by David Nova [from Deus Nexus | 14 July 2014]
The film adaptation of The Giver is just the latest offering in an epidemic of novels and films featuring a futuristic totalitarian dystopia (aka: the New World Order) and the freedom fighters who battle against it. The list is getting quite long. Here are the most recent entries:
Why is the public being inundated with these futuristic NWO-themed films that have us rooting for the heroes who bring its demise? You would think they would just spring their dystopian police state upon us by surprise rather then advertise it up front, while encouraging us to fight against them? The logic doesn’t seem to make any sense unless you go beneath the surface.
In my analysis of Captain America: The Winter Soldier, I ask why these Hollywood studios go to all the trouble to slip their New World Order symbolism and message into their uber-expensive blockbusters, only to portray their own defeat in the end. Some viewers have noted that Captain America presents a positive message because it portrays the defeat of the NWO. “Why can’t the movie be an anti-illuminati movie?” one reader asked. Yet as I noted toward the end of the post, the film revealed a larger duality game at play, and I believe that a pre-analysis of The Giver may shed some light on what this game is really all about.
Here’s an analysis of the film’s two trailers from the Activist Post, with the trailers directly below.
From: Activist Post:
Two trailers (posted below) have been issued for The Giver, a movie that is scheduled for August 15, 2014 based upon the book of the same name from Lois Lowry. From the opening sequence, we see problem-reaction-solution paraphrased perfectly; finalized by the shift to the New World Order’s spoken mantra: “Ordo ab Chao” – order out of chaos.
High-powered actors Jeff Bridges and Meryl Streep give face to the ongoing battle between individual freedom and top-down centralized control. In the second trailer, the emphasis is on the tech solutions that are to be offered in order to bring about the “harmonious community” sought by the technocratic elite headed up by Streep’s character. It’s a world of limits – real and metaphysical – which Bridges’ Morpheus-like character of “The Giver” seeks to undermine.
The symbolism of the red pill of knowledge is offered in this film through a restoration of color – beginning with red – into a grey, emotionless, manufactured world. The red apple appears to symbolize that knowledge is power; or, if Streep’s character is correct, that “when people have the freedom to choose, they choose wrong,” that same red apple becomes symbolic of original sin and evil from her perspective.
While some might see elements of predictive programming similarly contained in such works as Brave New World, it also could be argued that the world portrayed in The Giver is so close at hand that this film/book is more intended to be a social commentary prepared as a cautionary tale.
WHAT IS PREDICTIVE PROGRAMMING?
Hollywood is the magician’s wand (holly-holy) which has been used to cast a spell on the unsuspecting public. Things or ideas which would otherwise be seen as bizarre, vulgar, undesirable or impossible are inserted into films in the realm of fantasy. When the viewer watches these films, his/her mind is left open to suggestion and the conditioning process begins. These same movies which are designed to program the average person, can give the discerning viewer a better understanding of the workings and the plan of the world agenda. — Alan Watt
First off, the society portrayed in this film reminds me of the dystopia in Ira Levin’s little known novel This Perfect Day, which reads like a blueprint for the illuminati’s idealized utopia where advanced MK-Ultra programing is administered to every citizen to create a perfect order. Ira Levin was responsible for giving us such influential blockbusters as Rosemary’s Baby (satanic ritual abuse), The Stepford Wives, (mind control), and The Boys From Brazil (secret Nazi cloning experiments).
The Giver is, believe it or not, a children’s book, only 208 pages in length. This literary piece of “predictive programming,” along with such best sellers as The Hunger Games and Divergent, is aimed at a younger, impressionable generation, preparing and programing them for the world the elite wants to bring them.
From Publishers Weekly:Winner of the 1994 Newbery Medal, this thought-provoking novel centers on a 12-year-old boy’s gradual disillusionment with an outwardly utopian futuristic society. Ages 10-up. Copyright 1994 Reed Business Information, Inc.
From the trailer, the film looks like an old-fashioned literary dystopia, (ie: Brave New World, Logan’s Run, Fahrenheit 451, or 1984) which may explain Oscar winner Meryl Streep’s involvement. However, if the film falls short on summer-blockbuster-CGI action sequences, it may spell low ticket sales and a short release. But then this release may be intended for more literary-minded young readers.
I may write a separate analysis when the film is released, but for now I want to focus on one piece of symbolism that caught my eye and lead to a new game-changing insight which attempts to explain the paradox of films like Captain America.
THE SYMBOLISM HIDDEN IN PLAIN SIGHT
Do you notice anything significant in the treatment of the film’s title? What about the larger size of the letter “V” in the middle of the word? And with a small “the” right above, it almost reads “The V.”
Have we seen the letter “V” in any other significant film title? This may seem like a real stretch, but bear with me a moment longer.
Well aside from being adapted from a legendary graphic novel with a huge cult following by a self-proclaimed occultist, Alan Moore, it’s iconography has been adopted by two powerful modern anarchist movements: the worldwide web hacker collective know as Anonymous and Occupy Wall Street. The Guy Fawkes mask has become synonymous with the angry, awakened 99% and with any sort of violent revolution against the 01% elite (where the awakened may be branded domestic terrorists.)
The film asks the question: “Who is V?”
By the end of the movie the answer evolves into “everyone is V!”
In the film poster, notice that the female character played by Natalie Portman is confined within the shape of the “V.” This is actually significant, as is her character.
Anonymous originated in 2003 on the imageboard 4chan, representing the concept of many online and offline community users simultaneously existing as an anarchic, digitized global brain. Anonymous members (known as “Anons”) can be distinguished in public by the wearing of stylised Guy Fawkes masks.
The Guy Fawkes-style mask worn by the character V was first used by Anonymous as way to publicly protest what they saw as the harmful indoctrination of Scientology, but has since evolved to encompass an entire movement that is as seemingly diverse as it is secretive.
Notice how the logo for “V For Vendetta” and the logo for the Anarchists’ movement not only mirror each other, but are inverted. Both are painted red and surrounded by a “magic circle” as used in any occult ritual. Is this a coincidence?
Since the revival of anarchism around the start of the 21st-century concurrent with the rise of the anti-globalization movement, anarchist cultural symbols are widely present.
The Circle-A is almost certainly the best-known present-day symbol for anarchy. It is a monogram that consists of the capital letter “A” surrounded by the capital letter “O“. The letter “A” is derived from the first letter of “anarchy” or “anarchism” in most European languages and is the same in both Latin and Cyrillic scripts. The “O” stands for order. Together they stand for “Anarchy is the mother of Order,” the first part of a Proudhon quotation.
“Anarchy is the mother of Order” sounds a lot like the New World Order motto: “”From Chaos comes Order”
However, the “A” (or “Λ”) and the “V” symbology have an even greater meaning.
THE DA VINCI CODE: A LESSON IN SYMBOLISM
If you’ve read the book The Da Vinci Code by Dan Brown, or seen the film, then you received an excellent lesson in archaic symbolism hidden within renaissance art, particularly the works by Leonardo Da Vinci.
(The novel) follows symbologist Robert Langdon and cryptologist Sophie Neveu as they investigate a murder in Paris’s Louvre Museum and discover a battle between the Priory of Sion and Opus Dei over the possibility of Jesus having been married to Mary Magdalene.
In the novel Leigh Teabing explains to Sophie Neveu that the figure at the right hand of Jesus in Leonardo da Vinci’s painting of “The Last Supper” is not the apostle John, but actually Mary Magdalene. Leigh Teabing says that the absence of a chalice in Leonardo’s painting means Leonardo knew that Mary Magdalene was the actual Holy Grail and the bearer of Jesus’ blood. Leigh Teabing goes on to explain that this idea is supported by the shape of the letter “V” that is formed by the bodily positions of Jesus and Mary, as “V” is the symbol for the sacred feminine.
To put it crudely, in the ancient world the symbol “Λ” represented male genitalia, or the sacred masculine, while the “V” represented female genitalia, or the sacred feminine. Where else have we seen these symbols of duality represented?
The origin of the Star of David, or as it is otherwise known, the Seal of Solomon.
Notice how the all-seeing-eye hovers above the Freemason’s symbol of spiritual duality, while the secret handshake, “the great work,” as well as the “G” for God, (or Gnosis) is held within the symbols of duality.
This sigil, or mystical seal, was found in the musical manuscript of a 1600s Catholic hymn by Spanish composer Cristóbal Galán. It appears to reveal an extraordinary Hermetic precursor to the most recognizable symbol of Freemasonry, the Square and Compass. In addition, if we consider the possible use of Hermetic Androgyne symbolism in Leonardo’s works such as the Mona Lisa, as proposed in A Different da Vinci Code, a curious parallel may be drawn relating all three figures.
To make this symbolism less obvious in a world where secrecy would have been increasingly crucial, we could minimize that Star of David into just its occult primordial angles…the male (representing fire) pointing up and the female (representing water) pointing down:
Now it looks a lot like the V, M, and A which seem coincidentally recognizable in that proto-Masonic sigil of Saturn, and it also contains the angles we see in the Masonic Square and Compass. These two essential angles floating in perfect equilibrium between the columns of the sigil would still represent the universal synergy of male and female as in Eastern cosmology…or in alchemical terms, the microcosmic marriage of metal with non-metal…in essence, the androgyne Hermes/Sophia of Gnosticism, representing the enlightenments of knowledge, wisdom and spiritual maturity.
The planet Saturn in alchemy equates to the black stone, or starting out point, and to the base metal lead. This occult insignia of the Temple of Solomon might be seen to beckon us to enter its star portal between the two columns and begin our own initiatory pathway upward toward philosophical gold. The gateway would be step one, like the GO square in Monopoly? And yes…it would represent the entrance to those ancient mystery schools of an even dimmer past.
So what do these ancient symbols of duality have to do with the New World Order or the Hollywood films that seem to preach resistance to its tyranny? Of course, the most obvious symbolic representation of the “Λ” is the pyramid with the all-seeing-eye.
HISTORICAL NAZIS AND FICTIONAL REPTILIANS
“V” doesn’t just stand for “Vendetta,” it also stands for “Vengeance” and for “Victory.”
From: V-E Day at a Glance
The D-Day invasion of Normandy on June 6, 1944, represented the tip of the Allied spear into Germany’s Western Front.
The last German V-1 bomb hit a farm in Herfordshire, England, on March 27th, 1945. On April 30th, with the Soviet Army overrunning Berlin, Adolf Hitler committed suicide in his bunker. One week later Germany surrendered. The surrender was announced May 7th, 1945, officially ending the European phase of World War II. Allied leaders decided that May 8th would be celebrated as Victory in Europe Day (V-E Day).
As I wrote in Captain America Gives The Illuminati Game Away, the film conveys the symbolic ritual beheading of the Hydra (defeating the resurrected Nazi cabal) as a possible precursor to a New Global World Order after the staged demise of the U.S. dollar and the American illuminati. Perhaps a second “V-Day” is in the cards, one that most light workers would hail as a “Victory.” But might such an Event be a false victory of the “false light,” another round of problem-reaction-solution, leading us to the New Global World Order?
The real problem is still a manipulated duality paradigm of false light vs. dark.
Do you remember the “V” mini-series from 1983, or the remake from 2009? An alien race arrives on Earth in giant space ships, claiming to come in peace, however they are actually tyrannical reptilians disguised as humans with a sinister agenda.
In the original 1983 mini-series, the “Visitors” (another “V”) were represented by a symbol that looked remarkably like a Nazi Swastika. A small group of humans formed a resistance movement to fight them. In this case, a spray-painted red “V” was used by the members of the resistance to show their opposition to the new Reptilian Nazi Order, just like in the film V For Vendetta.
In every one of these books, films, or television shows, an underground resistance movement forms to oppose the rise of a tyrannical order. This is largely due to the necessity of conflict to move the narrative of the fictional story forward towards a conclusion. If there were only the evil empire and no rebellion, the story would be over pretty quickly, without any emotional payoff for the audience.
This is also due to human nature, our inherent desire to remain free and fight any form of oppression. And it is this human nature that the elite wish to manipulate and control, through our entertainment.
1984: CREATING A CONTROLLED OPPOSITION
So what is the purpose of encouraging rebellion to the New World Order in these films?
In George Orwell’s prophetic book 1984, the protagonist Winston comes to believe that Inner Party member O’Brien is an agent of the Brotherhood, a secret, counter-revolutionary organization meant to destroy the Party. In a secret communication, O’Brien gives Winston the Book, The Theory and Practice of Oligarchical Collectivism, by Emmanuel Goldstein, the infamous and publicly reviled leader of the Brotherhood.
The Book explains the concept of perpetual war, the true meanings of the slogans WAR IS PEACE, FREEDOM IS SLAVERY, and IGNORANCE IS STRENGTH, and how the régime of the Party can be overthrown by means of the political awareness of the Proles. However, It turns out that O’Brien is also a Thought Police agent. He was part of a false flag operation used by the Thought Police to root out suspected thought-criminals. The idea of Goldstein and the Brotherhood was a controlled opposition created by the State as a counter balance, ultimately to test and perfect loyalty to the State.
The totalitarian State knows that some portion of the population will always rebel as more and more freedom is taken away. So rather than let them form a viable threat to power, the State infiltrates, manipulates, and creates their own resistance movement, creating an artificial duality, controlling both sides of the equation. This has been done throughout history. The elite have always (attempted to play) both sides of any political election, both sides of any internal revolution, and both sides of any particular war… all done to perpetuate war forever. This is how they have historically maintained power, by manipulating a false duality to manipulate our thoughts and emotions.
THE ULTIMATE OBJECTIVE, A CAUTIONARY TALE
Given the current paradigm, the War on Terror and the formation of the modern Police State, the next obvious step in the unfolding of the New World Order is the War on Domestic Terrorists. If or when the global economy collapses, the misery will almost certainly push more of the 99% to some form of violent rebellion. This will be the very provocation the State wants and needs to unleash the full force of its half-concealed Police State. Rightly or wrongly, all these films ultimately foster sentiments of domestic terrorism against the authoritarian State. In the film The Giver, Jeff Bridges seems to play the role of Emmanuel Goldstein, the guiding elder of a false light opposition.
Based on the duality game being portrayed in these films, I suspect that this New World Order (or the New Global World Order if the American illuminati become a hydra scape-goat) is not the final end game nor their final objective for society.
The Hunger Games takes place in a nation known as Panem, established in North America after the destruction of the continent’s civilization by an unknown apocalyptic event. The nation consists of the wealthy Capitol and twelve surrounding, poorer districts united under the Capitol’s control. District 12, where the book begins, is located in the coal-rich region that was formerly known as Appalachia.
Panem rises out of the ashes and conflict of social collapse (like a Phoenix), a new Order born from Chaos. By the end of the trilogy, another New Order rises again.
The elite objective is nearly always the same, getting the public to accept more control and give away even more freedom. Their first World Order may be designed to take away our national borders and what’s left of our financial independence, unveiling total surveillance. A second World Order may be needed to take away our very humanity, turning us all into technologically mind-controlled robots. In between, more chaos will be required and created, some form of controlled opposition will be needed. Problem-Reaction-Solution.
THE ONLY SOLUTION – AWAKEN AND MOVE BEYOND DUALITY
The elites believe that they operate beyond duality and are therefore gods among us. However, they worship a twisted and unbalanced form of duality where the sacred masculine dominates and suppresses the sacred feminine – mind and ego over emotion and intuition. This form of worship is at the heart of their rituals, their mind control programming, and their blueprint for society for thousands of years.
Therefore, balance needs to be restored between mind and emotion, between ego and intuition, between the masculine and the feminine, between Order and Chaos.
A “false light” seeks to fight, to engage in psychological drama, to restrict information, and perpetuate conflict. By opposing darkness, the false light surrenders to it and actually feeds it, perpetuates it.
True light moves beyond the need for conflict. It expands awareness and strives toward balancing opposites, creating an equilibrium state in which the darkness can not thrive. You battle darkness by adding more light rather than adding more swords. That does not preclude the necessity of some form of intervention to assist this balancing (see A Case for Intervention: The Tree and the Vine) However, any book, film, or spokesperson that tells you to battle the darkness with weapons or an army is just selling you eternal war and slavery.
I also encourage you to read my metaphysical novels, Season of the Serpent: Book One & Book Two. Many of the ideas in this article can be found within them. They have been designed to teach readers about the duality trap and how to evolve beyond it.
About the Author
David Nova is the author of the metaphysical fiction series “Season of the Serpent.” He is a truth-seeker, a Wanderer, a blogger, and was the moderator of Deus Nexus: Messages For An Entangled Universe. For additional information about the author or his novels, visit his website, or his Facebook page.
This article is offered under Creative Commons license. It’s okay to republish it anywhere as long as attribution bio is included and all links remain intact.
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