film industry as political religion of mind control: illusions are prestigious because they’re real

The Prestige and The Illusionist: both released in 2006…why? (both masonic references, masonic obsession with numerology, 26 as double 13, twin identities of 13 together to bring perception of reality of constructed history and future?)

both revolve around the significance of magic as a form of entertainment that is connected to social control, both micro and macro

related to this is that both imply that ambiguity itself is a tool

both have references to elements of conspiracy theories about western history and masonic influence

both focus on misdirection and mistaken identity

both focus on ambiguous death and ambiguous secret technology

both include class war

both imply to audience that film itself is part of magic as a political technology that incorporates religious ambiguities such as spiritualism and divinely intended noble rule.

both include conspiracies within conspiracies leading to an outcome of return to rule after factional (and fictional?) rivalry

both include mysterious collaboration with Chinese associates

the Illusionist makes obvious references to masonic symbols and its connection to power struggles within royal factions of Europe that led to WWI, in particular the mysterious death of the uncle of the archduke Ferdinand whose assassination is considered the trigger for that war

the Prestige includes a subplot about Tesla and the ambiguity of political significance in his research

both include a reference to oranges (which are supposedly important to secret societies either as reference to Sun worship or as reference to royal family rivalries involving Catholic/Protestant and Obscurantist/Enlightenment oppositions)

both present magicians as akin to ‘wandering ****’ as in the Kubric movie (Barry Lynden) that includes a traveling financial fraudster of hidden identity and also revolves around hidden identities in political history pertaining to large scale war in Europe.

the Prestige in particular lends itself to theories about ‘satanic’ beliefs and practices used by an elite to maintain power (actual deaths that are not always known by all involved, burying alive, sacrifice of chopping off two fingers, use of twins, substitution of deaths for lives, possible pedophilia)

Is this dual release a code (‘cypher’ as is repeatedly mentioned in the Prestige) suggesting that a group of underground fraudsters (**** and Masons) have been manipulating history on a grand scale since the beginning of the world wars? Are the movie makers (who are ****** as is almost always the case) having fun with the idea that they switched their deaths for other lives and misdirected the audience (world beliefs) so as to hide its truth? Did they actually return to live in (Swiss) alps like the ending of the Illusionist, as the happy bankers interbred with European royals that they always were? Is the third of the necessary three acts stated at the beginning of the Prestige (the third called the prestige which is bringing back what you made disappear in act two after the misdirection of act one) the return of what we thought had been made to disappear in WWII? (would that be ‘anti-semitism’+fascism? monarchistic governance or dynastic rule? universalized imperial religion? any rate, all of these would fit with the end of the false/abused paradigm of humanistic democracy)

Or is all of this itself the latest form of misdirection that is going to contribute to a different kind of social control by denying the world the ability to act with conviction and to organize into cohesive goal oriented social networks?

Are we being prepared for eventually believing in new science of old religions? Does it tie in with theories of aliens as a form of the final ‘Grand Illusion’ to control the world? Harvey Weinstein recently made Apollo 18 which supports the idea that travel to the moon actually happened and included alien contact. He specifically said that the film was made due to discovering its premise as being true. The magicians in both movies (P, I) are not only motivated by making money but by the control and final outcome. Did he say this and make Apollo 18 just to make money?

After reading Dave McGowan’s series on laurel canyon it becomes even more curious. Certainly one can add Polanski and Kubric to these questions. One can also find interest in the fact that a large number of successful and influential players in film and music even outside of Hollywood are children of well positioned members of British or US military and/or ****** and/or connected to Nazis. This includes France (industry and stars comprised mostly of French ****, not sure about military/spy connection in France)  so it is not even limited to the anglo world.

When does a circus of political distraction and social manipulation by artificially bonded emotions go from metaphor to a literal religious conspiracy? What if the metaphor functions as the literal manifestation of a conspiracy? Since minds are made up in part of metaphors, a mind control conspiracy is in part the use of metaphor.


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