Predictive Programming Part 2

Beyond the veil

Predictive programming has a function as a form of mockery or in-joke. As with adults who speak in veiled language before children, or who appreciate a double entendre at the pantomime, it operates on the level of nods and winks to initiates. Some of the attraction of an elitist club is in its exclusivity.

It is of course possible for the curious observer to read into things that which is not there, or, like a lover who identifies with the lyrics in every song, to relate everything to a personal interest. We proceed with that caution in mind. The conventional view of the examples to be considered here is understood, but if it is accepted that the public are being deceived then the offerings of the media cannot be taken at face value. Those offerings and the state media complex often have another purpose. For example, the masks of lockdown can be viewed as a medical measure, but as they were not one, did they have a symbolic role? That there is a duality of understanding is clear from the very different perceptions of the so-called covid vaccines.

The import of any predictive programming is only made fully clear when the program itself is revealed and this is often after the event. Images or stories of planes crashing into the twin towers become notable after the real occurrence. Front covers that depicted paragliding conflict involving Hamas and Israel in 2013, or that in 1992 showed a syringe with the slogan, “changing your genes,” are among those that have given the Rothschild’s Economist a reputation for revelation.

The reason for Donald Trump continually being featured as a benign, successful, avuncular figure to a generation of television and movie viewers may now be considered of interest. It is curious that, “an episode of the 1950s western TV series 'Trackdown' featured a snake oil salesman named 'Trump' who promised to build a wall in order to prevent the end of the world.” It is also notable that the villain of the 1980s, ‘Back to the Future,’ movie trilogy who gained financial and political power due to insider knowledge of future occurences, has recently been claimed by the writers to be based on Trump.

In examining current programming, as with coded numbers that could be used to communicate the true nature of news stories, we are required to speculate on the basis of known or suspected agendas. The examples presented here are not provided as definitive proof of programming but for consideration of the possibility.

In an apparent example of predictive programming, a storyline in the X files in 2016 related a state plan to cull people with mRNA injections for the purpose of depopulation. In recent years a similar plan has unfolded in which the state has gone to great lengths to poison people. Injuries and deaths by so-called vaccine are largely overlooked by the state media complex. Related heart complaints are normalised by the installation of defibrillators in public spaces. Campaigns to teach CPR mask the afflictions of fallen, young, and sports, people. Soap opera storylines have normalised young people collapsing just as those TV shows were used to push the injections (see video below).

One pop groups goes by the name of The Vaccines and another by, The Gaslight Anthem. A third, The Kills, release an album called God Games. Cinema-goers are told, “you’ll swear you can taste every shot,” and, “it will leave you woozy.” Young footballers are informed that, “Everyone gets a shot,” as they are pictured in the kind of huddle we have seen professionals form to screen collapsed players. Where dissidents talk of a death shot, Hollywood delivers, ‘Dead Shot,’ and online dating application Tinder talks of being ‘dead inside.’

As detailed in the X Files the vaccine poisoning seems to be part of a multi-pronged depopulation program. One character in the TV show speaks of a totalitarian takeover conducted,

“by any means necessary, however violent or cruel or efficient, by severe drought brought on by weather wars conducted secretly using aerial contaminants and high altitude electromagnetic waves….in a state of perpetual war to create problem, reaction, solution, scenarios to distract enrage and enslave ...The militarization of police forces...The corporate takeover of food and agriculture, pharmaceuticals and health care, even the military, in clandestine agendas to fatten, dull, sicken, and control a populace already consumed by consumerism.”

In a performance at the 2019 Eurovision song contest that was replete with symbolism the popstar who has appropriated the name Madonna warned,

“Not everyone is coming to the future
Not everyone is learning from the past
Not everyone can come into the future
Not everyone that's here is gonna last.”

She finished her ditty with the words “wake up,” which were projected in large font behind her.

The James Bond film No time to die which was largely completed in 2019 (although its release was delayed due to lockdown), involves, “Weaponized viruses, DNA-targeting, and massive depopulation...the ultimate fantasies of the occult elite.” It features an emasculated, miserable Bond and an enemy called Lyutsifer along with occult one eye symbolism.

The scamdemic is also perceived to have been foreshadowed by imagery at the London 2012 Olympic opening ceremony. This ceremony is viewed in the context of bizarre symbolic celebrations at the opening of the world’s longest tunnel (Switzerland 2016), the Commonweath Games (Birmingham 2022), the World Cup (Qatar 2022), and"scenes of derision and mockery of Christianity," at the Olympics (Paris 2024). Eagle-eyed viewers spotted disputed coronavirus references in the 2011 film, Captain America, The First Avenger.

In the 1981 movie 'My dinner with Andre,' the eponymous character asks if the, “boredom that we see in the world now may very well be a self-perpetuating, unconscious form of brainwashing created by a world totalitarian government based on money?” He worries whether, “somebody who is bored is asleep? And somebody who's asleep will not say ‘no?’”

He goes on to muse that, “we're living in some kind of Orwellian nightmare now, and that everything that you hear now contributes to turning you into a robot.”

Predating the public self -policing of lockdown and any public awareness of proposed 15 minute cities, Andre says, "I think that New York is the new model for the new concentration camp, where the camp has been built by the inmates themselves, and the inmates are the guards, and they have this pride in this thing they've built. They've built their own prison. And so they exist in a state of schizophrenia where they are both guards and prisoners, and as a result, they no longer have, having been lobotomized, the capacity to leave the prison they've made or to even see it as a prison."

The movie Amerigeddon of 2016 involves plotters who believe that the, “sustainable population of our planet is no more than 500 million.”

They are, “willing to kill 7 billion,” because, “well most of those lives aren't worth living” and, “the world would be better off without them.”

They mention that, “Our friend Henry Kissinger said a strong America is the only thing standing in the way of a new world order. We have foreign troops on the ground now under the UN Banner. The country only needs a little chaos.”

These plans align with those carved into the Georgia Guidestones which were destroyed in 2021, after being damaged by an explosion that was reported as an act of vandalism. The stones were commissioned in 1980 by the mysterious figure of Robert C. Christian on behalf of a consortium and were widely regarded as a monument to the agenda of the ruling cabal. They featured ten engraved tenets of which the first was, “Maintain humanity under 500,000,000,” and the last was “Be not a cancer on the earth.” The likening of mankind to a cancer presaged dialogue in the 1999 movie and gnostic parable, the Matrix, that we have examined previously.

We have also seen how the Handmaid's Tale was aired from 2017 onwards, prefiguring the mask mandates and freedom restrictions of lockdowns and the fertility problems caused by the fake vaccines. Similarly, the 2006 movie Children of Men portrays a world with fertility problems following a flu pandemic, in which street scenes feature fleeting images of masked passers-by.

We are accustomed to major motion pictures being used to celebrate state crimes and reinforce official narratives in films such as Flight 93, Pearl Harbor, Apollo 13, and Titanic (when opponents of the Federal Reserve were sunk). There are endless films and TV shows that bolster dubious narratives around World War 2, Vietnam, space, royalty, Shakespeare, dinosaurs, and nuclear bombs, and even those that cement the status of media-endorsed faux rebels like Julian Assange and Edward Snowdon.

Movies such as Enemy of the State (1998), Minority Report (2002), Eagle Eye (2008), Adjustment Bureau (2011), and The Circle (2012), prepared people for what is now existent technology and the increased control of the surveillance state. In the context of the planned central banking digital currency (CBDC), advertisements for HSBC inform us helpfully, that, “when an abuser controls your finances, they control you.” They also point out that our DNA will be our data.

Francis Bacon recognised long ago of the dramatic arts that, “it has been regarded by learned men and great philosophers as a kind of musician's bow by which mens minds may be played upon.” Bacon is suspected of involvement in the writing of the Shakespeare canon and of establishing freemasonry.

Modern movie titles drip feed the zeitgeist. The three part slogans of Lockdown are echoed.

Plays, films, and exhibition titles seem to mock the subjects of depopulation. In a society where extreme coercion is applied to mothers to inject their babies, one movie reminds us that sometimes a mothers instinct is ‘the only thing you can trust.’

Book titles reinforce the murderous and apocalyptic themes.

The BBC tells us ‘Betrayal is Back in Season,’ presenting, ‘the traitors.’ Bizarrely, the hooded lady shown in the advertisement holding a burning torch has a daughter who was badly burned when dressed as a witch on Halloween in 2014.

Many people have come to see the apparent depopulation program in a biblical context, as a war on mankind. As is perhaps to be expected in the rotting carcass of a christian country, much advertising carries christian iconography. People ride buses tagged with the label, 'prey for the devil.' The satanic imagery we considered in pop music pervades other art forms. Winged beings like fallen or devilish angels glare out of advertising hoardings. The Satanic credo of “Do what thou wilt,” and the gnostic notion that all is experience finds voice in, “Evil does not exist.” Babylon is labelled in neon.

Freemasonic symbols abound; images of one eye, fingers to lips, triangles, pyramids and goats. Paedophilic connotations are found in the output of advertising for fashion brand Balenciaga, and in the clothing line of the emaciated Celine Dion. The Lord's prayer is debased and distorted in association with alcohol-free drink. Those selling alcohol make the claim that the good part of life is that which is spent under the influence, as with those using Soma in Brave New World. The family is undermined. Indigenous Britons are replaced in their cultural habitats. Goats, the symbol of the hermaphrodite god Baphomet, sit atop pyramids or fly on symbolic rainbows.

The trans agenda, whose explicit endorsement by the state is visible in the proliferation of rainbow colours, offers the option to those dissatisfied with their physical condition of entering the world of augmented reality. The trans agenda seems to operate as a stepping stone to the transhuman agenda. Man can be as god and better the creation of the Creator. We are in the era of, ‘the rise of the beasts,’ of, ‘genetic automata,’ that are, ’unlike humans’ and, ‘created to destroy us.’

Some titles seem to encourage isolation and division.

The duality of media, of man and beast, nature and machine, and good and evil, is depicted in the portrayal of two sides to the same head.

Curiously the sculpture of Jesus in the Vatican’s Paul VI Papal Audience Hall is perceived to display a similar division with one side of its head apparently showing a serpentine profile in a hall that seems to resemble a snake.

The image of the queen on a postage stamp featuring seven trumpets as mentioned in the Book of Revelation, has either a ribbon or a forked tongue protruding from the back of its head.

Occasionally the images that are presented are overtly satanic.

Though these examples may be thought unduly fanciful, the words we read and images we see have an impact upon our subconscious minds.

Michael A. Hoffman writes that, “The symbols that modern man embraces with the naive trust of an infant would be tantamount to billboards reading, ‘This way to your death and enslavement,’ to the understanding of a traditional peasant of antiquity...”

“The cryptocracy's spectacular 20th century scam could never have been accomplished in antiquity among free people. The truth of the symbolism involved would have been immediately perceived and would have resulted in swift resistance to it by the target population.”

Hoffman imagines that the scammers, “would have been swinging from tall trees in short order.”

These words endorse Manly P Hall’s famous declaration that, “When the human race learns to read the language of symbolism, a great veil will fall from the eyes of men.”

Part 1 is here.

A related interview is here.

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