medieval world, labyrinths were a symbol of making our way though this wayward world to heaven, which is here Sarah’s journey through her own inner psychical world towards individuation.

Clearly the phallic/mason images come to the fore as Sarah travels through the Labyrinth, and given Jim Henson’s, Monty Python’s Terry Jones’ and George Lucas’ penchant for such masonic myopia, we should not be surprised.  However, seven years ago, I read this through your average conspiracy-theorist’s goggles, and now I have a different take.  The usage of the masonic and kabbalistic imagery concerns Sarah’s process of leaving childhood for adulthood, and specifically puberty.  Previously clad in virginal white, the Sarah encounters numerous instances of bodily functions and base desires, such as Hoggle urinating and the Bog of Eternal Stench, prior to her sexual awakening. The mental process itself is conceived of as an alchemical transformation, since the body itself “transforms” as it grows through puberty.

The masked ball sequence may have a reference to Eyes Wide Shut style orgy parties, and the two scenes are reminiscent of one another, but I think the most natural reading is that of Sarah’s sexuality.   You’ll note the penis shape of many of the noses at the ball, and the hints of her dalliance with orgies, which I read as the curiosities of a person coming of age.  It is certainly possible that there is a deeper reference to sex slavery and the manipulation of alter personas to follow a “programming” that leads to the type of lifestyle the models and beauty queens live in Eyes Wide Shut. Yet whether this was intended by Henson and Lucas, I can’t say.

Let’s get this masked ball, dick nose party started!

In regards to Jareth and his owl powers, in ancient mythology the owl denoted Athena to the Greeks, goddess of wisdom. In Labyrinth, however, the imagery seems to be similar to that of it’s meaning to the Romans – mystique and bad luck. Lilith is associated with this as well, and in certain traditions and in terms of the Illuminati proper, the owl was a symbol of autonomous reason and rationality, based on the research done by Terry Melanson. While there may be some exoteric association with the “Illuminati,” in Henson and company’s mind, it appears to be more of a bad omen and outright witchery – not Illuminati rationalism. Indeed, Jareth is more of a witch, which in Latin is strix, form which comes the Italian strega, meaning “witch.” He is the king of the goblins in the film, and in real life, witches aren’t always women, and in the final sequence Jareth is revealed to be merely a phantasm of Sarah’s displaced fantasies.

Sarah’s desire to remain in adolescence and retain her freedom from motherhood and responsibility is due to her anger with both her mother and stepmom.  She does not want to babysit Toby and instead invokes a curse in anger that the Goblin King (Jareth) would come and take him away. Bowie enters as an owl in a flurry of glitter and spandex nastiness as the androgynous, calling to mind again alchemical doctrines, where the union of opposites into one is seen as the highest form of unity, relating back to the sublime source from which all arises, the One.  Sarah’s fascination with his androgyny is associated with her own confused ideas about sexuality due to her dysfunctional family life.  Sarah learns quickly that things are not as they appear – fairies bite, not bless. Doors are not where they appear and missing where they should be.  This is ultimately another reference to her own confusion about the world as it is.  Families break up, relationships fizzle, people leave sexual partners for new, and nothing is as it seems.

Sarah confronts this apparent duality and contrariety of reality particularly as she figures out the relationship of male to female.  Presuming as youth does that it has it all figured out, she assumes she has solved the Scotty-dogs’ riddles, but as a result, ends up falling even deeper into her subconscious. Ending up in an oubliette, a place of forgetting things, Sarah is tempted to forget her brother and her responsibilities.  Worth noting here is the Platonic notion of forgetting our precious existence from which we have fallen, the realm of the forms, into the lower, base existence of materiality.  Sarah’s fall into her own inner fantasy world is a mirror of the platonic doctrine of being trapped in the world of appearances where truth is lost for the ease and simplicity of lies and phantasms.

In the deepest recesses of your mind dwells David Bowie in Spandex, forever vexing your psyche.

After battling a golem, the Jewish tradition of an animated mechanical man, Sarah has a staring contest with Jareth inside the M.C. Escher strangeloop maze.  Escher is significant here because of the mathematical and metaphysical implications of his artwork.  The mathematics and ontology of an Escher work are generally styled in the form of a Mobius strip, where the ending is in a state of eternal recurrence with the beginning.  For Douglas Hofstadter, this has tremendous relevance for our own psyche, as we seem to experience this same phenomena in a multitude of forms in life, from music to math to art.  For the psyche, it raises questions of immateriality and what, exactly, consciousness it.  In the Labyrinth narrative its usage is Sarah’s own entrapment in her mind.  Her pain and resentment has become a psychic prison from which she is unable to mature into adulthood.  If Sarah does not face her own shade, Jareth, and come to accept reality, she runs the risk of enslavement in her own perpetual arrested development.  Thus, the classic quest of the hero is here applied to the journey of the individual psyche into maturation.

This season’s tagline suggests death may begin in this life, prior to actual death, and so with life.

By: Jay Dyer

“All the most powerful ideas in history go back to archetypes. This is particularly true of religious ideas, but the central concepts of science, philosophy, and ethics are no exception to this rule. In their present form they are variants of archetypal ideas, created by consciously applying and adapting these ideas to reality. For it is the function of consciousness not only to recognize and assimilate the external world through the gateway of the senses, but to translate into visible reality the world within us.” -Carl Gustav Jung, “The Structure of the Psyche” (1927), in Collected Works Vol. 8, The Structure and Dynamics of the Psyche, P. 342

Nick Pizolatto’s second season of True Detective was quite a blend, spicing and saucing us with influences that ranged from classic of neo-noir like Chinatown, Mulholland Drive, Lost Highway and Twin Peaks, The Black Dhalia and a dash of Weekend at Bernie’s with a side of CHiPs. In the midst of all this homage, however, we do find traces of the same elements of subtle occult and esoteric elements, almost as disturbingly intense as last season’s psychodrama. In this essay and analysis, we will examine and highlight those elements ignored and unknown to the mass of online critics, whose state school “arts” education long ago disabled any semblance of ability to recognize any meaning or significance beyond trite, boring gender obsessions.  Indeed, this season’s disregard for politically correct absurdities is welcomed and likely a source of much of the critical opprobrium.

Last season’s intention I argued was to capture the essence of the soul’s grappling with the forces of darkness and light in a world where it seems darkness owns the day. Even a nihilistic Nietzschean Übermensch can be tamed, and the heart’s senses rekindled anew, as we witnessed Rust Cohle’s transformation and Marty’s moral cowardice. Here things get much more complex, with a variety of characters and a labyrinthine plot of crooked cops, diamonds, New age cults, human trafficking, drugs and gangs, big land deals, elite sex parties and mobster moves. Of particular interest to myself was the surprising fact that even Vanity Fair was willing to go down the rabbit hole in JaysAnalysis fashion, correctly likening the secretive, full-moon sex parties of the elite to their most obvious Northern California analogue, the infamous Bohemian Grove Club. (Although the rumors surrounding Bohemian Grove don’t involve gorgeous Eastern European women.)

Frank’s all-seeing eye approaches the apex of the pyramid, yet as a small-time mobster making his way, fails to reach the top, as revealed in the title sequence.

Season 2’s focus was both hermetic, yet straightforward. Each of our main characters will face the future successfully only insofar as they allow the relationships to their archetypes in the nuclear family cloud or ruin their present relations. Notions of paternity, progeny and seed dominate, with the phallus taking the center stage from last season’s anal focus. For Frank Semyon (Vince Vaughn), the ability to have children to pass on his budding mobster empire to as inheritance, to have land, is the ultimate goal, yet he finds himself impotent through erectile issues. Frank, we discover, was abused as a child, beaten and left for dead, locked in a dank basement he ponders may have actually been his tomb. As we will see with Ray, Frank is correct in his pillow talk musings, that his life is a dream, as if he is dead, all is “paper mache.” The esoteric theme for season 2 will be that this life is death, and death is entrance into the waking life.

For Ray Velcoro (Colin Farrell), the uncertainty of the biological paternity of his son mirrors his own drunk father’s failures, as Ray takes on “the sins of the fathers,” as they pass on to the sons. Lost in his own mentally-constructed prison, Ray struggles to maintain his sanity amidst a haze of booze, pot and coke, in the hopes he can gain custody of his pudgy, soft son. Ray’s disastrous relationship with his possible son and wife are disastrous due to his own mistake in seeking inside information on his wife’s rapist. Linking up with Semyon and going on bad information, Ray takes justice into his own hands and murders the wrong thug, leading to a downward spiral of more abuse, more outbursts and emotional train wrecks that bring Ray to the edge of self-imposed death.

Ray Velcoro seated in a shot reminiscent of Rust Cohle from season 1.

Bezzerides regresses to her childlike alter and sees her rapist in a drugged, Fantasia-like state.

Like Sophocles’ play, Antigone has disowned her sister and ends up a stubborn heroine just like her Greek analogue. Ani’s sister is a direct parallel to Ismene, as both docile and beautiful, serving as Ani’s foil. Like Antigone in the play, Bezzerides defies the corruption of the state to honor the name of her son through Velcoro, meaning that unlike the ancient Antigone, she exits the cave of death. The interesting question here is how she exits the cave of death, which I read as her life previous to the conclusion of season 2. Only by facing the corrupt elite at the Eyes Wide Shut style orgy and gaining the information necessary to expose the criminal network could this be done, and in turn, that could only be achieved by posing as a prostitute herself, taking ecstasy and regressing to her childhood self where she sees the face of her molestor. The drug trip forces Ani to embark on an inner journey set to a dreamy Disney-like score that suggests a possible mind control programming that recalls something out of Fantasia, The Wizard of Oz or Alice in Wonderland.

Highway Patrol Officer Paul Woodrugh (Taylor Kitsch) also deals with sexual issues in the case of his suppressed homosexual desires manifest in his instances of drug bingeing and blacking out. A former vet and private security operative with the curiously titled firm Black Mountain, Paul is both tempted and repulsed by his former partner and war veteran lover. Paul is missing a father figure in his life, too, with a derelict gambling addict mother we discover was a former showgirl who admits she never wanted a child for career reasons. What all these character studies demonstrate is the immense damage absentee and abusive parenting can create, especially in the case of the role of the “missing male,” a trope I have highlighted many times, hearkening back to Odysseus and his journey.

Monarch butterflies in this case are significant in reference to Paul Woodruff, as a representation of the process of transformation. As is often the case, for all 4 principal characters, trauma-based mind control appears, as all 4 are imprisoned to the “system” they serve, ultimately in their own minds.

Druidic rituals at the actual Bohemian Grove.

Echoing Lynch’s Lost Highway, the porn underground is tied into the corruption matrix of L.A., shown in the opening sequence.

As for California as the setting, the parallels to Polanski’s Chinatown also bear mentioning, since William Mulholland, a key figure in the development of California’s water system, plays into that fictional presentation of real-world corruption. The basis for Chinatown was the “California Water Wars” and the inside corruption on the part of elites who manufactured drought conditions to mask a massive water scam involving land deals. In True Detective season 2, the land deal figures prominently, where a land deal for a railway corridor with billions in state-funded subsidies operating as the boondoggle’s true treasure chest. Photos in the Vinci Mayor Chessani’s office show him colluding with Republican big wigs like the Bushes also suggest Bohemian Grove, since the Grove has tended to favor a more neo-conservative and corporate roster. Note that Ani’s would-be sex partner at the orgy is an “oil man.”  Could the timing of season 2 with California’s drought have a twilight language reference to Chinatown?  I suspect.

Bezzerides and Betty from Lynch’s Mulholland Drive.

Mother’s milk and sacrificial women. Velcoro investigates Caspere’s sex pad.

Quarternary symbology, diamondlike.

“In the Practice of Psychotherapy, Carl Jung discussed the archetypal underpinnings of love between people in terms of the rose: “The wholeness which is a combination of ‘I and you’ is part of a transcendent unity whose nature can only be grasped in symbols like the rose or the coniunctio (Conjunction).”

This is why the “rose” and “springtime” are mentioned numerous times in this season.  The turn of the seasons is also quaternary like the geometry of the diamond, divide into fours like our main characters.  Trapped in their own cyclical, spiraled, psychical prisons that echo Agent Cooper in Twin Peaks, Betty in Mulholland Drive or Fred in Lost Highway, the symbol of the rose is the signpost for exiting the winding, spiraled lost freeway of California fame that populate the opening title sequence.  If season 1 was the outer journey into metaphysical questions relating to the higher dimensions and portals, season 2 is the inner journey of the psyche and the dream state unconscious. As we read in Bette Middler’s song lyrics that characterize the narrative, it’s not just the transmission of seed in the sexual act, love is also about the transformation of the individual’s psyche throughout this life of death, in preparation for death, which is entrance into real life.  It’s the “dream afraid of waking that never takes a chance,” in the case of Woodruff, Velcoro and Semyon, and for Bezzerides as Antigone, the seed of life will blossom into the rose of her new life, both in her psyche and in her offspring.

Some say love, it is a river that drowns the tender reed
Some say love, it is a razor that leaves your soul to bleed
Some say love, it is a hunger an endless aching need
I say love, it is a flower and you, it’s only seed

It’s the heart, afraid of breaking that never learns to dance
It’s the dream, afraid of waking that never takes the chance
It’s the one who won’t be taken who cannot seem to give
And the soul, afraid of dying that never learns to live

When the night has been too lonely and the road has been too long
And you think that love is only for the lucky and the strong
Just remember in the winter far beneath the winter snow
Lies the seed that with the sun’s love, in the spring becomes the rose

Intro theme: “Dream Agent” by Ariel Electron, Holeg Spies and Thierry Gotti on the “Kore Kosmou” album.

In this episode of Esoteric Hollywood, I decode and deconstruct the symbolism and narrative structure of Stanley Kubrick’s Eyes Wide Shut. Delving into the ritual initiatory aspects, I consider Bill as a mark for the sex cult, and propose a unique thesis regarding the role of Alice and their presumed upper class status. Part noir and part surrealism, the dream state blends seamlessly with reality, but your eyes will be wide open.

Esoteric Hollywood is Jay Dyer’s (from JaysAnalysis.com) deconstruction of the deeper messages, symbols, and predictive programming subtexts that underlie modern film, including interviews with artists and experts in numerous media fields. Based on years of research into film analysis, comparative religion, propaganda,psychological warfare, secret societies and mind control, Esoteric Hollywood decodes the biggest movies in an unparalleled way, from the classics of the silver screen to today’s blockbusters. Learn to watch film with completely new eyes, as philosophy and conspiracy combine to enlighten the arts and awaken the masses. Support my show by purchasing your organic products and supplements from Natural News and Talknetwork’s store featuring over 500 lab-tested products.

ESOTERIC HOLLWOOD AIRS EVERY TUES-FRI NIGHT AT 10 PM PACIFIC ON TALKNETWORK.COM

Show Archives are here.

Intro theme: “Dream Agent” by Ariel Electron, Holeg Spies and Thierry Gotti on the “Kore Kosmou” album.

In this episode of Esoteric Hollywood, I decode the esoteric meaning of two important David Lynch films, Lost Highway and Mulholland Drive, the first two of the loosely-titled “Hollywood Trilogy,” with Inland Empire soon to come.  Lynch takes his surrealism and dreamstate philosophy, combined with shamanic notions to produce dark noir psychodramas that often reveal a complex network of symbols, clues and keys that I decode in Esoteric Hollywood.  This is the first half of the show, with the deeper aspects of Mulholland Drive to be saved for later.

Check out Michigan Mushrooms! Use coupon code “Jay” for a discount! Click here.

Esoteric Hollywood is Jay Dyer’s (from JaysAnalysis.com) deconstruction of the deeper messages, symbols, and predictive programming subtexts that underlie modern film, including interviews with artists and experts in numerous media fields. Based on years of research into film analysis, comparative religion, propaganda,psychological warfare, secret societies and mind control, Esoteric Hollywood decodes the biggest movies in an unparalleled way, from the classics of the silver screen to today’s blockbusters. Learn to watch film with completely new eyes, as philosophy and conspiracy combine to enlighten the arts and awaken the masses. Support my show by purchasing your organic products and supplements from Natural News and Talknetwork’s store featuring over 500 lab-tested products.

ESOTERIC HOLLYWOOD AIRS EVERY TUES-FRI NIGHT AT 10 PM PACIFIC ON TALKNETWORK.COM

Show Archives are here.

Or here.

Pick up a copy of my book, if you like this analysis by clicking the image.

By: Jennifer Sodini and Jay Dyer

After a period of silence, Radiohead has reappeared with a new single after a curious marketing pitch, removing their social media profiles from public view.   The new single, “Burn the Witch” is garnering much media attention, particularly in regard to the enigmatic lyrics and symbolism presented in the video.  Pitchfork elaborated on the coded lyrics in a political commentary, writing:

“…the “Burn the Witch” video, which ends up resembling a bit of vintage UK cinema far more familiar to non-British viewers: ’70s horror film The Wicker Man. Teased since the mid-’00s, the song finds Thom Yorke intoning ominous commands like “Stay in the shadows/Cheer at the gallows” and “Abandon all reason/Avoid all eye contact.” Arriving at the current chaotic moment in global politics, though, and set in the quaint visual context of “Trumpton,” the “Burn the Witch” video plays as a pointed critique of nativism-embracing leaders across the UK and Europe, perhaps even the show’s near-namesake stateside (Donald Trump, anyone?).  

In that sense, “Trumpton” reflects the mythical small-town “family values” often championed by the sort of right-wing politicians who, let it be said, have never exactly been Radiohead’s cup of tea. The connection between “Trumpton” and far-right politics became explicit in 2014, when a Twitter user with the handle @Trumpton_UKIP began poking fun at the right-wing, populist UK Independence Party—and a UKIP politician called for a ban on the spoof account. Sad!

You can read the Pitchfork article in its entirety by clicking here, but we thought it would be interesting to analyze the mystical/esoteric significance of the video – since that’s our area of expertise and interest.

The video begins and ends with a blue jay singing, and if you’re piqued by the political element of the video – perhaps this could be alluding to the fact that social media has played such a huge presence in this particular political climate since this bird resembles the Twitter logo, or this may be a reference to @Trumpton_UKIP.  The bird also bears an eerie similarity to the opening montage of  David Lynch’s Twin Peaks and Disney’s Alice in Wonderland (as well as the close of Lynch’s Blue Velvet).  Both Lynch works present idealized America as a dreamland with a dark, occult underbelly masked by conventionalism and hypocrisy.   Radiohead’s video also presents Puritan America (and thus idealized America with its Puritan work ethic and values) as a hypocritical monstrosity, yet foisted upon the global stage as the “model village.”  

However, from a metaphysical point of view – the blue jay’s spirit is an interesting element to begin and end with regardless. Blue jay’s have the ability to mimic hawk calls as a ploy to lure these birds of prey away from jay’s nests – a blue jay’s totem spirit is known for loquaciousness, and the gift of gab. Common vocations of  the blue jay totem are sales people, lawyers, politicians, public speakers, and teachers. Even from a mystical point of view, there seems to be an air of political undertone.

From here, we are taken into a small town – where it seems the mayor of the town is dressed in a rather Masonic garb (see picture above) and is having a discussion with his “village,” giving them a pep talk to be on their best behavior as a rather dapper man is chauffeured into their town.  The pilgrim’s colony is an extension of the British Empire, illustrated by the man in the bowler hat, as time shifts from post-industrial revolution Britain to colonial U.S. , where the puritan work ethic has given rise to a massive labor force concerned with its jobs (“jobes”), thus the Trumpton (Trumpt0wn) reference.

Women are then shown dressing a Maypole (interestingly, the video was released a few days after Beltane), which has a Pagan history, and in The Wicker Man film, the sexuality behind this symbol/tradition is the basis for a large part of the storyline. According to PaganWiccan.com:

“It is believed that the earliest Maypoles were actually living trees, rather than just being a cut pole, as we know them today. Oxford professor and anthropologist E.O. James discusses the Maypole and its connection to Roman traditions in his 1962 article, The Influence of Folklore On the History of Religion. James suggests that trees were stripped of their leaves and limbs, and then decorated with garlands of ivy, vines and flowers as part of the Roman spring celebration. This may have been part of the festival of Floralia, which began on April 28th. Other theories include that the trees, or poles, were wrapped in violets as homage to Attis and Cybele.”

There’s not much documentation about the early years of this celebration, but by the middle ages, most villages in Britain had an annual Maypole celebration going on. In rural areas, the Maypole was typically erected on the village green, but a few places, including some urban neighborhoods in London, had a permanent Maypole that stayed up all year round.

We  then see a man painting a red “x” on a door which is a reference to the Plague cross – could this refer to a plague on both houses politically speaking?  It could also be a reference to the blood of the lamb in the first Passover where the Israelites were spared the Angel of Death as Egypt’s firstborn were killed (see Exodus 12).

At times of plague, it was common to mark the doors of victims of the disease with a large painted cross, either in red or black paint. In later times, large printed crosses were often affixed to doors. Daniel Defoe reported, at the time of the Great Plague in 1665, that the Lord Mayor of London, in his regulations, stated:[1]

“That every house visited [by the disease] be marked with a red cross of a foot long in the middle of the door, evident to be seen, and with these usual printed words, that is to say, “Lord, have mercy upon us,” to be set close over the same cross, there to continue until lawful opening of the same house.”

Later in the video we also see six men wearing deer masks holding athames, conducting a rite in a magic circle around a woman who is tied up, yet unharmed (see photo above).

What’s interesting to note in that in the film Eyes Wide Shut a magical circle ritual is conducted, but the masked/cloaked members of the circle are female – with a man in the middle. Eyes Wide Shut was quite controversial because Stanley Kubrick, died shortly after – and many believe it was an expose of the satanic rituals, and sex magick rites performed by the wealthy elite.  Some authors such as Peter Levenda has proposed a revisionary thesis in regard to the Salem Trials – that the real practitioners of sorcery were the elite New England families who practiced Satanism under a cloak of religious puritanical piety.  Levenda writes:

“In her The Occult Philosophy in the Elizabethan Age (Dame Frances Yates) makes an interesting, if daring, claim that the Puritan movement owed much to occult ideology current in New England at the time, with connections to Pico della Mirandola, Cornelius Agrippa, and other saints of the occultist canon. This form of occultism, known as Christian Cabala to historians, was an amalgamation of the Jewish Cabala with Muslim and Christian elements….Many of New England’s practicing alchemists were Yale and Harvard graduates who continued their experiments into the 1920s.  These alchemists served as chief justice of Massachusetts, president of the Massachusetts Medical Society, president of Yale College, and president of the Cincinnati Medical Society.” (Sinister Foces, Vol. 1, pgs. 16-7)

With the political sub-current of the video, tied to the esoteric symbolism perhaps the inversion here is that the “witch” is the politician/controller – not necessarily the small town folk who are adept at magical practice and trickery. There is one scene where a baker’s pie is shown with a baby calf still bleeding inside of it…perhaps a nod at the gluttony, and greed of the elite at the expense of the innocent?

The Book of Job begins with an introduction to Job’s character—he is described as a blessed man who lived righteously in the Land of Uz. The Lord’s praise of Job prompted Satan to challenge Job’s integrity, suggesting that Job served God simply because God protected him. God removed Job’s protection, allowing Satan to take his wealth, his children, and his physical health (but not his life) in order to test Job’s character. Despite his difficult circumstances, he did not curse God, but rather cursed the day of his birth. And although he anguished over his plight, he stopped short of accusing God of injustice.  The effigy is then lit as a burnt offering of human sacrifice.

Album art with the “pool of blood” based on Moore’s narrative of government staged terror.

Radiohead is no stranger to the notion of pre-signifying future events in their artwork.  Noted author Chuck Klosterman proposed soon after 9/11 that the band’s album Kid A (released prior to 9/11) appeared to have eerie coincidence with the fateful terror events.  Couched in the claims of “climate fear,” the album appears to have a much darker significance.  Klosterman wrote:

“The first song on Kid A paints the Manhattan skyline at 8:00 A.M. on Tuesday morning; the song is titled “Everything in Its Right Place.” People woke up that day “sucking on a lemon,” because that’s what life normally feels like on the Manhattan subway; the city is a beautiful, sour, sarcastic place. We soon move onto song two, which is the title track. It is the sound of woozy, ephemeral normalcy. It is the sound of Jonny Greenwood playing an Ondes Martenot, an instrument best remembered for its use in the Star Trek theme song. You can imagine humans walking to work, riding elevators, getting off the C train and the 3 train, and thinking about a future that will be a lot like the present, only better. The term KID A is Yorke’s moniker for the first cloned human, which he (only half jokingly) suspects may already exist. The consciously misguided message is this: Science is the answer. Technology solves everything, because technology is invulnerable. And this is what almost everyone in America thought around 8:30 A.M. But something happens three and a half minutes into “Kid A”. It suddenly doesn’t feel right, and you don’t exactly know why. This is followed by track three, “The National Anthem”

This is when the first plane slams into the north tower at 470 mph.

“The National Anthem” sounds a bit like a Morphine song. It’s a completely different direction from the first two songs on KID A, and it’s confusing; it’s chaotic. “What’s going on?,” the lyrics ask. “What’s going on?” It gets crazier and crazier, until the second plane hits the second tower (at 9:03 A.M. in reality and at 3:42 in the song). For a moment, things are somber. But then it gets more anarchic. (Reader’s Note: You might want to consider playing KID A right about now, since I’m not always so good at explaining shit like this). Which leads into track four, “How to Disappear Completely.” This is the point where it feels like the world is possibly ending. People try to convince themselves that they are not there. People keep repeating: “This isn’t happening”. People are “floating” (read: falling) to the earth. We are told of strobe lights and blown speakers; there are fireworks and hurricanes. This is a song about being burned alive and jumping out of windows, and this is a song about having to watch those things happen. And it’s followed by an instrumental piece without melody (“Treefingers”), because what can you say when skyscrapers collapse? All you can do is stare at them with your hand over your mouth.

Time passes. It’s afternoon. KID A’s side two, if you have it on vinyl. Action is replaced by thought. The song is “Optimistic, ” a word that becomes more meaningful in its absence. It has lyrics about Ground Zero (“vultures circle the dead”), and it offers a glimpse into how Al Qaeda members think Americans perceive international diplomacy (“the big fish eat the little ones, the big fish eat the little ones/Not my problem, give me some”). Track seven, “In Limbo” is about how the United States has been shaken out of its fantasy, with “nowhere to hide,” finding only “trap doors that open, I spiral down”

Upon first reading, it seems a bit of a stretch – isn’t this merely an author’s interpretation of the album and its artwork, with no real substance to the claim?  When we dig a little deeper, we discover some surprising connections, especially when we look at album artist Stanley Donwood’s inspiration:

“The red swimming pool on the album spine and disc was inspired by the 1998 graphic novel Brought to Light by Alan Moore and Bill Sienkiewicz, in which the number of people killed by state terrorism is measured in 50-gallon swimming pools filled with blood. Donwood said this image “haunted” him during the recording of the album, calling it “a symbol of looming danger and shattered expectations.”  (Link)

Alan Moore, famed esoteric artist, appears to have based his 1988 graphic novel on the noted book of Col. L. Fletcher Prouty, The Secret Team, detailing the CIA’s covert false flag (and staged) events.  Also titled in the series is “Secret Team.”  

And Donwood writes:

“In a book called ‘Brought to Light’ by Alan Moore and Bill Sienkiewicz the numbers of people killed by CIA-sponsored state terrorism is measured in swimming pools. The average human body holds a gallon of blood. An Olympic swimming pool holds fifty gallons. The pools mount up through the book’s narrative, reaching a number I no longer wish to recall. This image haunted me throughout Radiohead’s ‘Kid A’ project, and here I’ve coupled it with a scary bear; the record’s iconic image, and a symbol of looming danger and shattered expectations.”

In conclusion, Radiohead’s video and song constitute a critique of American exceptionalism, consumerism as a result of the Protestant/puritan work ethic and luxurious lifestyle that resulted from industrialization and corporatism, leading to (in the video producer’s mind), a xenophobic perspective of anti-immigration (“Trumptown”).   Behind this political veneer, however, there is a deeper current of an occultic elite that control the engine of American prosperity for a nefarious agenda, where the models build models – puppets building puppets, signifying simulacra  layers veiling the real power structure.  Far from being a “Christian” nation, Radiohead’s song seems to mirror that of Lynch, that the CIA is actually in the background (i.e., the “secret team” reference) functioning as the shadow government that was behind the mass ritual of 9/11 as a version of the towering inferno known as Wicker Man.  

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LA-based West of the Rockies Radio invited me on to discuss new information and research that will be featured in my book, Esoteric Hollywood: Sex, Cults and Symbols in Film.

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Trapped in the diamond-cube pyramid. Jessie succumbs to mind control and narcissism.

By: Jay Dyer

The speedy, steady slide of the arts into total degeneracy as a form of weaponized chaos descends like lightning speed in the West. This devolution and digression into post-post-modern non-meaning and madness is pre-eminently exemplified in the latest from Danish director Nicolas Winding Refn, of Drive (2011) fame. Refn’s Neon Demon is basically Mulholland Drive taken to the next level of depravity, and revamped from the rapacious world of Hollywood to high fashion. Since these two worlds often overlap, Refn’s film is a window into the fact that Madison Avenue and its bourgeoisie, globo-decadence and anti-aesthetic are social engineering tools as much as Hollywood. (This connection is likely, given Refn’s obvious Lynchian influence in his incoherent 2013 film, Only God Forgives).

On top of that, Refn presents the world of high fashion as dominated by the same predatory, vampyric cannibals that prey on the naivety of the would-be movie star. However, it is much more than this – Refn is not merely presenting a cold, calculating network of mobsters, directors and producers who work at the best of dark spiritual forces (as Lynch did in Mulholland), but something even darker. The world of high fashion is caught up in extreme depravity, where covens of witches practice sorcery, mind control, human sacrifice and cannibalism. Perhaps Refn is merely displaying an allegory for cancerous, predatory behavior. Or, perhaps the film’s presentation is not so symbolic.

I don’t recommend this film, as I found it way over the line on the gross-out yuck meter, but I had no idea what I was in for. This analysis is for those who, like me, did watch it. In the title, we have the combination of two seemingly unrelated notions, the supposed “ancient” conception of spirits and devils, the demonic, combined with the glitz, glam and vibrancy of the 1980’s obsession with neon lighting. Modernity meet the medieval, as the aesthetic amalgam of the modern form of the icon, the advertising image, has replaced the old form of the icon (or religious art). The ancient and medieval conception of the icon as the mirror into heaven, the infusion of the higher realms into the mundane and worldly has been eclipsed by the exaltation of the purely material, embodied in the petty bourgeoisie’s nihilistic abandon. Neon Demon is thus an appropriate title.

Jessie in the sacrifice pose of Marat with her inverted, feminized cabalistic Tri-force.

The film’s opening foreshadows the later sacrificial immolation of protagonist Jessie (Elle Fanning), an underage model breaking into the fashion industry as a ‘fresh-faced’ embodiment of the nubile. The placement of Jessie’s body in her “suicide” shoot perfectly mirrors the famed French Revolutionary painting of Marat, showing the Masonic demagogue after his supposed murder. The loose association with France is curious, but could suggest the global “high fashion” cult is directly linked to the occult circles of EU elites. Despite the “socialist” facade, many of these dark networks are immensely wealthy and have been detailed in books like Dave McGowan’s Programmed to Kill, as well as exposure in mainstream stories like Dominique Strauss-Kahn’s “Eyes Wide Shut” parties.  Indeed, dating back to de Sade, the revolutionary obsession with death and the occult has Euro-origins.

Marat with bloody wrist.

Lying about her age, Jessie is coaxed into doing nude shots for her first gig under an elite agency that appears to be operating in concert with all the characters that enter into her circle. Befriending makeup artist and mortician Ruby (Jenna Malone) and two slightly older models, Sarah (Abbey Lee) and Gigi (Bella Heathcote), Jessie is introduced into the fast-paced lifestyle of Hollywood’s clubs and raves, where Ruby and her models prepare Jessie for something beyond her ability to conceive. Secreting Jessie away from the rave, the girls show her a private room where Ruby’s form of performance art includes a bound and gagged body spinning in strobe light to a deep techno beat. Though we are not shown, it is possible Jessie is drugged in this scene, and in some sense programmed by what is in fact a ritual.

From here on, Jessie appears to dissociate and enter into dreamlike states where she sees symbolic forms that resemble imagery from the Kabbalah. “Triforce” symbols appear, and morph into three versions of Jessie herself, ultimately signifying (as will later be revealed) mind control on the part of Ruby and her two models. The three triangles represent these three, and their control over Jessie. When Jessie dissociates, she performs a symbolic kiss with each, as her narcissistic self-destruction is willingly acquiesced to.

Indeed, the bound and gagged body in Ruby’s art represents Jessie herself, bound like a sacrificial lamb to be offered to Diana, as will see. The “Triforce” also represents the Legend of Zelda, presumably a childhood image the young model would be familiar with – this is why Ruby and the photographer dress her up like Princess Zelda at her first professional shoot. The mind control “agents” are patterning Jessie to believe she is living a fantasy come true, a new incarnation of divine royalty.

While the offering to Diana is not explicit, Ruby and her cohort coven arrange for Jessie to move in with Ruby in a palatial Beverly Hills estate as a result of deadbeat and trash Motel operator Hank (Keanu Reeves) raping Jessie. Hank is later revealed to be trafficking in young girls by granting them room and board – which comes at a price, as Hank tortures Jessie by placing a knife in her throat and raping her. Jessie appears to enter a dissociative state as a result of this trauma, hearing her own rape occur in another room.

Jessie dissociates from trauma-based mind control.

As Jessie continues to mentally self-destruct, she flees to Ruby (as she was designed to do), yet refuses her (Ruby’s) lesbian advances. Dissociating again, Jessie dresses herself as Alice in Wonderland and falls further into her own self-projection of fairy-land, painting her face like a sprite. Bragging to Judy she is the youngest, most beautiful model, Jessie has fully immersed herself in her own egoist fantasy, driving Ruby into a rage. Together with Gigi and Sarah, the three witches murder and eat Jessie, while bathing in her blood.  The leopard and mountain lions that adorn Ruby’s estate indicate it was Ruby who placed the beast in Jessie’s motel room.

One clue to the identity of the worship of Diana are the numerous references to the moon, death, menstruation and cannibalism. Jessie states that she always saw the moon as “a giant eye” looking down on her, while Ruby’s sacrifice and ingestion of Jessie is done basking nude in the moonlight, following a ritual bath. The eye imagery comes to the fore as well in the gross-out scene involving Gigi’s vomiting up of Jessie’s remains (essentially her eye). Appalled at her actions, Gigi commits suicide while a blank Sarah looks on, pausing to pick up and consume the undigested eye of Jessie. We know this was an attempt at ritual magic by both the symbols and imagery, but also due to Sarah “magically” getting the modelling job she coveted over a much younger prospect.

Jessie as Princess Zelda.

In summation, the film presents the world of high fashion as one populated by vampyric witches, occultists, lesbians, human traffickers, mind control agents, and other assorted criminal psychopaths. Culturally speaking, Refn’s film is merely a reflection of the Frankfurt School-style depravity which must be cultivated by design to destroy civilization. Ironically, the final state of the supposed “progress” of the cultural decay ends in the return of the barbaric, the cruel, the pagan and the animalistic, which are consistent features in Refn films.  As for the cultural connection, nothing in this film should be surprising, when Kim Kardashian gets blood facials, while others receive blood transfusions from the “youth.”

Natural Law, order, and the family are institutions ridiculously characterized as promoting the “authoritarian personality,’ while witchcraft, Satanism, occultism, homosexuality and even worse (I’ll spare you the worst scene in this film), represent “freedom” and “liberation.” In reality, the opposite is true – traditional institutions are guards against the mental illness, the insanity and the demoniacal that arise in concert with neo-paganism, primitivism and the “archaic revival.” Indeed, I wouldn’t be surprised in the least if it was revealed that there was a human sacrifice, cannibal cult at the top of high fashion – that was the very plot of Zoolander 2, a satyrical spoof of the same world Refn is portraying. Like Zoolander, the sequel included themes of mind control and child sacrifice for the occult belief in the attainment of magical energy and the extension of youth. Given the revelations of the rest of the so-called elite’s penchant for such practices (think Jimmy Saville and his cohorts), is cannibalism any harder to conceive?  In harmony with past analyses, like American Ultra, Jessie is an emblem of the destruction and sacrificial offering of the children of the west, and the trauma-based mind control and dissociative states are intended to be inflicted upon the mass populace.

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Kev Baker invited me on his show to discuss my new book and the odd parallels with film and the recent wikileaks revelations and PizzaGate.

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Rex invited me back on the Leak Project to discuss Esoteric Hollywood.

“On the forefront of Hollywood Esoterica – Jay has been decoding the symbology and subliminal programming imbedded in many Films and TV shows.

From Age of Ultron to the Shining Mr Dyer’s astute approach toward deciphering codes in Hollywood is unmatched and second to none.”

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Earth Radio Network with Dr. Truth invited on Jacksonville, FL, FM radio invited me on to discuss the book and new subjects, such as the music industry, its coopting for social engineering, false flags, staged terror, the daemonic, Fight Club, 9/11, hip hop and punk music engineering, Tavistock and the UFO PsyOp.

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This is the first half of a free talk which can be obtained by subscribing to JaysAnalysis at the PayPal links below. Co-researcher with John Adams on the history of the counter-culture 60s and later punk scene, Nino joins me to discuss the strange connections of so many prominent punkers with the establishment. William S. Burroughs, Tavistock & Tim Leary and the CIA-LSD crew all coalesce to tell a strange tale of serial killers, MK ULTRA, Crowleyanism, cultural cannibal marxism and the transgender agenda – and much more!

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Their full series can be found here. 

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West of the Rockies Radio

Jay’s back at it again, this time joining us on West of The Rockies to talk about his new book, Esoteric Hollywood. With so much information packed into the book, we set out to focus on a select few movies, namely, The Shining, Rosemary’s Baby, and Close Encounters of The Third Kind. Of course, this also meant delving into the minds of Stanley Kubrick, Roman Polanski, and Steven Spielberg, the directors of those movies respectively. We also analyse the wider impact and scope of movies, as pertains to the actors involved; possible government or power connections; and, of course, the effects on the public viewers.  As usual, there was a lot to be said, and too little time.

The masked ball scene from Eyes Wide Shut (1999) Related: Examining The Esoteric Themes Of Kubrick’s “Eyes Wide Shut” with Jay Dyer.

Scene from Rosemary’s Baby (1968) written and directed by Roman Polanski.

Scene from Close Encounters of the Third Kind (1977) written and directed by Steven Spielberg.

Needless to say, we also throw in some Scientologyreferences (L. Ron Hubbard’s influence in Hollywood, even to this day, cannot go without mention), and briefly look at how Aleister Crowley and Jack Parsonsmay have played a role in this scene (no pun intended…or maybe it was).

We hope you enjoy the interview – allow yourself to be taken on a little tour through Esoteric Hollywood.

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Download the free audio half here. 

Join host Greg Carlwood of The Higherside Chats podcast as he talks esoteric Hollywood and movie magic with returning guest Jay Dyer.

We all know the many mediums of mass communication, from the printing press to the Internet, have regularly been used throughout the course of history as tools of culture creation, propaganda, and a multitude of programming. Iit should come as no surprise that movies and films are simply yet another weapon to be wielded in said arsenal. Well, today’s returning guest Jay Dyer joins us to offer up his recent analysis and help us wade our way through some of that sweet sweet Hollywood weirdness.

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On this edition of DTRH Popeye welcomes to the broadcast researcher, comedian, and author Jay Dyer. The two of them have a very in depth conversation about some of the topics, films, and people Jay discusses in his book titled ESOTERIC HOLLYWOOD. A more fitting description could not be found of the book than that of the author himself. To quote Jay, “There is not another book out here like it, a book that tries to combine philosophy; geopolitics; comedy; conspiracy; satire; and metaphysics all into one package.” And that he does extremely well ladies and gentlemen. Some of the topics Popeye and Jay discuss are Stanley Kubrick, his films and underlying messages / themes in his work; Steven Spielberg’s films, their underlying messages / themes; The underlying messages / themes in James Bond films; Dune and The Litany Against Fear; The usage of Hollywood by the powers that shouldn’t be to manipulate and control society; And much more. This is an eye opening conversation between Popeye and Jay. Take the time to listen to the entire thing.

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The revolutionary filmmaking that went into Stanley Kubrick’s 2001: A Space Odyssey encapsulates the totality of humanity’s experience, in one film. Jay Dyer and Jay Weidner analyze the occult imagery emblazoned throughout this classic film as we are presented with a tale of humanity’s transformation, from the early days of stone-age culture to the ultimate evolution into a being of light. This is an ancient tale stemming from the dialogs of Plato and carried through the Hermetic traditions. Kubrick may have drawn from these backgrounds, to embed esoteric symbolism in this film, giving us a hint into the alchemical nature of our evolutionary journey. This presentation was originally webcast September 4, 2017.

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JaysAnalysis has grown to become one of the premier film and philosophy sites on the net, showcasing the talents of Jay Dyer, whose graduate work focused on the interplay of film, geopolitics, espionage and psychological warfare.  Jay is a public speaker, lecturer, comedian and author of the popular title Esoteric Hollywood: Sex, Cults and Symbols in Film, which made it to Amazon’s No. 1 spot in its first month of release in the Film and Hollywood Category:

Known for his in-depth commentary, satire and celebrity impressions, Jay is the host of the JaysAnalysis Podcast and Esoteric Hollywood. He is also a regular contributor to 21stCenturyWire, Soul of the East and the Espionage History Archive, as well as appearing on numerous nationally syndicated radio shows, such as Ground Zero and Coast to Coast AM, as well as TV shows like Buzzsaw with Sean Stone. 

Broaching subjects as wide as satire, metaphysics, film analysis, theology, geopolitics, literature and history, as well as interviewing numerous prominent figures, Jay is academically published in peer review and has authored hundreds of articles already read by millions in just the past few years.  Jay Dyer has also co-created, written, and co-starred with Jay Weidner in a new television series titled Hollywood Decoded for Gaia based on his unique approach to film.

With Minority Report and A.I., Stephen Spielberg presents two visions of the future of techno-consciousness. Jay Dyer and Jay Weidner analyze the augmentation of consciousness through technology as self-awakening awareness and psychic surveillance. Though these are fanciful tales of a somewhat idyllic future, hidden within the details are subtle hints of the future to come. We learn of technology which has already become an accepted part of our current culture and advances yet to come. This presentation was originally webcast October 9, 2017.

Instructor/Host: Jay Dyer, Jay Weidner

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JaysAnalysis has grown to become one of the premier film and philosophy sites on the net, showcasing the talents of Jay Dyer, whose graduate work focused on the interplay of film, geopolitics, espionage and psychological warfare.  Jay is a public speaker, lecturer, comedian and author of the popular title Esoteric Hollywood: Sex, Cults and Symbols in Film, which made it to Amazon’s No. 1 spot in its first month of release in the Film and Hollywood Category:

Known for his in-depth commentary, satire and celebrity impressions, Jay is the host of the JaysAnalysis Podcast and Esoteric Hollywood. He is also a regular contributor to 21stCenturyWire, Soul of the East and the Espionage History Archive, as well as appearing on numerous nationally syndicated radio shows, such as Ground Zero and Coast to Coast AM, as well as TV shows like Buzzsaw with Sean Stone. 

Broaching subjects as wide as satire, metaphysics, film analysis, theology, geopolitics, literature and history, as well as interviewing numerous prominent figures, Jay is academically published in peer review and has authored hundreds of articles already read by millions in just the past few years.  Jay Dyer has also co-created, written, and co-starred with Jay Weidner in a new television series titled Hollywood Decoded for Gaia based on his unique approach to film.

Harvey Weinstein is being portrayed as the root of all problems in Hollywood – “patriarchal males” – as if this were a feminism issue. The root problem is much worse, which is the systematic using of people and children, as well as promoting a mass agenda that is intent on damaging humans globally. Hollywood is a weaponized covert operation of mind control and cults that is, thank God, falling apart.

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To support my work, become a member at JaysAnalysis for 4.95 a month, or 60.00 a year, for my full talks and interviews, as well as purchasing signed copies of my book, Esoteric Hollywood: Sex, Cults & Symbols in Film. JaysAnalysis Podcast is also on iTunes and Stitcher.    JaysAnalysis offers the first hour for free and the full talks and interviews as a subscription below.