NOTE: This page is UNDER CONSTRUCTION! This is a work-in-progress. I will be adding more more commentary in the next few days, weeks and months. There are some errors and typos in the transcripts below which I will try to fix in the next few days as I watch all the clips. Most of the dialogue I pulled from the Springfield! Springfield! scripts site and others I did myself, but they are not always perfectly accurate.
FAIR USE STATEMENT
This site may contain copyrighted material the use of which has not always been specifically authorized by the copyright owner. In the spirit of the Fair Use Act, I am making such material available in an effort to advance understanding of environmental, political, human rights, economic, democracy, scientific, and social justice issues, etc. I believe this constitutes a ‘fair use’ of any such copyrighted material as provided for in section 107 of the US Copyright Law.
I have endeavored to keep most of these clips to around fifteen seconds long. In some cases, a bit longer is needed to get the entire context. I have also provided helpful commentary and Analysis on the clips, in most cases commending them, but in a few instances, offering constructive criticism.
In accordance with Title 17 U.S.C. Section 107, the material on this site is distributed without profit.
We live in a visual world where people feel the need to be stimulated beyond just the intellect. The images and short clips on this site help serve as a much needed levity to bring balance to soften the gravity of the message. They are examples which taken in their entirety help prove the point of the website that -- whether conscious or unconscious -- there is a push towards us accepting the white light at death and going into it. Whether consciously or unconscioisly, there are those of influence who help to push this agenda and there are those who are doing their best to expose it. Many of the examples I give are from one who are striving to reveal the truth in order to wake others up. The impetus, I believe, comes from the non-physical realm and encompasses all the images and thoughts that enter our conscious and subconscious minds as we live our daily lives. I am a simple man of meager means and cant afford to absorb the cost of litigation. I have never made a penny off the web site nor do I intend to do so.
The clips are intended to help us understand our place in the universe, why we are here, and what happens when we die. I try to use as many sources as i can to corroborate what i am saying. And I feel it is extremely important to show the actual quote from the original source lest someone thinks I am fabricating it or misinterpreting it. I highly encourage everyone to watch the original sources of the clips for a greater context. Watch -- or better yet, buy -- the movies. They are all highly recommended.
I am just striving to wake people up to the nature of our reality and am suggesting what are possibly better alternatives.
However, if anyone is a coyright owner of an image or clip and feels its use is not in accordance with the spirit of fair use, please contact me at waynejbush@gmail.com and I will promptly remove the clip. Thank you.
This page is intended to be an ongoing repository arranged by subject for video clips pertaining to the topics on this web site. I have tried to keep the clips to a small size of around 15 seconds or less. Maybe someone can upload the full clips to YouTube and I can link to them from the website?
Hollywood movies often reveal important clues and slips, including symbolism about the game of life. Many who write, direct and produce movies are members of secret societies or occult groups. A lot of it is used in the form of predictive programming, but there may even be a few who are trying to expose the agenda. And, remember, the Demiurge needs to maintain a balance of light and dark so there does need to be some "light" shed at times so that there are opposing forces to perpetuate this polarity-based game of duality.
Raymond Moody's book on the near death experience, Life After Life, was published in 1975. He also made a documentary with the same title in 1992.
Raymond Moody: "They describe to us how they seem to be drawn into an enclosure of some sort. They often call it a tunnel and they go through this tunnel quite rapidly and they come out on the other side into an incredibly brilliant and warm and loving light."
Viola: "I don't know exactly how I entered the tunnel. I just at what point but it was when the guides had asked me and I said 'yes' and I feel myself going in an upward motion. The tunnel is not too big, just room for one person to go one at a time. It doesn't touch you. I didn't reach out and touch the walls, but it's black. And I'm feel myself going up and looking at light... bright light at the end of the tunnel. And the next as I'm going along I see the gray area, but I did not stop to go in and see just what was going on. I went on to come out into this beautiful pasture valley flowers... bright, beautiful light... brilliant color. "Nothing here is like it at all. "
Dannion Brinkley: "... The next thing I remember is I heard a set of chimes and as I looked at an angle, probably 40 -- 35 or 40 degrees. I could see a tunnel. The tunnel was like a spiral, like it was moving whether I was moving or not. Then I began to whisk down it and I could hear these chimes but I was in other peace and other tranquility and it was such a stark, dramatic difference between the way that body was and what was happening to that body and this place I was, this other peace. As I moved closer to the light I was kept being surrounded and filled with this love, this love of, like, I can't describe it except when you haven't seen your parents in a long time. If you've been away from your family and when you first see your mom and your dad... that feeling when you're a small kid, that feeling that you get. I knew I was safe. I knew everything was peaceful and I knew it was right. As I came into the tunnel... came through the tunnel.... I came into a place much like walking out of a dark room into a bright room as if my eyes were trying to adjust to this brilliant light. The contrast between the brilliant light of the lightning bolt and the brilliant light that was in the tunnel was another thing that was quite dramatic because this light was so brilliant and so bright, it passed through me. It permeated me. It and I became one."
Moderator / Facilitator: "For years now we've been using the expression of 'seeing the light at the end of the tunnel' and I wonder whether it was started perhaps by people who had near-death experiences many years ago. In fact, I've been shown some paintings for just this scene that were done several hundred years ago.
Moody: "In the 15th century, the Dutch painter, Hieronymus Bosch, even painted this theme. In his painting, Ascent of the Blessed, in the foreground at the bottom of the painting we see people who are dying and as they are dying they're surrounded by spiritual beings who attempt to turn their attention. Upwards, above them, there's a tunnel which goes off into the distance and at the end of the tunnel is a very bright light. As these people go through the tunnel they kneel reverently into the light so we know then that these experiences have existed among human beings from time immemorial. In this light they often tell us that they see relatives or friends of theirs who have already died who seem to be there to meet them and to greet them and to help them through this transition."
Analysis: Raymond Moody was the researcher who first brought the near death experience to the attention of the modern world with his book Life After Life. This documentary is a good overview of the NDE and includes Dannion Brinkley, one of the first really popular speakers on the NDE. It is a good foray into understanding the basic components of the NDE and laid the initial groundwork for others to further deeper investigation into other components such as the Void.
It is very curious to me that two of the six near death experiencers featured in the documentary had connections to the CIA and KGB. Dannion Brinkley admits in his book Saved by the Light that he was an assassin for the CIA. And Dr. George Rodonaia says in the video that he was killed by the KGB and that he saw his real parents during his NDE and that they were killed by the KGB also. Why does Raymond Moody, the man who coined the term 'near death experience', and his work have such a seemingly deep connection to intelligence agencies?
Raymond Moody's book on the near death experience, Life After Life, was published in 1975. A few years later in 1978 the 1943 film Heaven Can Wait was remade. The original movie did NOT feature a tunnel, but rather an immediate ascension into heaven. Los Angeles Rams quarterback Joe Pendleton is hit by a truck while riding through a tunnel on his bicycle. At first he is in darkness, then a white light appears. He goes to the light and is greeted in "heaven" which is depicted as cloudy.
Analysis: This movie was one of the first ones made after Raymond Moody's book was published and helped educate the public about tunnel and white light of NDEs. It portrays the dark tunnel and the light at the end of the tunnel. After that, it doesn't really portray much more about what it's like to be in the light.
Medical students (Julia Roberts, Kiefer Sutherland, Kevin Bacon, William Baldwin et al) induce near death experiences on each other to learn what lies beyond death.
"And the doctor was saying I was dying. And I saw myself in the bed and everything.Analysis: Do not try this at home! Bringing oneself to the brink of death is not recommended. In their case, they were at least medical students and had the know-how to resuscitate and had proper equipment on hand. If memory serves, especially in the more modern remake of the film, the fear of the unknown is played up versus really learning what truly lies after death.
Chris Nielsen (Robin Williams) dies in a car accident. It is not shown is this very brief clip, but his soul leaves the body before impact. No tunnel and white light in this scene. He goes to a beautiful garden like setting of iridescent, translucent colors. This garden of light is actually a somewhat commonly reported element.
Analysis: This movie is hailed as being one of the more accurate representations as to what the other side looks like so it comes highly recommended. It has a very good reputation. It is accurate as far as showing how one creates their afterlife environment with their thoughts and intention.
"Nearly ten thousand people die every day in the United States, the majority of deaths occurring in urban environments. As such, a resident of metropolis might encounter up to 1.7 people per day who will be deceased by day's end." -- North American Statistics Institute - 2002
"On average, there are 774 Near Death Experiences (NDEs) per day in the United States, during which a person is pronounced dead and encounters a blinding, white light before being resuscitated." - National Center for Mortality Studies - 1992
Analysis: Interesting that the film was produced by Brightlight Pictures and Gold Circle Films. Gold Circle is an obvious allusion to the sun and Brightlight perhaps connected to the light of NDEs. This movie deals more with the electronic voice phenonmenon (EVP) than it does NDE. I have noticed a lot of these movies depict the static on televisons and such as a medium for the departed spirits to come through or communicate with the living.
This is the dialogue in the OR not shown before and after the NDE.
"We're losing him. Asystole. Checking respirations. Starting CPR. Come on. He's dying. Come on. He's still in V-fib. No pulse. Did you give him the full amp? Yes. He's not responding. Come back to us. Continue compressions. No response. Do you wanna call it? Could be fine V-fib. Give me the paddles. Charge to 200. Charged to 200. Clear. 300. 300. Clear. 360. 360. Clear. We've got a sinus rhythm. Pressure's climbing. We're getting a response."
"It's okay. We brought you back."
Analysis: A fairly accurate depiction of a typical OR scene and NDE. Many NDEs are a result of doctors bringing patients back to life, some even after they are clinically dead. The heart has stopped sometimes and even brain functioning in rare cases.
"Hello, Abe. I'm Dr. Karras.
I'm just gonna have a little look. Are you okay?"
"I've been better."
"Remember why you're here? You were legally dead, but, lucky for you,
modern medicine knows no limits."
"I died?"
"Technically speaking. You had an NDE."
"I don't know what that is."
"Near-death experience.
It's my field of expertise. That's why I fought to make
sure you were my patient. Let me guess.
You saw a white light that engulfed you,
almost seemed to be beckoning you to stay."
"Yeah, that's exact...
How did you know that?"
"As many as eight out of ten people who've
had an NDE report seeing a white light. Freaky, huh?"
"What about the light I'm seeing now?"
"It's probably an aura, a type of residue."
"So it's normal?"
"I'd say we're well beyond
the bounds of normal here, but yes.
You'll see 'em less frequently as time
passes and eventually they'll disappear."
Analysis: Notice the technician knew all about NDEs and what they are like. The technicians says his research shows 8 out of 10 report seeing a light. This statistic is inaccurate so one does have to be careful with discerning what to believe just because it is said in a movie.
Analysis: A dying man is taken up and into the tunnel of light.
"# Ahh #
Huh! Where am I?
This is the great hall
of judgment.
Judgment?!
Oh, not to worry,
Charlie.
You'll go to heaven.
All dogs go
to heaven. Because,
unlike people,
dogs are naturally good
and loyal and kind. That's true.
# Welcome to doing
whatever you wish #
This is really a lovely place
you got here."
Analysis: The dog goes through the tunnel and into a heavenly realm. It is true that pets go to "heaven". There are many reports of near death experiencers seeing their pets.
"Some people believe
that when you die, your soul goes to heaven."
"When Grandpa was dead
I looked at him in the hospital bed
and I was watching, but I didn't see anything
go up out of him."
"His soul is invisible, Robbie.
You couldn't see it." "But how come Grandpa isn't
on television with Carol Anne?"
"Some people believe
that when people die, there's a wonderful light
as bright as the sun,
but it doesn't hurt
to look into it.
All the answers to all the questions
that you ever want to know
are inside that light.
And when you walk to it,
you become a part of it forever.
And then, some people die,
but they don't know
that they've gone."
"They think they're still alive?" "Maybe they didn't want to die.
Maybe they weren't ready.
Maybe they hadn't
lived fully yet or they'd lived a long time,
but they still wanted more life.
They resist going into that light
however hard the light wants them.They just hang around,
watch TV,
watch their friends grow up
feeling unhappy and jealous.
Those feelings are bad.
They hurt.
And then
some people
just get lost
on the way to the light and they need someone
to guide them to it."
Analysis: This scene touches upon the aspect of people who have died but are "stuck". Sometimes they don't realize they've even died, especially if they died in a sudden, unexpected way. In these cases, they may not experience the heightened state of consciousness that others do, but a more confused, subconscious experience.
"They're waiting for you, Sam. I'll miss you. Your mother'd be proud. I'm gonna miss you too, Sam. You're all right. Bye, Oda Mae. Bye, Sam. I love you, Molly. I've always loved you. Ditto. It's amazing, Molly. The love inside -- you take it with you. See you. See you. Bye."
Analysis: Ghost was one of the movies most responsible for people learning and knowing about the light at death. The psychic medium, played by Whoopi Goldberg, who is able to see and talk to Sam says that Sam is "stuck". Consequently, ghosts are told they need to move on by going into the white light. It seems as if many ghosts are even unaware they have died. It may be their subconscious operating moreso than their superconscious. Ghosts seem to be caught in a loop or repeating pattern, perhaps unable to let go and move on.
"My mother wanted me?"
"So much that she told the doctor If he could only save one of you, to save you.
She gave her life for yours.
That's how much you were loved.
It's time to cross over now. You don't belong here."
"I can't just leave them.
They're still my family."
"So, just take them with you.
And you can all stay together."
"Yeah, but they're gonna know I lied about them not being dead."
"They'll know that you care about how they felt.
That's all that will matter."
"I see it.
It's so bright."
"Your mom's probably there.
waiting for you."
"She looks just like me..."
"We're going to make the shadows go away forever.
Right now.
How? We're going to turn night into day.
Take my hand.
That makes me feel strong.
You are strong.
Hold out your other hand."
Analysis: This was the entire series' final episode and it ends with the character going into the white light, further reinforcing the notion that souls should go to the light at death.
"When you were asleep, you didn't look so good."
"Yeah. I was having a bad dream. It was a nightmare. There was this tunnel and there was this white light. It was so real, I could almost reach out and touch it."
"Maybe it wasn't a dream."
"What do you mean?"
"They say when you die, you see a beautiful white light."
"I didn't die."
"Yes, you did. For almost a minute."
"I was dead? I always thought that afterlife stuff was a big scam."
"You don't believe in heaven?"
"No. If I did and somebody up there was keeping score, I'd be in serious trouble. Maybe it's not too late to change."
."So did you see the light?"
"Yeah. It was warm. It was so comforting.
"You were actually in the light?"
"It was all around me. I can still feel it."
Analysis: Touched by an Angel featured many episodes, if not all, dealing with guardian angels and spirit guides. This scene mentions the tunnel and white light specifically and depicts it as warm and comforting.
"Louise told me that it was wonderful in the light, that you were with her every step of the way.
But what about me? Is it gonna be wonderful for me next time?"
"That's not for me to decide."
"But I'm doing all these good deeds."
"James, if every one of your good deeds was a step to heaven, it would never reach high enough."
"What are you saying? I'm not going to heaven?"
"It's not up to me.
It's up to you."
"Don't give me that line. You can't con a con. No! ( labored breathing ) James? The man in the suit."
"A white suit?"
"There was darkness.
A big wave of darkness was pulling me in."
"What is he so afraid of, Tess?
He saw the light."
"Yes, baby, but he also saw the darkness.
And when people realize there's a choice, things get a whole lot harder... "God is not a fantasy, James, and you should know that better than anybody.
You've seen his light.
And most people aren't given that gift."
"Gift? You mean curse.
What's the point, Tess? To torture me?"
"God exists, James, but not for you"?
"Uh-uh."
"You cannot blame God for what you've done with your life."
"What about Amy Ann's life? She probably hasn't done a lousy thing in 14 years.
And you know what? I got it on good authority that good deeds count for zip.
You know what I learned when I died? I learned that there's light and there's dark, and where you end up is a crap shoot."
"That's what you think, huh?"
"That's what I know."
"How did you get that? I tore that up."
"We're angels."
"The both of you?"
"And Tess too. 'Pushing a woman in a wheelchair. Reading to the blind child. Buying a birthday present for Amy Ann.' My.
It's no wonder you were angry.
Doing all these good deeds and the angel of death wouldn't even give you the time of day."
"Give me that."
"Don't you think you deserve bonus points? I mean, after all, Amy Ann is dying, and you were good enough to tell her."
"Why does she have to die?"
"Dying isn't what you think it is, James." "I know what it is.
I saw it. I saw the light.
The light is heaven, and the darkness is hell.
And that's where I'm going." "Hell is separation from God.
It's an eternity without light.
If you were on your way there, James, God wasn't sending you.
You were sending yourself."
"But I've been trying to turn it around.
Why can't God give me credit for the good things I'm doing?"
"Because you weren't doing these to honor God."
"You were doing them to get into heaven."
"So how does anybody get in?"
"James, if every good deed that you do was a step to heaven, then-- ."
"I know, I know.
I'd still come up short. So, what's the point if no matter what I do, I can never reach high enough?"
"You didn't let us finish.
People are always trying to build a stairway to heaven, James.
Some are like towers, and some are just a few steps high.
But there has never been one that was quite high enough to reach all the way to God.
That's when a soul has to stand on the very top step and call up and say, 'Here.
Here I am.
Lift me up the rest of the way.' And God hears you, and he reaches down, and he takes you home.
That's what God's mercy is.
He doesn't give you what you deserve.
He gives you what he wants you to have: The best of everything.
Because God loves you.
All you have to do is ask.
So, uh it really is up to you."
"So there is a heaven for me?"
"Yes.
And it's more beautiful than you could ever imagine."
"And I can get there?"
"You can start right now.
Who do you think God is?"
"I don't know."
"God knows that.
And he knows that you weren't ready to walk into that light.
That's why he gave you a second chance, a chance to know him.
When you stand in front of God, wouldn't you rather see the face of a friend than that of a stranger? A friend, a father, counselor, a confidante, a guide."
"You know the light that you saw, James? ( Sighs ) That's just the beginning. Wait until you see what comes after that."
Analysis: Touched by An Angel has a Judeo-Christian connection to it because of the word 'angel' and depiction of angels helping the living. Of course, it mentions he wasn't ready to "walk into that light" and that God gave him a second chance. There are so many shows depicting the light as being from or of god.
"Mom?" "Yes?"
"What's it gonna be like?"
"You'll see a light, Benny, a beautiful shining light far away at the end of a long tunnel. And your spirit will lift up out of your body and start to travel toward the light. And as you go, a veil will be lifted from your eyes and suddenly you'll see everything. But ,most of all, you will feel a tremendous sense of love."
"Will it take long?"
"No, Benny, not long at all. It will be like the twinkling of an eye."
Analysis: This movie certainly promotes the near death experience and going into the light as favorable. Benny's mother tells him there's a beauitful light at the end of a long tunnel. And that his spirit will leave his body and start to travel toward the light where he will sense tremendous love. It never mentions that there is a choice as to whether one goes to the light or not, Or that there could be a better option available.
"I died in that accident.
When I woke up,
I was in heaven." "You went to heaven?" "Yes." "Tell me more."
"When I died,
I didn't flow through
a long dark tunnel.
Uh...
I had no sense of fading away
or coming back.
I heard no voices calling
to me or anything like that.
Simultaneous with my last
recollection of seeing the bridge,
the rain, a light enveloped me,
with a brilliance
beyond earthly comprehension
or description.
In my next moment of awareness,
I was standing in heaven.
It was perfect.
And I knew right then I would have
no needs and never would again.
I didn't even think of Earth
or of those left behind.
Though I did not see Jesus
face-to-face,
I did sense His presence
at every turn.
And I did see people
I had known.
As they surged towards me,
I knew instantly that all of
them had died during my lifetime.
Their presence
seemed absolutely natural.
It was as if God had removed anything
negative or worrisome from my consciousness.
And I could only rejoice at being
together with these wonderful people.
" 'Donnie, I'm so excited you're here to join us.' I saw Papa. You know, my grandfather that everyone called Joe. I heard his voice and felt his embrace. I'd been with him when he'd suffered a heart attack at home and had ridden with him in the ambulance. I'd been standing just outside the emergency room at the hospital when the doctor walked out and faced me. The doctor shook his head and said softly, 'We did everything we could.' As I walked among them, I became aware of the wide variety of ages. Old and young and every age in between. Many of them hadn't known each other on Earth, but each had influenced my life in some way. Even though they hadn't met on Earth, they seemed to know each other now.
"One person in the greeting committee was Mike Wood, my childhood friend. He was a popular kid and became a hero to me because he lived the Christian lifestyle and often talked about it. After high school, Mike received a full scholarship to Louisiana State University. When he was 19, Mike was killed in a car wreck. When I attended his funeral, I wondered if I would ever stop crying. I couldn't understand why God had taken such a dedicated disciple. Through the years since then, I had never been able to forget that pain and sense of loss. Then I saw Barry Wilson, who had been classmate in high school, but later drowned in a lake. Barry's smile radiated a happiness I didn't know was possible. And I saw my great-grandmother Hattie Mann. As a child, I knew her only after she had developed osteoporosis. Her head and her shoulders were always bent forward, giving her a... a sort of humped appearance. But the beautiful thing is, she didn't carry these burdens in heaven.
"Heaven was many things, but without a doubt, it was the greatest family reunion of all. A holy awe came over me as I stepped forward. I had no idea what lay ahead. But I sensed that with each step I took, it would grow more wondrous. Then I heard the music. I can only describe it as a holy swoosh of wings. But I'd have to magnify that thousands of times to explain the effect of the sound in heaven. It was the most beautiful and pleasant sound I'd ever heard. I saw a bright iridescence. I peered through the gate, yearning to see what lay beyond. It wasn't an anxious yearning, but, uh, a peaceful openness to experience all of the grace and joy of heaven. At that very moment I was about to realize the yearning of every human heart. I was in heaven and ready to go through the perlescent gates.
"Then, just as suddenly as I'd arrived at the gates of heaven, I left there. I spent a lot of time in the hospital trying to make sense of all of this. I was paralyzed by the notion of not wanting to return. I mean, why come back to this much pain? I think now I know." "I do too." "I believe it's time for me to go back to church." "I believe that too."
Analysis: One of several NDE movies made about Jesus and Christianity. While it is true that quite a few near death experiencers do see Jesus or angels, it is not the majority. It is one aspect of NDE and I tend to think when one dies, they may manifest what they expect or believe will happen unless maybe the subconscious overrides with fear. I just now searched for Jesus on the NDERF.org web site. There were about 138 people who saw or met Jesus out of over 4000 accounts. That is probably somewhere between 3-4 percent of the accounts. These movies certainly promote the agenda of the church and Jesus as being the only way which, of course, may not be true.
"Are you gonna tell me about this perfect wave?"
"I don't know how you describe, something that's indescribable. I don't know. Maybe that's the most beautiful
part about surfing. For me, it's big, perfect barrels. And the only way I can even begin to describe that is to say that it's almost as if time stands still. And for in that moment,
nothing else on this planet matters. There's a certain freedom in that. I think if you ask any surfer if they've experienced that even just once in their life, they're hooked,
and they'll never stop searching. I think that's all we are as surfers, just chasing that next moment in time."
"Well, we're obviously not gonna find that perfect wave of yours here."
Analysis: Another Christian NDE movie. I enjoyed watching it because I like surfing movies. I liked the wave as a metaphor too because waves and vibration do play a big role in our reality.
"Ian, I am the true light.
And in me there is no darkness."
"Jesus?...
Who are they?"
"These are the ones
for whom I died, the ones who will never step into my church,
who will never know the love
that I have for them
unless someone goes to them and tells them."
"Mom?"
"I have... I have to go back
and tell her it's true."
"Ian, if you return..." "Please." "
...You must see things
in a new light." "I'll tell them.
I'll tell them about you.
Please give me a second chance."
"I'm standing here looking upon a
being who's surrounded by light,
not a shadow
or touch of darkness.
I have just come from a realm
which was complete darkness.
There is no light here.
I'm going, "if that's God,
how on earth can I be standing here?
Surely if he knows my name,
he knows my thought
before I even speak.
Everything must be
transparent before him.
I've made a mistake.
I'm not a good man.
They've obviously beamed
the wrong person up."
I began to move back
from the light
feeling very ashamed,
very self-conscious,
and began moving back
towards the darkness
to judge myself back into hell.
As I began moving back,
waves of light emanated off his presence.
The first wave of light touched
me.
I felt unconditional love
and acceptance.
As waves... my whole hands
and fingers tingled
as I felt this liquid light
into the core of my being
and I felt pure love.
I began to weep.
I thought, 'men don't cry.'
More tears began to come.
Wave after wave of love.
I thought, 'God,
surely you know my sins.
You can't love me.'
More love kept coming.
I thought, 'perhaps he doesn't know.
I should tell him now.'
No use coming in
and having to kick me out later.
So I stood there and said,
'well, God, I've cursed
and broken your commandments,
taken drugs,'
and began speaking
all my sins out.
'I've slept around.'
As I continued to speak
the worst of my sins,
his love got so strong that I ranSince this natur
out of being able to tell him
It's as though every sin
had been completely forgiven.
He said, 'Ian, everything
you had ever committed
was forgiven in that ambulance when
you prayed the lord's prayer.' And lead us not
into temptation
Deliver us, deliver us
And lead us not
into temptation
Deliver us
Thy kingdom come.
I cut like truth
Any of my thoughts
'Cause even if I try to
Deeper into light I fall
And I fall
Like a perfect wave for you
Promise that you'll never go.
We could watch the world
move round
Teach me everything to know
'Cause I've been lost so long
Deeper into light I fall
And I fall
Time can stand still
Emotion never will
I guess I've fallen under you
You ask me
what I came here for
And I fall
Like a perfect wave for you
I promise that I'll never go
'Cause everything
around me says
To take the stars
and bring 'em homeA simple life we'd make
Deeper into light I fallAnd I fall
Like a perfect wave for you."
Analysis: Ian meets Jesus during his NDE. Jesus tells him no one will know his love unless he goes back and tells them. That seems a bit dubious to me since the Bible already tells that message and how people can invite Him into their lives, etc.
In this film depicting an NDE, the near death experiencer says that Jesus told him He is the true light. This implies there is a false light. Is the light of the NDE really the true light? Is there such a thing as true light and false light? What is darkness? Is is just something beyond which we have the ability to perceive with our senses? And could that be frequency both lower and higher than what we are able to perceive?
There are a few movies that have incorporated the ability of some predators in nature to use light as a means to lure their prey, as depicted in the PBS Nova documentary, Creatures of Light. Since there already several precedents of this already in nature here on Earth, it means it also quite possible for that to be the case on the astral level when we die.
"See anything?" "Something's got me!"
"That was me." "Who's that?" "Who could it be? It's me." "Are... are you my conscience?" "Yeah. I'm your conscience.
We haven't spoken for a while.
How are you?" "Can't complain."
"Good.
Now, Dory, I want you to tell me,
do you see anything?"
"I see a... I see a light." "A light?" "Yeah. Over there.
Hey, conscience, am I dead?" "I see it, too."
"What is it? It's so pretty.
I...
I'm feeling... happy.Which is a big deal for me.
I want to touch it. Hey, come back. Come on back here.
I'm going to get you.
I'm going to swim with you.
I'm going to be your best friend."
"Good feeling's gone.I can't see. I don't know where I'm going.
- The mask!
- What mask?
Okay. I can't see a thing.
- Look. A mask."
Analysis: The angler fish is a real fish that does use light as a lure for its prey. Interesting the movie scene even draws the parallel to being dead.
"No, Harry, no! Don't look at the light!"
"I can't help it! It's so beautiful!"
[Screams]
Analysis: Another real life depiction of creatures that are lured by the light to a not so happy ending. The bug that gets zapped by the white light couldn't help looking at it because it was so beautiful that he couldn't resist. Let this be a lesson to us. After death, one should not even look at the white light lest one get hypnotized by its allure.
"Why do they do that? Don't they see that their friends are getting zapped?"
"I don't know. They must be stupid."
"That was stupid"
"Introducing Mountain Dew LiveWire. Discover what the attraction is all about."
Analysis: Drawing a comparison between bug being zapped by the light trap and humans being hypnotized by a glowing orb and pulled in by its allure. What happens if one were to grab a live wire? One would be electrocuted and possibly killed. There are those who say they will go to the white light because that is where all their friends are. And, of course, there are dead relatives and friends in the tunnel and light, waving us in. Be very careful of trusting those images as they can be recreated from the memory of the akashic records.
"We go hand in hand, you and I. I'm the girl in the moon. And I wanna tell you everything I know. Everything there is to savor. I'll see you soon."
Analysis: The siren on the moon is a not so uncommon motif. In this case, the "girl in the moon" is wearing a witches hat. The slogan for the ad is "reel in the high life". Sounds similar to the Dreamworks logo of a boy fishing on the moon. The girl saying she knows everything and she will "see you soon" is a bit creepy to me as it is eerily similar to siren mythology.
Analysis: I think Spielberg designed or came up with this. Seems he knows quite a bit about the afterlife. The name spielberg is rleated to a spell-rock or spell-mountain. A boy fishing from the moon, presumably in the waters of earth below. The moon and the reflection in the water perhaps alluding to the subconscious and the dream-state we are in. Of course, fishermen use worms or live bait as a lure for their prey. Interesting then that Jesus is said to be a fisher of men.
"But mates aren't the only creatures light attracts. Many fish use light to lure food in, as does the most notorious bioluminescent creature of all. 'What is that?' 'It's so pretty'. Remember that ugly angler in Finding Nemo? 'Good feeling's gone.' (screeching) That lure is actually meant to attract another fish or another little shrimp that comes to gobble it up... (screaming)...and then finds itself engulfed in this living mousetrap of needle-sharp teeth."
Analysis: Great documentary on creatures that live in the darkness of the sea and use light as camouflage, a weapon or lure.
"Land critters have evolved their own special ways of using light. Take the glowworm, for example. Like anglerfish of the deep, thousands of these fly larvae light up the roofs of these caves in New Zealand like the night sky to lure in a meal. The starry ceiling fools prey like flies and moths, which are attracted to the light. As they fly upwards, they get trapped by the glowworms' sticky, threadlike snares."
Analysis: Another example of real live creatures on earth that use light as a lure for their prey.
"Ostracods and fireflies use bioluminescence to find potential mates and it can be an efficient means of getting a message across. But it's not foolproof. Those messages can be hacked. There's a love cheat in this situation. There's also a female of a particular species here that when she sees males of a different species fly past, answers with their particular call sign and that attracts them. And when they arrive, instead of mating with them, she has her own dastardly way with them. She mimics the flash patterns of other species. An unsuspecting male is lured in.
Fireflies contain toxins thought to protect them against most predators, but this femme fatale is not put off and she eats him alive. In fact, it may be the toxins she's after. She can't produce such chemicals herself so she tricks and then devours males of different species to attain them. If she can't get males to come to her, she goes after them. And a good place to look for one is on a spider's web. A male firefly is ensnared. As the spider venom take effect, his flashing turns to a constant glow. The femme fatale is alerted by the dim glow and she flies straight onto the web to steal the spider's catch. As the spider struggles to keep its prey, she dazzles it with her lantern. Using her light, the firefly can clearly see the spider and avoid the web. The confused spider loses out.
Predation turns out to be one area where light-making life has been very creative."
Analysis: Here is a real life creature here on earth that uses light and the promise of love to lure its prey to use and feed off them.
"The luminous larvae of click beetles wait in burrows. Insects are drawn to their death by the green glow like moths to a flame. And the beetle larvae gourds on the steady supply of unsuspecting victims. These predators work as individuals.
There is another insect that excels in deception, but it works alongside thousands of its own kind. From outside, this cave show no signs of the astonishing things that go on inside. The entrance is fringed with a curtain of silk woven by the larvae of a kind of gnat. They move back and forth along the rocks lowering sticky strings of saliva from the roof of the cave. As night falls, the walls and ceiling of this cavern become nature's very own planetarium. The trap is set. The cool, blue light produced in larva's tail is the lure. Other insects that hatch and emerge in the cave instinctively fly upwards to the sky, but this is not a starlit sky. It's a death trap."
Analysis: Notice the gnat larvae mimic the stars of a planetarium that lures creatures flying into what they think is a starlit sky, but is really a death trap. My friend just sent me the following: " I have a spider who lives by my bathroom window... Flying insects fly to the light outside... hoping to escape the house but bounce off the glass until the are trapped in the web.."
"And dragonfish. They don't just sound like something from a sailor's tale of fantasy monsters, they look like them too. This is one of the few dragonfish that has ever been seen alive. And it's one of the even fewer that have been captured unharmed.
Once they arrive on the ship thousands of meters above their normal environment, there's no time to waste. The enormous pressure change is likely to cause any bioluminescence abilities to disappear. The race is on to try and observe those abilities and understand their functions.
In some species it seems to be defensive, like the circling flashes of the Atolla jellyfish or the rippling light waves of the Boroe Comb Jelly. In other species like this viperfish, light is used not only for defense but to lure prey. These colonies of minute, translucent creatures use light to communicate within the colony. The team's experiment shows that as one colony begins to glow, its neighbors light up in response. What could they be saying?
Thanks to the delicate sampling methods of the Doc Ricketts, the team are able to observe living and luminescing dragonfish, a sight few have ever witnessed. Whatever their function, one thing unites all these types of bioluminescence: their otherworldly beauty. And this beauty is the result of an evolutionary arms race where light is a weapon to blind or deceive. In response, some animals have evolved the most sophisticated and bizarre eyes on the planet."
Analysis: The dragonfish seems very much like the abglerfish. Both lure prey by dangling a light and both have very sharp teeth.
"But, in order to see at all, there has to be some light.
And the giant squid lives at depths of 1,000 metres.
Although very little sunlight reaches the deeper parts of the ocean, there is another kind of light there.
It's produced by the deep sea animals and is called bioluminescence.
The light is produced by a chemical reaction in the same way as that in a glow stick does.
When I shake and snap the stick, two chemicals called luciferin and luciferase react together to produce a bioluminescent glow.
Like this.
There.
Some deep sea animals use their own luciferants to produce light, while in others it's produced by bacteria, living within special light organs."
"A flashing light can act as a lure, or confuse a predator. It's thought that about 90% of deep sea creatures produce bioluminescence.
And they use it in a number of different ways.
All these fish come from the deep sea, and they all produce light in one way or another.
This is the football anglerfish.
And it has a modified ray from its dorsal fin which has a lot of little tentacles on the top.
And the tip of each tentacle produces a little green light.
So it looks as though there's a little shoal of small creatures, maybe shrimps, hovering above it in the blackness.
And when some other shrimp thinks it might join some friends and come along that way, the angler fish simply tilts up, opens this immense jaw and has its breakfast.
This, on the other hand, is a stoplight loose jaw.
And it operates in a different way.
It produces red light from two little organs at the front. Hardly any other species of fish in the sea can see red light.
So it can hunt that way and find its prey.
And when it does it opens this immense loose jaw and engulfs it.
There you are.
Back you go."
"But what about the giant squid? Could it also be producing bioluminescence? Some of its close relatives apparently can. This is the vampire squid. It has eight arms lined with tooth-like projections. And when threatened, it turns itself inside out, wrapping its body in a dark cloak. If that doesn't work, the squid has another trick. Small lights at the end of its arms flash like eyes to distract the predator. With so many creatures of the deep producing light, you might think that the giant squid would do so as well. But scientists studying their carcasses have not been able to find any evidence of light-producing bacteria or pigments in their bodies."
Analysis: Yet another scientific documentary giving real life examples of predatory animals that use light as a lure for their prey.
The Joker: "Tell me something, my friend. Ever dance in the with the devil in the pale moonlight?" "What?"
"I always ask that of all my prey. I just like the sound of it."
Analysis: Batman has many interesting villains. The Joker is part of the trickster archetype.
Analysis: I find it very interesting that the dare-"devil" draws a direct metaphor about the tunnel and light and it not being heaven. Very revealing.
Analysis: This is another scene which reminds me of Daredevil. Dark Tower is a series of novels by horror writer Stephen King. The movie stars Matthew McConaughey portraying a character known as the Man in Black. Here he tells a dying man that what waits on the other side of death is a lie. Check out one of the drawings a gifted boy sees in the movie.
One shows the tower labeled such as it is subliminally associated with what looks like a moon in the drawing. Also consider that the word tower can also be subconsciously connected with a tow-er, something that tows something, like a tow truck.
"You're in a dangerous profession, Captain.
You face death every day.
There'll be another time, and I'll be waiting.
Eventually, you'll come into my matrix and you will nourish me for a long, long time."
"Go back to hell, coward."
"Kathryn? I'm no longer detecting the alien presence."
"That alien, his Matrix, he was like the spider that has to lure a fly into his web... Do you think it's possible that each of the near death experiences we've heard about are the result of an alien inhabitation?"
Analysis: Star Trek has many revealing scenes in its movies and shows. In this one, Captain Janeway has an NDE where an alien masquerades as her father to lure her into his matrix in order to feed off her energy. She realizes her father would never behave as the alien entity is, pressuring her to come with it into the light matrix. She must come voluntarily of her own free will. Then, the question is posed whether all NDEs are due to aliens with a predatory nature.
It has become a popular meme in movies to reference the light that near death experiencers have seen when they die. It is often used as a joke, to the point of becoming cliche. If a friend doesn't want their loved one to die, they jokingly tell them to stay away from the light.
"It's very faint, but I can still sense him in the building. Go into the light, Mr. Heckles!" "Okay, Phoebe." "I'm sorry, but sometimes they need help."
Analysis: One of many shows which use the trope of going to the light at death as the basis for a joke. Of course, shows like Friends, The Simpsons, South Park, Lost, etc. are some of the most successful and popular shows ever made.
"Do you see a light, Homer?" "Yes"
"Move into the light, my son"
"Arrgh!" [Homer is shocked]
Analysis: A 2-D Homer cartoon character is now lost in a higher dimension, a 3-D world, and the minister tells him to go into the light. Homer is shocked or electrocuted when he goes into the light.
The family waits in the animal hospital waiting room. The Simpsons' dog, Santa's Little Helper, goes under the knife. The EKG goes flat... SLH runs down a tunnel...
"No! No! Come to the light, boy. Come into the light. Come on now. There's a good boy. Come on. Come on.
SLH reaches the pearly gates, with its doggie door. Then retreats... SLH returns to the world of the living, thanks to mouth-to-mouth resuscitation.
Analysis: The dog is encouraged to be a good boy and come into the light.
"Well come on, the soul is in here, It's panicking, na!
It's going to the light! Unfortunately, it's the living room light!
I'll open a window, you try to chase it out, thomas.
Go on, na, soul, na! Here spirit, come out the window And i'll give you tree-Fiddy!
Now don't go offering the soul no tree-Fiddy, woman!
I just trying to persuade it.
Well, I know but you could at least Start at a buck o' five or something! Oh Christmas, there it go again! It's headin' for the kitchen! Oh thomas, the pot roast! Don't let it get in the roast! Oh well I guess the child's a pot roast now.
What do we do with it now? I'll wrap it up with plastic wrap so you can take it home with you.
Should last a few months in the freezer Hey, i feel a lot better.
Eric, you're okay! Oh baby, your time is back!
This child is clean."
Analysis: Chasing the soul into the light. Notice how it says the soul is panicking and goes to the living room light.
"There's an arrow in your butt!" "- What? Oh, would you look at that?"
"Oh, no. This is all my fault. I'm so sorry."
"Why? What's wrong?"
"Shrek's hurt." "Shrek's hurt. Shrek's hurt?
Oh, no, Shrek's gonna die." "Donkey, I'm okay."
"You can't do this to me.
I'm too young for you to die.
Keep your legs elevated.
Turn your head and cough. Does anyone know the Heimlich?"
"Donkey! Calm down.
If you want to help Shrek,
run into the woods and find me
a blue flower with red thorns."
"Blue flower, red thorns. Okay,
I'm on it. Blue flower, red thorns."
"Don't die, Shrek. If you see
a long tunnel, stay away from the light !"
Analysis: One of many movies which use the trope of going to the light at death as the basis for a joke. In this one, Donkey pleads with Shrek not to go to the light because he doesn't want him to die yet.
"Come on, Puffer!.... Stay away from the light!" "OK, I'll just get you a regular [beer]."
Analysis: Notice how light beers are yet another exmaple of light being positively reinforced as good. A light be-er. Well, yes, we are indeed beings of light.
"Oh, hey. Tell your douche bag brother-in-law to head towards the light!"
Analysis: In this case, the person near death is actually encouraged to go to the light because he doesn't like him and wants him to die. Breaking Bad was another really popular show too thus reinforcing the stereotype that one goes to the light at death. The way it is worded might leave room for one to believe there is a choice as to go to the light or not.
"I wish he'd just go to the light already so I can get on another case. Oh, I'm the devil because I'd rather be in surgery instead of standing watch over the death squad?"
Analysis: Grey's Anatomy is another big time show with a reference to going to the light at death.
SAWYER: Well, who the hell knows what she said — she was five seconds from dying. Probably seeing a light at the end of the tunnel—
HURLEY: [interrupts Sawyer with a shout] "Paulo lies!" That's what she said! "Paulo lies," not "power lines." "Paulo lies."
Analysis: Another mentioning of the light and tunnel associated with dying. LOST was one of the most successful TV series ever and was pioneering in many ways.
"Walk toward the light, Bender. " "Aw, man. Do I have to walk?"
Analysis: Bender "dies" and is told to "walk into the light".
"Oh, no. The light! I guess I'm off to hell. " "That's the store, professor." "Whaaa?"
"This way.
Don't follow the lights. Careful now! Or Hobbits go down
to join the dead ones and light little candles
of their own.
Frodo!
-Gollum?Don't follow the lights."
Analysis: The gollum tells them not to follow the lights lest they look up looking like the guy in the screen capture.
"Can you see me?
Can you see Mommy?
Mommy, where are you?
Where are you?"
"We're home, baby.
We're home."
"Can you find a way home to us, baby?"
"Mommy, where are you?
I can't find you!
I can't!"
"I'm afraid of the light, Mommy!
I'm afraid of the light!"
"Tell her to stay away
from the light!"
"Maybe it's a way out."
"It is, but not for her."
"Tell her quickly."
"Stay away from the light!"
"Tell her, Diane."
"Stay away from the light!
The light is dangerous!
Don't go near it! Don't even look at the light!"
"I don't believe it."
The voice could be coming
from a CB transmitter.
This isn't a hoax!
What the hell is this?
Anything? Nothing's registered."
"Mommy, there's somebody here.
Mommy, is that you?"
"No, it's not Mommy."
"Who is it, Dr. Lesh?"
"Who's with you, baby? Who's with you?"
"Somebody's coming!
Help me, please!"
"My God! My baby!
You bastards!
She's just a baby!"
"Help her!
Can't you hear what's happening?
Listen!"
"Get away from me! Leave me alone!
Mommy, help me!"
"She just moved through me.
My God!
I felt her.
I can smell her!
It's her!
Smell my clothes.
She's all over me. It's her. My God.
It's her. I felt her.
It is. It's her.
It is.
It's my baby.
She went through my soul."
"I'm afraid of the light, Mommy! I'm afraid of the light!" "Tell her to stay away from the light!" "Maybe it's a way out." "It is, but not for her. Tell her quickly, 'Stay away from the light!'. Tell her, Diane." "Stay away from the light! The light is dangerous! Don't go near it! Don't even look at the light!"
Analysis: The light is actually said to be dangerous and to stay way from it and not even look at it. Truth!
"There is no death. It is only a transition to a different sphere of consciousness. Carol Anne is not like those she's with. She is a living presence in their spiritual earthbound plane. They are attracted to the one thing about her that is different from themselves: her life force. It is very strong. It gives off its own illumination. It is a light that implies life and memory of love and home and earthly pleasures, something they desperately desire, but can't have anymore. Right now, she's the closest thing to that and that is a terrible distraction from the real light that has finally come for them. Do you understand me? These souls, who for whatever reason are not at rest are also not aware that they have passed on. They're not part of consciousness as we know it. They linger in a perpetual dream state, a nightmare from which they cannot awake. Inside the spectral light is salvation, a window to the next plane. They must pass through this membrane where friends are waiting to guide them to new destinies. Carol Anne must help them cross over and she will only hear her mother's voice. "
"Now hold on to yourselves. There's one more thing. A terrible presence is in there with her. So much rage. So much betrayal. I've never sensed anything like it. I don't know what hovers over this house, but it was strong enough to punch a hole into this world and take your daughter away from you. It keeps Carol Anne very close to it and away from the spectral light. It lies to her. It says things only a child can understand. It has been usin' her to restrain the others. To her, it simply is another child. To us, it is the beast."
Analysis: The presence in the spectral light is called the beast. From Wikipedia: "After Dana and Robbie are sent away for their safety and Marty leaves after a horrific hallucination, Dr. Lesh and Ryan call in Tangina Barrons, a spiritual medium. Tangina states that the ghosts inhabiting the house are lingering in a different "sphere of consciousness" and are not at rest. Attracted to Carol Anne's life force, these spirits are distracted from the real "light" that has come for them. Tangina then adds that there is also a dark presence she refers to as the "Beast", who has Carol Anne under restraint in an effort to use her life force to prevent other spirits from crossing over."
"Diane, ask about the light."
"Mommy, help me, please!"
"Honey, do you see a light?
"Help me, please!Mommy! Help me!"
"Tell her to go to the light.
They'll follow her. They've been
followin' her for weeks. You must do what I say! Tell her, Diane."
"Mommy, I can't find you!"
"Run to the light! Run as fast as you can!"
"I am in the light!"
"No, honey."
"Tell her you are."
"No, it's a lie!"
"You can't choose between life and death
when dealin' with what is in between.
Tell her before it's too late."
"Run to the light, baby. Mommy is in the light."
"Tell her you're waiting for her."
"Mommy is waiting for you in the light!"
Anaysis: The spirit is told that its mother is wating for it in the light. Indeed, relatives are said to be in the tunnel and light, ready to greet us.
"She's at the mouth
of the corridor!
Tell her to stop!
Tell her not to go into the light!"
"Listen to me. Do not go into the light.
Stop where you are.
Turn away from it.
Don't even look at it. Hurry with the rope!
Throw it into the light!"
Analysis: She is told not to go into the light and to not even look at it. That is actually very good advice, in my opinion!
"Where are we going?
I don't like that tunnel.
I want off!"
"Around the world and home again.
That's the sailor's way!"
"I don't like this ride, Daddy!
We're going too fast!
We're going to sink!
- Why doesn't he stop the boat?!"
"Faster!
Close your eyes and hang on tight!"
"What is this, a freak-out?!
- This isn't funny!
You can't possibly see
where you're going!"
"You're right. I can't."
"This would make a great series!
- This is" kind of strange.
- Yes, strange, Charlie. But it's fun!
I want to get off the boat, Wonka!
I may get sick!
This is going too far!
Tell that little guy to turn us around!
Now I am going to be sick!"
"There's no earthly way of knowing
which direction we are going
There's no knowing where we're rowing
or which way the river's flowing.
Is it raining?
Is it snowing?
Is a hurricane a-blowing?
Not a speck of light is showing,
so the danger must be growing!
Are the fires of hell a-glowing?
Is the grizzly reaper mowing?
Yes!
The danger must be growing
for the rowers keep on rowing!
And they're certainly not showing...
...any signs that they are slowing!"
"Make him stop, Daddy!
- This has gone far enough!
- Quite right, sir.
Stop the boat!"
"We're there." "Where?" "Here.
A small step for mankind,
but a giant step for us.
All ashore!"
"Let me off this freight!"
Analysis: The tunnel seems to draw a parallel to NDEs as the grim reaper is mentioned. The tunnel in this case turns scary and what was initially a pleasant ferry ride becomes frightening with haunting spectres inside it. The question is asked whether it's hell.
Life on earth is often depicted in movies and television shows as a game, a prison, or a farm where parasites feed off the energy of humans. Sometimes the idea of a matrix is incorporated or a holographic energy grid is shown.
"From yang and ying, from the the extremes
of polarity because, you see, the light is
as intensively alive as you can get
but if you go too far into light it'll
burn you up and you will get darkness. The people don't know and they don't
realize that the farthest you can get
into darkness it'll start getting bright
because you can't have darkness without
light anymore than you can have light
without darkness. So when we were babies,
we were never told this but and it's the
secret that the light and dark go
together. It is the only real secret there is, black and white. But what we've
forgotten the secret because with black
and white we're playing another game
which is called 'uh-oh, black might win'. See,
that's what makes everything a thrill. If
you knew you would always win in any
situation, it would be just a push up and
life would suddenly cease to have any
interest whatsoever. You would be... may,
imagine yourself in total control of
everything that happens, a kind of Jehovah
type. You would be bored to death to
everything but you just what no
surprises nothing.
You see, when in a game, you're playing a game and the outcome of the game becomes known... supposing in course of bridge the four players all suddenly realize together that one of them has all the cards, it will take the tricks. What do they do? They don't play the game. They cancel it and begin again, shuffle the pack. When in chess two pundits are sitting there meditating, one of them suddenly says, 'well it's obvious in 53 moves you're going to win'. They cancel the game. So in the same way an omniscient God who knew the whole future would cancel the universe and say, 'think of another'.
So it is fundamental to the game of black and white that it must seem that black will win and eat up white, that, in other words, non-existence will triumph over existence. Or, rather, let me put it this way: non-being will triumph over being. Because the secret is that existence is being and non-being oscillating so that for every time you get being, you get non-being, just as everything is vibration. Then these spectra are vibrations. Light is vibration. If I sit next to a girl at the movies and I want to make flirtations with her and I put my hand on her knee and I leave it there, she'll cease to notice it. But if I gently pat on it, she'll know I'm there all the time because I go on and off, on and off, on and off, on and off, on and off. And that is energy. You see, that's that's something happening.
And so everything is 'on-off' only sometimes 'on/off' happens so fast that you don't notice the 'off'. For example, light is a pulsation that and but all light seems to be constant and so we don't notice the 'off' because our retina is retaining the image of 'on' while they are fizz happening in the light so we don't notice the 'off' except if you get an arc light you can notice that a little flicker to it. And that's why they don't allow arc lights in sawmills because sometimes the flickering of the arc light can synchronize with the movement of the teeth on the saw in such a way that the saw seems to be still when it's actually moving. And people get there very serious accidents that way but everything is 'on-off'. Now then sometimes, you see, we don't notice the 'off', but at other times we don't notice the 'on' and that is when we're asleep, when, in other words, or when we're dead, when the trough the 'off' section takes a long spin because, you see, there are big vibrations and little vibrations. Some vibrations happen so fast that we can't measure them. Others happen so slowly that it takes a century. It may take a million years for a single swoop of the curve."
Analysis: The brilliant philosopher Alan Watts talking about the polarity-based game of duality and how everything is energy vibrating and pulsing or phasing in and out of existence all the time.
"So then here's the drama. My metaphysics, let me be perfectly frank with you ah that there is the central self -- you could call it 'God'. You can call it anything you like. And it's all of us. It's playing all the parts of all beings whatsoever everywhere and anywhere and it's playing the game of hide-and-seek with itself. It gets lost, gets involved in the farest out adventures. But in the end, it always wakes up and comes back to itself. And when you are ready to wake up, you're going to wake up. And if you're not ready, you're gonna stay pretending that you're just a little poor little me. And since you're all here and engaged in this sort of inquiry and listening to this sort of lecture, I assume that you're all on the process of waking. Or else you're teasing yourselves with some kind of flirtation with waking up, but you're not serious about. But I assume here maybe you are not serious, but sincere that you are ready to wake up."
Analysis: Alan talking about how we are all infinite awareness playing a game of hide-and-seek with itself and the need to wake up.
"If you awaken from this illusion and you understand that black implies white, self implies other, life implies death (or shall I say death implies life?), you can feel yourself – not as a stranger in the world, not as something here on probation, not as something that has arrived here by fluke - but you can begin to feel your own existence as absolutely fundamental.
I am not trying to sell you on this idea in the sense of converting you to it, I want you to play with it. I want you to think of its possibilities, I am not trying to prove it. I am just putting it forward as a possibility of life to think about. So then, let’s suppose that you were able every night to dream any dream you wanted to dream, and that you could, for example, have the power within one night to dream 75 years of time, or any length of time you wanted to have.
And you would, naturally, as you began on this adventure of dreams, you would fulfill all your wishes. You would have every kind of pleasure you could conceive. And after several nights of 75 years of total pleasure each you would say “Well that was pretty great. But now let’s have a surprise, let’s have a dream which isn’t under control, where something is gonna happen to me that I don’t know what it's gonna be."
And you would dig that and would come out of that and you would say “Wow that was a close shave, wasn’t it?”. Then you would get more and more adventurous and you would make further- and further-out gambles as to what you would dream. And finally, you would dream where you are now. You would dream the dream of living the life that you are actually living today.
That would be within the infinite multiplicity of choices you would have. Of playing that you weren't God, because the whole nature of the godhead, according to this idea, is to play that he is not. So in this idea then, everybody is fundamentally the ultimate reality, not God in a politically kingly sense, but god in the sense of being the self, the deep-down basic whatever there is. And you are all that, only you are pretending you are not.."
Analysis: Alan talking about how life is dreamlike. He makes a good point about how an infinite source of awareness might grow tired of fulfilling every pleasure it can think and ultimately at some point desire a change of pace whereby it wants to be surprised and not be in control.
Stanislav Grof has studied over 5000 cases of hypnotic regressions and LSD sessions. He has made some very interesting observations. He has many books, including one called The Cosmic Game. It is a great book, one well worth reading. Here are some excerpts from a talk he gave on the book.
"Now one of these states is a state which can be called Void. Some people, sophisticated people, talk about it as supracosmic and metacosmic Void. It means it's emptiness that is supraordinated to everything and also, in some, sense underlies everything. You can find in Buddhist scriptures statements like, 'Form is emptiness and emptiness is form.' So there's a state of mind that you can into in a nonordinary state of consciousness which is a state of absolute metaphysical emptiness. Nothingness. There's nothing there yet it's conscious of itself. There's a point of consciousness that's aware of that emptiness and there's paradoxically also the sense that there's nothing missing in that state. There's potential for all of existence but none of it is concretized in any way. You can link it to quantum physics. This is exactly what quantum physics has come to, talking about the dynamic void, talking about the probabilities, everything ultimately being just probabilities, that nothing is manifested until it's observed, and so on. So that is one state where you have the feeling you are... there is a sense of understanding where things come from. It's not understanding here. It's experiential understanding at the gut level. This is the Source of existence. It comes from Nothingness."
"So, anyway, when you go to the point of the void, you understand the creation, but not the creation of matter. You get the understanding of the creation of the illusion of the world, whether you get the kind of the Hollywood aspect of the divine play of Lila, how is that show created? What kind of technology goes into it? Now the first more tangible expression of the void, the first stage of creation then, is a different state of mind and again it's very difficult to describe in words people usually complain not having words, not having language for it, but they will tell you something. And so when I studied those descriptions, when people talked about that state, it boiled down to basically three different things. One is if you are in that state, you know that you exist. There is existence. There is consciousness, awareness, knowledge and the state is blissful. There are no forms, yet you know there are no... nothing specific... nothing tangible. It's just a state of being in which you know you are. You know you are conscious and you know that you are experiencing your existence as being blissful. It's a state of overwhelming bliss.
"Now if you go into oriental scriptures, particularly into Sanskrit, you'll find the term for this. This is called sat-chit-ananda. That means to exist or existence. 'Chit' means, sometimes translated as awareness, consciousness, and so on. And 'Ananda' is bliss. So this is the supreme principle. This is the creative principle. This is out of which all this seems to come. And if you are in that state, you are experiencing it. You know that it's you. I mean, you have become that principle. So at that point you don't see it as something outside of yourself. And this is the message from the Upanishad Tat Tvam Asi 'thou art that'. The way to think about it is that as you move through an altered state of consciousness, boundaries become illusory. I can become another person. I can become an elephant. I can become, you know, something twenty years ago. I can become the dancing Shiva.
"So again if you move out of our cognicentric state where everything that you experience in an ordinary state of consciousness doesn't count, you start questioning whether you are your body-ego because it's also based on your experience that you're a body. If you experience yourself in a very convinced way as not being a body or being another body, you know that is an interesting piece of information. And once you start taking those states as significant, you start redefining who you are and if you had a few transpersonal experiences all the way to the such an under principle, you realized that your identity is not fixed. You are the body-ego. That's certainly one interesting relevant aspect of it, but you are also the such in an under principle. And you're also anything in between and around it because you can experience boundaries of various kinds. If you experience yourself as an elephant, you also have boundaries but those are boundaries of an elephant. There are all kinds of things in which you create boundaries within an infinite continuum, but they're all relative. You can move through it. You realize that they are not mandatory. They're not absolute States so your true identity then, if you take the message from non-ordinary states, is you are the totality of cosmic energy or totality of consciousness. And within that at different times on different levels, you can experience yourself locked within systems that have boundaries but those boundaries are not absolute. If they feel very real, they feel very absolute at the time when it's happening, but it's all negotiable. You are not really ultimately bound by any of them so this is the idea, you know, are all God. We're all the totality of cosmic energy because none of us have boundaries so it doesn't mean that, you know, I am the divine, you are not. That awareness has little to do with the body-ego it's like a pyramid where there are a lot of stones here and then on each higher level there are less and less stones until at the top there is just one entity then and on that level because we are also that on that level, we are all one on this level, obviously. You know, the sense of separateness has some meaning so this comes as this identification was sat-chit-ananda sort of infinite being, infinite awareness, knowledge, and infinite bliss. Then when people reach that state, then certain questions will start emerging, particularly those of us who are more inquisitive and curious than others. And that is it's obvious to you that creation somehow comes from there. It's obvious, that is, the cosmic furnace, the stuff that's throwing out the forms, increase the different levels of reality, different kinds of reality."
"It comes out of inner tension that is an expression of that richness and creative potential and also creative need. The Source does not have a choice. It has to do it. It's part of its basic nature to do that. So some people say it's the inner richness.
There are people who will say it's also loneliness. As fantastic as this state is, there's just one consciousness and craving for partnership, to have something to share, to have something to relate and the creation then comes out of that need to have something different from oneself. Other people say love. This has something to do with love. It's a gesture of love. Other people emphasize more the experiment, that there is tremendous curiosity. What is possible? What happens if... what happens if there is a universe where principle is there's a spiritual entity start believing that it is a limited body and has these sort of two hands, two legs, it needs this substance called oxygen, has to eat. What happens if they're going to be two of them in some kind of polarity like male-female ... what will happen if there is something like linear time and there is evolution and at different times people will wear different costumes and so they say there is a an experimentation happening. There's research happening. There is a exploration happening. There's an extreme statement which some people made and which is actually the same as you find in the Kabbalah which is the principle creates out of boredom. As beautiful as it is, it's monotonous. Too much of the same and there is a need for change."
"One of these sort of holographic channels, if you want, in the world of consciousness would be what we know as phenomenal reality. Ultimately, it would not be any more real or less ideal then the world of the Great Mother Goddess. In electronic technology there are different channels. Sumerian Underworld is channel 26 [laughter] and you can spend some time there. You know this is channel 3 and and you can be there and you can believe that there is only channel 3 until somebody pushes the button and you switch to channel 6, but when we are here we like to believe that this is the only one that is real and the others are some kind of derivatives of this one. Those other receptions are not real but if you look into it in deep non-ordinary states, you find out it's all created by the same technology. The fact that this looks, you know, more solid and so on or more predictable... this is producer's trick in that understanding... like if you have a movie and you have a producer that controls film making, he can take you on any kind of trip. You see, it makes it sort of nice and solid and clear and when you're looking at it and say, "now this is an episode of real life" and then you see the guy going to bed and then the images sort of become black and white and then it becomes a little blurry and sort of a little more fleeting to say, you know, the hero's dreaming and then you see somebody taking a pill and then colors become very vivid and it's a kind of strange distortions and you say the guy's tripping but on the Hollywood level all it takes is one kind of technology. Those are tricks. You use different kind of experience or qualities for different experiences and you can create different worlds, different nuances, so again in something like we pass in a meditation where you analyze perception or in something like non-ordinary states, you can sort of see through it. It would be like up to this point you were just watching the movie screen and you thought all there was was out there and you couldn't figure it out. There are problems like, you know, in some movies they were flying saucers. In other, as like Bambi, animals were talking and you couldn't sort of get it quite together how it all is one reality.
"And one tremendous thing in Kashmir Shaivism tell you don't do that that's waste of time, stay in the ordinary state of consciousness and collecting information and trying to make sense out of it because what you are experiencing is part of the story. This is the same thing that David Bohm is / was a co-worker of Einstein. He's saying these days about science: don't have the illusion that science is telling you anything about what the universe is like. Historical periods are art forms of the collective unconscious so as Middle Ages comes medieval science with 20th century comes 20th century science. They are not studying the same universe. In different ways, more or less, developed this belongs science and the forms of religion belongs to the art form of a particular time. There's no way scientists can step out of the show because whatever they are doing is part of the story on the screen. So the in Kashmir Shaivism will be as long as you want entertainment, you watch out there. If you are interested what it is about, this is not out there. You have to turn and then you find out that there is some kind of source of light. There is some kind of celluloid. There's something is throwing pictures.
Then you can ask what is there a level behind it and then you find out Hollywood. Then you find somebody had a screenplay. Somebody wanted you to have a certain kind of experience and that is the explanation for why you are experiencing what you are experiencing. Things which are out there are not causally related at all. It wanted you to believe that they're causally related. If you see a Western and there is a cowboy shooting and an Indian falling off the horse, you make a connection in your head and say the guy fell off the horse because the other guy shot him, right? Wrong. The guy fell off the horse because they wanted you to believe that the guy was shot and they also orchestrated some other kinds of things. They made a hole and something was dripping out of the hole. What is the reason why the guy fell off the earth? It's in the screenplay. It's because somebody was giving you an art form which involved a certain kind of experience and it has to be nicely orchestrated, put together so you can read into it cause of connections. Now you can have states of mind when you will see that this is not any different. The reason why things happen in a certain way is because there is a certain higher-order screenplay and all the elements in what we are experiencing are governed by that so whatever you are discovering in this level, you are part of the script. You are not stepping out of the script and making any kind of objective judgments about the script.
"I'm not saying this is so. And do you understand where I'm reporting how people see the universe in non ordinary states? And you can bring a good argument for this. I mean, it's, in a sense, it's better than the one that we live with because it covers much more information. It is a conceptualization for a much wider range of observations and experiences and also it takes into consideration not just ordinary consciousness, but things that happen in other states of consciousness.
"Okay, now there is another question that people frequently ask, and that's a very interesting one. And that is why is evil in the world? I mean, some of those experiences are experiences that we don't particularly like and that's true for the non-ordinary states as much as it is true for our everyday life. There are things that we enjoy. There are other things that we could live without. There are other things that we really don't want as part of our life so people ask very serious questions, you know. What is evil? Why is evil in the world? They asked this question to Ramakrishna says, "Swamiji, why is evil in the world?" And he sort of thought about it for a while and he said, "To thicken the plot." [laughter]
"Since you're talking about the movies, you imagine that we would take out of our world everything that we think shouldn't be there, everything that is bad, unpleasant, evil. So certainly we don't want to be sick so let's take out diseases. Nobody has any kind of problem. We are all ideally healthy and we do it. Was all of human history. Now you can't do this in an isolated fashion. Take out diseases. Now here goes the history of medicine. We don't have any heroes. We don't have any vehicles. We don't have any Pasteurs. We don't have the discovery, the exciting discovery of penicillin. Here goes Mother Teresa. There's no place for Mother Teresa. You don't have evil. You don't need Church, you see. You do it a few times. Take out a few things that we think shouldn't be there. You end up with a plot that is so flat that if somebody would make it to a movie we wouldn't bother to go and watch it. I mean, think about the movies that fall in that category. They know that are not the movies that fill the movie theaters. So, you see, we want something... very deep essence in us wants all that whole range of experiences. You know, people go to movies where you explore these incredible dimensions of beings which you wouldn't possibly dream about experiencing if they were real. The possibility to experience it is because, you know, it is as if you can put yourself in a state where you're actually experiencing it but you can also... if it gets too heavy, you can step back and say, "what am I doing? This is just a movie but you go there. You want it anyway so this idea is that the cosmic artists... if you want the creative consciousness, it will also tend to enact all kinds of possibilities."
"we are programmed into taking this absolutely ethnocentric. Each culture has an idea what is acceptable, what is right, what isn't right, but once in non ordinary states, you get an overview and those are all places, I mean, to like watching different movies. You know, it's appropriate if you live in a certain culture to play it by the rules. But you can also have another dimension where you have a degree of freedom where you just see all those are relative things. You don't get caught into those games where people get excited and fighting about these issues, and so on.
Now the other thing that people discover within this system... this is just one half of it going from one to many, from the void or from Sat-Chit-Ananda to a level like this. When you have a lot of separate entities, some are male. Some are females and are black. Some are yellow. Some are white, you know. Some live in one century. Others live in another century. Some of them are human. Some of them are animals, and so on, and then all these sort of interactions. And then the idea is that was in the same system there also built-in mechanisms to which you can escape the sense of separation, and being sort of committed to a particular partial form, and you get a way out into in non-ordinary states of consciousness, you can sort of dissolve these boundaries and you can start the journey back when you somehow rediscover your own true identity which you, sort of, you lost contact with. So those are ways to reunion so they are like two movements dynamics, the coexisting in the system that we are. One goes from the source to separation to divisions. The other one is from separation back to unity. Now comes catch-22. In many of their religious systems, you will find out that they would consider this level to be kind of the low level. This is the garbage level. This is the quagmire of death/rebirth. This is the valley of tears and you want out. I mean, the last thing you want to do is to stay here so you want out of the cycle of death/rebirth. You want Nirvana. So this is the original for example Hinayana Buddhism where the idea was you want to extinguish the torch of life. You want to get beyond the thirst of flesh and blood. You want to be in Nirvana. And in Nirvana means literally Evanescence. You want to fade out of existence. It's too much trouble. It's all associated with suffering. The Jain religion has the same kind of thing urg??? buy or sell a crystalline pure entity monad of life and you are entangled, contaminated by your association with the biological way of existence. You want to purify that and you want to move into this sort of pristine state beyond incarnation, beyond existence.
Now people who had that experience of Union was God back to the source realize that there is a problem because that's where creation came from in the first place. So if that state were so satisfying, so self fulfilling, none of these other things would be here. The principle would simply stay where it is, wouldn't bother to do these other things. So that there's a discovery that there is no way that principle can not to create it is a fundamental transcendental need of that state to create out of itself.
So now what is the solution? The solution here according to the insights that people get when they get to those levels is that the level of the phenomenal world and the transcendental level of the Sat-Chit-Ananda... those are two complementary realities. They somehow need each other. You find in some of the spiritual literature is that people need God, but God also needs people. In some of the aboriginal religions you see God's created humanity for a particular purpose so there's a kind of symbiosis. There is an interaction dynamics, is a dialectic dialogue sort of happening. The solution then would be to be here, fully here, instead of incarnate to be in the world, to be in the phenomenal world. This is the solution which was also found in the Mahayana Buddhism where the Nirvana is not Evanescence. It's not going out of here, but is to eliminate certain forces within this incarnation that makes existence tolerable or even exciting. And the three forces are represented by a pig, by a rooster and by a snake. Those forces are anger/aggression, desire/lust and ignorance. So you can eliminate some if you can inner transformation overcome or diminish those three forces within yourself, then you can be in the phenomenal world incarnate and at the same time you don't experience profound suffering. Or if you go through something unpleasant, you have this metaframework which you can sort of related so the idea is that this level has something to offer certain experience. All possibilities that the undifferentiated cosmic state does not have it has it in a potential form but not concretize. Only on this level can you have a child. Only on this level can you listen to Beethoven, or go windsurfing, or go hiking, or eat ?????, or whatever you think is whatever you enjoy. So this level has something to offer, but to be totally identified just was this. In other words, to lose the awareness that it's a play and take it, to buy it, sort of be real sucker further, you know, to believe that this is all there is means to getting lost in the play, to be like in the movies and believing that what's happening is there rather than believing that it's this play of vibrations of shadows and lights, and so on.
So the idea would be to be here, experience whatever is part of the experience, but have also this other level, the sort of metalevel sense of one's true identity. It would be like Olivier, you know, playing Othello or whatever it is, Hamlet, and being fully involved in it, and really be part of the play, but somewhere in the back of the head there is also the knowledge that you are not really a murderer, that you are Laurence Olivier, and so on.
Sometimes people give also this parallel with, you know, how do we understand our role? the question of free will and determinism? when you go to used to go to ??? training I don't know where ????. Now the final message was you're God. You created your own universe. And there was a security kind of confusion. It was like you see, you see, here I created the universe. I know that's not true. What seems to be true, at least in non-ordinary states, is all of us created what is here. But not from where we sit now, but from the top of the pyramid. In other words, the fact is that what we are playing now is certain roles in a screenplay which was written by all of us when we were still one entity. So the idea would be like Shakespeare has a concept of a play, let's say Hamlet. At the beginning all the characters are just thought forms in one, within one mind, and to make it a really good show you need separate entities. I mean, if they're not real separate individuals nobody gets killed. You know, nobody can love and hate anybody else. So you wouldn't have a real story so for that purpose you need separate entities. You need real characters. And what can happen is that, theoretically, Shakespeare could write the play and cast himself as Hamlet. Now from the level from which he was, right, getting the play he had different degree of free will. Then from the level from when you are cast into a role because there it's pretty much determined. And the problem here, the the free will and determination and zone, comes from what Gregory Bateson would call an error in typing. That means the Shakespeare who wrote the play is not the same Shakespeare who is in the cast. You know, there's no absolute conflict between free will and determinism. It depends on with which level we identify. Are we really aware of our true identity? Or are we identifying as the actor? Are we identifying with the protagonist? ..."
Analysis: Stan Grof talking about the Cosmic Game. He is basing this conclusion on thousands of cases of transcendant states of consciousness and awareness beyond the physical.
Terence McKenna was a riveting speaker, one of the best. He displayed encyclopedic knowledge on a vast array of topics, especially hallucinogens like DMT. In one of his lectures, This World and Its Double, he talked about us being characters in a novel.
"I become more and more convinced that reality is more like a novel than a series of integrated tensory equations of the third degree which is what physics would have us believe. The world is like a novel. It's a novel in which you are a character and there's dramatic tension, plot, resolution, tragedy, nobility, betrayal, the whole gamut of emotions and human possibilities. And what we tend to do is always to marginalize. First, our own experience. And then all human experience. So our model of reality is that the universe is a zillion somethings that direction and a trillion somethings that direction. We are tiny and insignificant. Our star is typical. Our galaxy is typical. Everything is utterly humdrum and there's nothing going on here at all. Well, this is an incredibly dreary and disempowering model of reality.
I would rather believe that if in fact what the universe is is a novelty producing and conserving engine, and if we define novelty as density of connectedness, then guess what. The human neocortex becomes the center of the cosmic drama because the human neocortex is the most densely ramified and connected material object known to exist in the universe. So after a thousand years of human marginalization suddenly, through the injection of science, there is permission to believe that the cosmic drama really is about us, that we really do carry the load in this play, that this is a play about the career and preservation of novelty and complexity. And thus we are central actors in that drama. And, hence, if something were to happen to us and our enterprise, the universe would be vastly impoverished by that loss.
Well, now we're on the brink of decoding the human genome. We will use computers to do this because we're going to have to keep absolute track of millions of units of strings of characters. But the end result of this, I think, is that the flesh will be made word and that we are textualizing our reality... then I got crossed up with this mushroom and immediately life became art. Life became freakishly ordered and plot elements began to unfold and I have in my mind a picture of the curve of my mission, if you want to call it that, and weirdly enough reality has not yet departed from the curve. Now the curve is getting steeper and steeper and at some point surely reality and the curve will depart...
And all of us are beginning to take textual control of our lives and be able to write the plot. You see, if what we're embedded in is a novel or some work of art like a novel, then what you want to do is figure out who in the novel you are. I mean, if your name is Joe Blow is the name of this novel The Lives and Worlds of Joe Blow or do you get to draw a bath for someone on page 230 and never be seen again? Now as a character the more conscious you become the more you have free will within the context of the plot. I never understood this and I'm not sure most people understand it... I never understood that the great drama that was unfolding around me, all I had to do was join and I never joined. I thought it was spectator sport. I mean, I marched in the marches. I took acid. I got laid. I did all of those things.
But what I mean by "I didn't join" is I didn't realize that The Grateful Dead were a bus ride away and I could probably walk into that scene and make a place for myself. Or The Doors. Or The Stones. Or The Beatles. You pick it. In other words, I defined myself as a spectator rather than an actor. And we are all doing that far too much. You can get alot rowdier than you are. You can make a lot more waves.... It's perfectly alright to mix things up. Its perfectly alright to accelerate the plot. This will move your character nearer and nearer to the center of the action. And people have asked me is the goal to make yourself the novel about you? Is the goal to make the novel about yourself? I don't think so. The goal is to become the author of the novel. Then you can write any damn ending you want for your character or any other. And this becoming the author is this psychedelic detachment. And suddenly you go from being a chessman on the board to being a chess master looking at the board. It's empowering. It's self control.
Now people who don't know this are like made of denser stuff than the rest of us. You can just part them like wheat and move through them because they have no sense of the nature of the game. They are still embedded in the old Newtonian paradigm and are completely powerless to control their own lives. That's what happens to you in the Newtonian game. All the power flows to, I don't know, the Whitehouse, U.N., Madison Avenue. It's not clear, but it certainly doesn't reside with you. More and more I think we need to decondition. That's what I mean by following the plot as written. If you never decondition, you're just a character in somebody else's story, but if you decondition you can begin to move your life the way you want and miracles happen. Miracles do happen. They happen even to ordinary people in the realm of falling in love because there's something about where the genes go that is very compelling to the Universal Logos that's watching over us all. So, you know, the stable boy can marry the princess if his heart is pure and the winds of the Logos are at his back. That's why we love those fairy tales."
Analysis: Terence was an expert on psychedelics such as DMT, and altered states of consciousness. He believes life is part of a drama or story.
"Joseph Campbell was one of the leading
mythology experts of all time.
Joseph Campbell is a philosopher. The
man who had this ability to see the
truth
in a world where we've lost sight of
that in many ways.
He has studied all of these classical myth
traditions
and actually started by studying
Native American mythology. He fell in
love with it when he was a kid.
This was his bliss. He went on
studying the aboriginal cultures. He studied Greek mythology. He studied
Arthurian legend.
"He dissected and really diagrammed
all of our stories.
He compared
philosophies, mythic stories
of the whole world.
All myths, all movies all novels,
all romances.
He found this one story within
all the stories, that we can relate to, no
matter where you come from.
He recognized that in spite of all the
different stories we seem to be telling,
there is really only one.
And He called it the Hero's Journey.
"There must have been thousands and
thousands of hero's stories
from every culture, but until Joseph Campbell
came along
certainly I never realized how they all
kind of fit together and how they were
basically the same story.
I was a religion major in college. I was
taking my final exam.
I had a moment where I've just gobsmacked.
It was just like
holy crap, it's all the same thing. I mean it
is really
all the same thing.
"The hero's journey is a pattern. You can
almost think of it as an algorithm,
that has three basic parts:
separation, initiation and return.
Separation: you are in one kind of a
reality
in one kind of a place and you are separated
from it.
Initiation: you're put into another
place, where you are in some manner
initiated.
Return: you come back.
"A simple version of the hero's journey is someone starting out in their normal
protected world
and then getting a call to adventure. A call to adventure.
There's a vision, there's a quest.
It's the story of the hero enduring some trials,
various trials and ordeals,
meeting different obstacles along the
way.
People that hurt you.
People that help you.
Doors will open as
Campbell would say
for you where there are no doors
for others.
Dragons will appear that are your dragons alone. You get to like meet the innermost cave where
you're really challenged,
like the greatest crisis, in which you find your
true self.
The achievement, the glory.
But then
that's not the end of it,
that he has to bring that back to the
community,
there's a return to tell the story.
That is
a heroic journey.
Separation, initiation, return.
"All of the
adventures of the human story are in there.
All the heroes, all villains, all the gods and
goddesses and all of the knights and of all
the fantastic creatures we can conjure
up in animation, they're all in there,
Because they're all in here in the heart,
because they're all in here in the head.
This is
where they come from.
If you look at some of the greatest
pieces of literature
the greatest works of philosophy, they
all have what
Joseph Campbell called The Hero's Journey.
And
if you look with a piercing eye
you can recognize his outline in just about
any movie or story you would read.
Star Wars, The Matrix, Harry Potter.
Wizard
of Oz: that's a classic story of the hero's journey.
You first see Dorothy
in her own natural environment and just
like out here in regular life
a person is operating in their natural
environment every day
and living in their house and that kind of thing.
And then something happens to shake
that world up,
And you go on a journey in which you have to
face certain tests and challenges.
"Storytelling is typically about
people
learning something.
You go to a place which is dark and
mysterious. You are faced with yourself. There is a relationship between facing fear and this kind of soul gain/game.
You acquire a quality, a hidden strength, a value,
moments where somebody is tested. Somebody moves to a place where
it feels like a crisis point and then
they are
restored, redeemed, made better
through that trial.
And we call them heros."
"If all of these stories boil down into one map we can use that map because all human beings are the same whether they are going through a war, its the same kind of process...in other words,
we're not separate from the characters we see in our movies and novels. They are us. It's one journey."
Analysis: Joseph Campbell was perhaps the greatest mythologist. His recognition of the hero's journey throughout stories was a major inspiration for George Lucas' Star Wars as well as a significant influence on many other artists. I think the idea of being a hero or savior is the biggest enticement to keep us coming back to this world where there is suffering and slavery. In order for someone to be a hero who rescues people, there first needs to be someone enslaved and in need of being saved. This is one of the biggest traps of all.
"The subject of this speech is a topic which has been discovered recently and which may not exist at all. I may be talking about something that does not exist. Therefore, I'm free to say everything or nothing. I, in my stories and novels, often write about counterfeit worlds, semi-real worlds as well as deranged private worlds inhabited often by just one person, while meantime the other characters either remain in their own worlds throughout or are somehow drawn into one of the peculiar ones. This theme occurs in the corpus of my 27 years of writing. At no time did I have a theoretical or conscious explanation for my preoccupation with these chloroform pseudo worlds. But now I think I understand. What I was sensing was the manifold of partially actualized realities lying tangent to what evidently is the most actualized one, the one which the majority of us by consensus gentium agree on."
"Later that day back home again but still deeply under the influence of the sodium pentathol, I had a short acute flash of recovered memory. Then in mid-march.a month later, the total body of memories, intact and entire, began to return. You are free to believe me or to disbelieve, but please take my word on it that I am not joking. This is very serious, a matter of importance. At that time I had no idea what I was seeing. It resembled nothing that I had ever heard described. It resembled plasmic energy. It had colors. It moved fast. It collected and then dispersed, but what it was -- what he was -- I'm not sure even now. "
In other words, it's a common theme in my writing that a dark-haired girl shows up at the door of the protagonist and tells him that his world is delusional, that there's something false about it. Well, this did finally happen to me. I even knew that her hair would be black. I had an actual complete sense of what she would look like and what she would say. She did appear. She was a total stranger. And she did inform me of this fact, that some of my fictional works were in a literal sense true. I wrote out these dreams in novel after novel, story after story. To name two in which this prior ugly present obtained most clearly, I cite The Man in the High Castle and my 1974 novel about the US as a police state called Flow My Tears the Policeman Said. I'm going to be very candid with you. I wrote both novels based on fragmentary, residual memories of such a horrid slave state world. People claim to remember past lives. I claim to remember a different, very different, present life. I know of no one who has ever made this claim before, but I rather suspect that my experience is not unique. What perhaps is unique is the fact that I'm willing to talk about it.
We are living in a computer programmed reality and the only clue we have to it is when some variable is changed and some alteration in our reality occurs. We would have the overwhelming impression that we were reliving the present deja vu, perhaps in precisely the same way, hearing the same words, saying the same words. I submit that these impressions are valid and significant. And I will even say this: such an impression is a clue, but at some past time point a variable was changed, reprogrammed as it were, and that because of this an alternative world branched off."
Analysis: Philip wrote many books that were made into movies such as Blade Runner, Total Recall and Minority Report. His book VALIS was shown repeatedly in the TV series Lost. Here he talks about something similar to the matrix way back in 1977.
Question from audience: "There's a sort of a philosophic concept
that a sufficiently advanced
civilization will be able to create a simulation. Yeah, maybe you answered this
before--"
Elon: "I simulate... has so many simulation
discussions is crazy, okay,
so because because, in fact, it got to the
point where basically every conversation
was the A.I.-A.I./Simulation
conversation. And my brother and I
finally agreed that we would ban such
conversations if we're ever in a hot tub."
Audience: "I was like there because that really kills the bathtu. No so so the idea is, right, any sufficiently advanced civilization would create, could create a simulation that's like our existence and so the theory follows that maybe we're in the simulation. Have you thought about this?"
Elon: "A lot... Remember, like the strongest argument for the... for us being in a simulation, probably being a simulation, I think, is the following: that for 40 years ago we had pong -- like two rectangles and a dot. That was what games were. Now forty years later we have photorealistic 3d simulations with millions people playing simultaneously and it's getting better every year. And soon we'll have, you know, virtual reality of augmented reality. If you assume any rate of improvement at all, then the games will become indistinguishable from reality. Just instinct even if that rate of advancement drops by a thousand from what it is right now, then you just say, 'okay, well, let's imagine it's a 10,000 years in the future which is nothing in the evolutionary scale... so it's a given that we're clearly on a trajectory to have games that are indistinguishable from reality and those games could be played on any set-top box or or on a PC or whatever and they would probably be you know billions of such, you know, computers or set-top boxes. It would seem to follow that the odds that we're in base reality is one in billions. Tell me what's wrong with that argument."
"Is
the answer yes?"
Elon: "The argument is probably...
it's like is there is there a flaw in
that? I meet someone but someone I'm not
sure whatever all right.."
"No no the argument makes sense so the assumption then is that somebody beat us to it and this is a game."
Elon: "No no... there's a 1 in billions chance that this is base reality."
Audience: "Oh, ok. What do you think?"
Elon: "Well, I think it's 1 in billions, okay, and this this that seems to be like clearly what the you know what what what suggests and actually I mean arguably we should hope that that's true because otherwise if civilization stops advancing then that may be due to some calamitous event that erased the civilization so maybe we should be hopeful that this isn't simulation because otherwise... because they could reboot it well otherwise either we're going to create simulations that are interesting indistinct or from reality or civilization will cease to exist. Those are the two options."
Analysis: Elon Musk says there is a 1 in billions chance we are not living in a simulation. He is certainly one of the great minds and thinkers of our generation.
"Well, there is this article that I published back in 2003 presenting the simulation argument. This is an argument that tries to show that at least one of three propositions is true although it doesn't tell us which of these three the three propositions in question is.
First, that almost all civilizations at our stage of technological development go extinct before they reach technological maturity. So that's the first possibility.
A second possibility is that there is a very strong convergence among all technologically mature civilizations in that they all lose interest in creating ancestor simulations, as I call them. This would be very detailed computer simulations of people like their historical forebears detailed in us that is simulated people in these simulations would be conscious. So the second possibility is that they just lose interest in doing this.
And the third possibility is that we are almost certainly living in a simulation. So there's this argument that shows that one of these three is true. And the full argument involves some probability theory, but the basic idea can be grasped quite simply which is that suppose it were the case that the first possibility did not obtain, so then some non-trivial fraction of civilizations at our stage eventually reach technological maturity. Then suppose the second possibility also does not obtain, so some non-negligible fraction of those mature civilizations are still interested in using the resources to running ancestor simulations. You can then show that because each mature civilization that devoted some resources to this purpose could run astronomical numbers of ancestor simulations... you can show that if the first two possibilities do not obtain, then there will be many, many more simulated people like us than there will be non simulated people like us. In other words, almost all people with our kinds of experiences would be living inside simulations rather than outside them. If the first two possibilities are false and the conditional on that we should therefore think we are probably one of the typical simulated people rather than one of the exceptional non-simulated people. So the structure of the argument, that is, that if you reject the first two hypotheses, then the third one follows which then means you can coherently reject all three.
That's the structure of the simulation argument. It is a further possibility that if you have a simulated civilization that that simulated civilization might inside the simulation develop the technology to run its own simulations. And you might have a kind of nested simulation with simulation inside the simulation. You might have many levels of simulation, but that's an optional extra the basic simulation argument doesn't propose. It presupposes that it's just that if you extrapolate the kind of computing power that an advanced civilization will eventually have and you figured if they would use some of that immense computing power to running simulations that could run an astronomical number of them so, therefore, in that scenario most people with our kinds of experiences would be among the simulated people because for each original history that would then be maybe millions who are buildings of simulated histories. So if that were the case, we should believe the simulation hypothesis. But the simulation argument doesn't imply the simulation hypothesis. It just says that there is these three possibilities, one of which is true."
Analysis: Physicist Nick Bostrom formally introduced the simulation theory and argument.
Larry: "Like Mr. Musk
thinks... are we living in a simulation?"
Neil: "I
find it hard to argue against that
possibility, meaning you look at
our computing power today and you say, 'I
have the power to program a world inside
of a computer'.
Well, imagine in the future where you
have even more power than that. You can
create characters that have, for example,
free will or their own perception of
free will. So this is a world and I
program in the laws that govern that
world. That world will have its own laws
of physics and chemistry and biology. Now
you're a character in that world and you
think you have free will and say, 'I want
to invent a computer' so you do. 'Hey, I
want to create a world in my computer'
and then that world creates a world in
its computer. And then you have
simulations all the way down. So now you
lay out all these universes and throw a
dart. Which of these universes are you
most likely to hit? The original one that
started it or the countless simulations,
the other simulations that unfolded
thereafter? You're gonna hit a simp. You're going to hit one of the
simulations. So statistically based on
that argument which first appeared by a
philosopher from Oxford named Nick
Bostrom back in the 1990s, right when
computers were becoming real enough to
think this through."
"It's hard to argue against the
possibility that all of us are not just
the creation of some kid in a parents
basement programming up a world for
their own entertainment. And then every
time something weird happens in the
world... some disruptive leader takes
charge... and I wonder if that programmer's
just got bored and had to stir the pot. So it's throw somebody in there just for their own entertainment. For me,
that's some of the best efforts live in
a simulation because this happens every
time there's peace and tranquility in
the world."
Larry: "But if it's
true, what can we do about it, if like the
Truman movie... other was that we're in--"
Neil De Grausse Tyson has helped fill the void that Carl Sagan left behind.
Neil: "Yeah, well, he can try to escape by going -- in the Truman movie -- to go through the
barrier."
Larry: "Yeah, but, yeah, if you're... if you were
programmed by somebody, you know,
there's nothing you can do so what
difference does it make?
Neil: "If I'm programmed by someone, I guess, is, I don't know, I guess it doesn't make any difference at all."
Analysis: Neil tells Larry King that the simulation argument merits serious attention. Neil has seemingly been tapped to fill the void that Carl Sagan left when he died.
Promise me one thing, though. If I die before I reach the summit, you'll use me as an alternative source of food. Ew. Gross."
"It's all true. It's all real. Nothing here is fake. Nothing you see on this show is fake. It's merely controlled."
"Eat me, damn it. That's an order."
Analysis: Truman, the true man, says to eat him and use him as an alternative source of food. Of course, he is referring to climbing a mountain and not reaching the summit, but perhaps this contains a veiled reference to the astral realm as well. This is at the very beginning of the movie.
Announcer: "1.7 billion were there for his birth. For his first step. The world stood still for that stolen kiss, And as he grew, so did the technology. An entire human life recorded on an intricate network of hidden cameras. And broadcast live and unedited 24 hours a day around the globe. Coming to you now from Seahaven Island, enclosed in the largest studio ever constructed, and along with the Great Wall of China, one of only two manmade structures visible from space, now in its 30th great year, it's..." The Tru-man Show.
"What a week it's been. I don't know about you. I was on pins and needles the entire time."
" Hello and good evening. I'm your host, Mike Michaelson, and welcome to Tru-Talk, our forum for issues growing out of the show. But tonight, something very special indeed, a rare and exclusive interview with the show's conceiver and creator. So, come with us now as we go live to the Lunar Room on the 221st floor of the Omni-Cam Echosphere, where we'll find the world's greatest tele-visionary-- the designer and architect of the world within a world that is Seahaven Island-- Christof."
Analysis: Truman's life was a reality television show which was run from a command base on the moon. Hmmm.
"Truman, you can speak." [over speaker] I can hear you."
"Who are you?"
"I am the creator... of a television show that gives hope and joy and inspiration to millions."
"Then who am I?"
"You're the star."
"Was nothing real?"
"You were real. That's what made you so good to watch. Listen to me, Truman. There's no more truth out there than there is in the world I created for you. The same lies. The same deceit. But in my world, you have nothing to fear. I know you better than you know yourself."
"You never had a camera in my head."
"You're afraid. That's why you can't leave. It's ok, Truman. I understand. I have been watching you your whole life. I was watching when you were born. I was watching when you took your first step. I watched you on your first day of school. [laughs] The episode when you lost your first tooth. You can't leave, Truman."
"Please, god."
"You belong here... with me. Talk to me. Say something. Well, say something, Goddamn it. You're on television. You're live to the whole world."
"In case I don't see you... 'Good afternoon, good evening, and good night. Yep."
"Yeah! Yeah! He did it. He did it. He did it! He did it! He made it! Yeah! All right, Truman!"
Analysis: Truman was able to make it out of his prison, but only by being aware enough to wake up, overcoming his fears and being brave enough to venture into the great unknown.
"Nicholas, it's fake.
It's a part of your game.
Don't you start with me now.
No, no, listen to me.
Don't you f'ing start with me.
I'm telling you the truth now.
This is all a game.
Bullshit, all right? Bullshit.
I know what happened to that guy.
They shot that guy, Feingold, Fisher,
they killed him. What did you see?
Think about it. What'd you
see? I saw them kill him.
No, what'd you really
really see, this whole time?
Special effects, squibs.
Squibs like in the movies.
Nicholas. Nicholas, listen.
I've got a real gun
with real goddamned bullets...
Okay, okay.
I'll put it down.
Feingold, Mr. Fisher. He's on the
other side of that door. He's an actor.
You're trying to kill me. No
one's trying to kill you, Nicholas.
Please put that gun down. You're about
to make the biggest mistake of your life.
Nicholas, there was always a safety net.
The taxi, there was a diver. My house,
they shot at us
with blanks.
It's not true.
It is.
It's what
you hired us for.
They're waiting on the other
side of that door with champagne.
Nicholas.
Please, goddamn it!
Conrad. Conrad's there.
It's your birthday party.
You stop lying!
Let me show you.
Don't you move.
He's got a gun.
Get back from the door.
You shot him.
Someone...
Someone call an ambulance!
He's dead.
We thought you knew.
How did you let this
get so out of hand?
He wouldn't listen to me.
We went through this
over and over.
The mark is
your responsibility.
You never,
never let
the mark take over.
I'm sorry. He could
have almost killed us.
I had a walkie-talkie.
I used the walkie-talkie.
We're going to jail.
We're all going to jail
for the rest of our lives.
Oh, God.
Nicholas!
We've got him.
He's in the bag.
We have him here.
He came in right on target.
Keep everyone back until we
clear away the breakaway glass.
Mr. Van Orton,
don't open your eyes.
It's just breakaway glass,
but it can still cut you.
Just gonna take a look at you.
I'm gonna check your pulse.
Just take it easy.
That was quite a fall.
Happy birthday, Nickie.
What is this?
It's your birthday present.
I had to do something. You
were becoming such an asshole.
Ladies and gentlemen. My
brother, Nicholas Van Orton.
Amazing. I just wanted
to tell you. Great job.
This was the best ever.
Thank God you jumped.
Because if you didn't,
I was supposed
to throw you off."
Analysis: Nicholas agrees to participate in a game though he doesn't know what form it will take or how elaborate or pervasive of an intrusion into his life it will take. They have the ability to talk to him through his television set. A costly budget and huge staff direct him on his journey which he believes is his real life when it is an elaborate hoax or prank that gets out of hand. At the end, after it's all over, all the actors are laughing and reminiscing about the scenes. Nicholas doesn't seem to be laughing very hard. I do feel that life here on Earth does contain an element of illusion and deception so that we can have this immersive experience, for whatever reason that may be. Is it all just a cosmic game we play with ourselves and others?
Derren: "...he wakes up in a... about to walk into one of those convincing simulators, you know, that they use for pilot training. And it's kind of a night flight so we found out that was the most convincing thing was to have it when it's dark. So he now goes in believing he's in the real cockpit of a real plane at 30,000 feet up in the air. He's got the guy on Ground Control who is, you know, in on it obviously as everybody is, talking him down, getting him to land the plane. "
"And it's just amazing... this guy as in his mind, you know, is landing this plane, saving the lives of 300 people. And then he steps out and then the thing is revealed to him. And it's so emotional. And then there's a, you know The Game, the Michael Douglas film, you know, has always been a point of reference for me. So he comes out. There's like a big party of everyone that's been on his journey, all these people, these actors that have been, you know, taking him in this direction. Yeah, so I've over the years kind of worked with these kind of... these plots, these kind of immersive Truman Show-style plots... "
Analysis: So if you think The Truman Show and The Game are just movies and it's not possible for us to be living in such a scenario, Derren Brown takes it to the next level and actually claims to have done this to someone in real life, in some of his productions such as Pushed to the Edge, Hero at 30,000 Feet, The Apocalypse, Sacrifice, and others. Whether the victims are acting and aware of the gags is disputable, but it shows that it is possible to take this to the next level. I mean, we have movies with actors. And we have soap operas which attempt to portray real life day to day drama. Now we have reality TV shows which may be scripted to a degree, at least the overall story arc and trajectory. Derren takes it to the next level and says he hired a bunch of actors to play an immersive trick on someone (who agreed to be part of his production earlier, though they were misled to believe they weren't selected or were selected for something else). One of his pranks actually was to convince a woman she was dead and looking at her dead body from outside her car, having died in a car crash. Another one purportedly convinced three out of four participants to push someone to their death to see how far people can be influenced by social pressure. This shows just how far some personalities will go to conduct experiments or to pull off elaborate hoaxes.
Is it really that farfetched to think that we are, in fact, living in a real live Truman Show where spirit beings watch for entertainment or some other unknown reason? Maybe we are participating in an experiment? And maybe there are even beings who bet on how we will act in certain situations?
"Uh oh.
This must be the head alien guy.
Oh no!
Hello, boys.
Dad? No, not really.
I just read your mind and thought this form might be more pleasing to you.
Aw dude, don't do that.
That's gay.
Yeah, that's like that stupid movie, Contact.
Aw God, that movie pissed me off.
Very well, I shall show my true form.
Okay okay, take the form of something else! How's this? Santa! No, that's stupid too.
How about this? No."
Analysis: The boys are taken up in a light tractor beam into an alien ship. The alien appears in the light and takes a familiar form to comfort them. Then shape shifts into its real form, a frightening one. It then asks them what form they want him to take. They finally decide on a taco that craps ice cream. There are at least a dozen near death experiences I know of where the light being tells them it can take any form they wish to comfort them. So, yes, the light beings and aliens can shape shift.
"See, there are dishes in over fifty thousand earthlings' rectums.
Your friend's has been malfunctioning.
Why do you put them into people's asses? Are you planning some kind of alien takeover?
Oh, heavens no! We're a production company.
We make intergalactic television programs that the whole universe watches.
We started with great shows like, Who Wants To Marry A Gelgamek? and Antares 6 Millionaire.
'Television? We at Nerzod Productions started twenty billion years ago with one philosophy: the best universal television isn't scripted, it's real.
And then we had a big hit with Get Me Outta Here, I'm a Klingnanian.
Earth? A few billion years ago we realized, 'What if we took species from all different planets in the universe, and put them together, on the same planet?' Great TV, right? Asians, bears, ducks, Jews, deer and Hispanics, all trying to live side by side on one planet! It's great!'
Our planet is just a reality-TV show? Well, you don't think the whole universe works the way Earth does, do you? No! One species, one planet! There's a planet of deer, a planet of Asians, and so on!
We put them all together on Earth and the whole universe tunes in to watch the fun! You mean that you aliens actually enjoy sitting around and watching us fight and kill each other? Dude, that's messed up.
But then, of course, there's our signature show.
The greatest universal reality show of all time.
When decoded, it looks like this.
Why? Why? Because you're playing with people's lives! You're turning people's problems into entertainment! Yeah! We'd never do that on Earth! Ladies and gentleman, we have recently come across an alien transmission that is being beamed throughout the entire universe."
'This jannemon at eight o'clock, it's everyone's favorite show: Earth! It's been one hundred Gelganighs since we first took species from seventeen different planets and put them all together, on the same planet! Oo-derp! They've fought and fallen in love! What will happen this Galgamog? Tune in jannemon at eight to find out.'
"What does it mean? It's simple mathematical language that can be understood throughout the solar system.
Translated into our language, it looks like this.
It's Earth! On FOGNL.
All right, Earthlings, if you'll step over this way, we'll erase your memories and get you back to Earth."
"I'm afraid that Earth, all of Earth, is nothing but an intergalactic reality-TV show.
My God.
We're famous! Wait, you don't understand! I'm on TV! I'm on TV! This is so awesome! That should get the relay working again."
"Well, you kids can go back to Earth if you want, but I'm afraid it won't be there for long. The show's been cancelled. What? Who cancelled us? The universal network heads. They say the Earthlings have become aware of the show, so it won't be funny anymore."
"Oh I'm sorry, Earthlings, but you have to realize the Universe is a business.
You've made it to a hundred episodes, you should be proud! Yeah, a show should never go past a hundred episodes, or else it starts to get stale with ridiculously stupid plotlines and settings.
Here's yoiur order of gespahtgaplachfenachenblah.
But sirs, we think our show is just getting good.
I mean, we're just now starting to see people get really pissed off at each other.
Oh my God, this is great! You must have some Joozian ancestry.
Tell us about it!
Look, there's five billion people on our show.
You just can't up and cancel on us."
"The Earth show can still be good.
Just erase everyone's memory so we don't know we're a show.
I'm sure you'll see that if you give our world time, it will become even more outrageous and violent.
There's even World War III to look forward to."
Analysis: Earth! is an intergalactic reality television show. I think there is pretty good evidence to suggest that all our experiences here on Earth are recorded and stored in an archive, call it the akashic records or a metaverse. Perhaps we have access to the entire library and can relive any portion of anyone's life whenever we want. Sort of like a cosmic google or Netflix.
episode, Command Performance:
"Hey! What's going on here? Where am I? Hey, talk to me! MALE: You're wasting your breath.
You don't matter to them.
How's it going, new guy? Ed?
What is this? What's going on?
Answer my question.
Who are you? What is this place?
Looks like they finally filled that slot.
(laughing) See, their buoys can scan your computers and then instantly generate a customized holographic lure.
Where are we? A smart one, isn't he? Take a look around you, friend.
You're in a Calivon zoo.
They recreate your natural environment based on the data they've collected.
As soon as you bite, you're transported here.
Like leaving an animal trap in the wild.
It even knew to make my dad talk about his colon.
That's an advanced technology.
They recreate your natural environment based on the data they've collected.
Once you're acclimated, whoosh! The wall goes up and you're the newest exhibit."
Analysis: An alien species uses a holographic lure as bait to capture species for their intergalactic zoo so they can observe species in their natural environment. Think this is farfetched? This is exactly what we do to animals.
STEVE: "You know, a lot of us are wondering exactly what it is you gave the Calivon.
It was Lieutenant Malloy's idea.
I'm just here to serve.
He guided me to a very old, very obscure section of Earth's cultural database.
They wanted a human zoo.
It's just not name change and arrested.
I gave 'em one.
TERESA GIUDICE (on TV): I am paying attention.
Obviously there has to be something else."
'You were (bleep) engaged 19 times?! You (bleep) stupid bitch!' (bleep), huh? (clattering) (woman yells indistinctly)
The Bachelor. Duck Dynasty. Keeping Up with the Kardashians. There must be 10,000 files here.
"What is this reality television? The best exhibit we've ever had. "
Analysis: A good and humorous solution to the problem. What if we are in a reality TV show for the spirit realm? In fact, one near death experiencer asked the light beings what the meaning of life is and they told him it is for the entertainment of the spirit realm.
Analysis: The Prisoner goes through a tunnel in order to resign. His identity is taken and put into a box in a giant filing system, perhaps somethng akin to the akashic records or metaverse.
Number 2: At last! Delighted to see you. Come in, come in. Do sit down. I'm sorry, I can never resist that. I hope you don't mind a working breakfast. Tea or coffee?" Prisoner: "Tea."
Number 2: "Indian or China?" Prisoner: "Either. With lemon." Number 2:" One or two eggs with your bacon?" Prisoner: "Two?" Number 2: "That will be all. Help yourself to toast."
Number 2: "I suppose you're wondering what you're doing here." Prisoner: "It had crossed my mind. What's it all about?"
Number 2: "Sit down and I'll tell you. It's a question of your resignation." Prisoner: "Go on."
Number 2: "The information in your head is priceless. I don't think you realize what a valuable property you've become. A man like you is worth a great deal on the open market."
Prisoner: "Who brought me here?"
Number 2: "I know how you feel, believe me. And they have taken quite a liberty." Prisoner: "Who are "they"?
Number 2: "A lot of people are curious about what lies behind your resignation. You had a brilliant career. Your record is impeccable. They want to know why you suddenly left."
Prisoner: What people?
Number 2: Now personally I believe your story. I do think it was a matter of principle. But, er, what I think doesn't really count, does it? One has to be sure about these things.
Prisoner: And that gives you the right to poke your nose into my private business?
Number 2: Now please. It's my job to check your motives.
Prisoner: I've been checked!
Number 2: Of course, but when a man knows as much as you do, a double check does no harm. A few details may have been missed.
Prisoner: I don't know who you are, or who you work for... and I don't care: I'm leaving.
Number 2: Have you not yet realized there's no way out? Now look, I have something that will interest you... Oh, feel free! A most important day...remember? Getting ready to meet Chambers, about to become late of the Foreign Office. You were hoping to, er, persuade him to change his mind before the big boys found out. You waited and waited, but he never turned up. A nice guy, Chambers. And so taut! You see there's not much we don't know about you, but one likes to know everything. For instance, do you remember that time you arrived back from Singapore? Change of climate, feeling a bit shaky. You were sickening for a cold -- sneezed yourself out of our camera. Deciding to take a vacation! Now where can you go? Ireland? A bit too cold that time of the year. Paris! Maybe not. What was that? Sounded like a click. Something in the mirror? Or was it over there? Yes, over there too. As I said, one likes to know everything. For instance I had no idea you liked lemon tea."
Prisoner: The time of my birth is missing. Number 2: Well, there you are. Now let's bring it all up to date.
Prisoner: Four thirty-one a.m., nineteenth of March 1928. I've nothing to say. Is that clear? Absolutely nothing.
Number 2: Now be reasonable, old boy. It's just a matter of time. Sooner or later you'll tell me. Sooner or later you'll want to. Let's make a deal. You cooperate, tell us what we want to know, and this can be a very nice place. You may even be given a position of authority.
Prisoner: I will not make any deals with you. I've resigned. I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
Number 2: Is it?
Prisoner: Yes. You won't hold me.
Number 2: Won't we? Let me prove that we will.: Come, I'll show you. We can take this up later.
Analysis: Number 2 (demiurge-type being) tries to make a deal with the prisoner and give him a position of authority. The prisoner refuses to be a number but to retain is own sovereignty.
New 2: I have taken his place. I am the new Number 2. Prisoner: Get Number 1.
New 2: As far as you're concerned, I'm in charge. What can I do for you? Prisoner: Cobb.
New 2: What we do here has to be done. It's the law of survival, it's either them or us.
Prisoner: You imprison people, steal their minds, destroy them...
New 2: It depends whose side you're on, doesn't it? Prisoner: I'm on our side.
New 2: Then we have to find out where your sympathies lie. Prisoner: You know where they lie.
Number 2: "Subject shows great enthusiasm for his work. He is utterly devoted and loyal." Is this a man that suddenly walks out?
Prisoner: And I didn't walk out. I resigned.
Number 2: People change, exactly. So do loyalties. Prisoner: Not mine.
Number 2: All very commendable. But let's be practical. I'm interested in facts. Your only chance to get out of here is to give them to me. And if you don't give them, I'll take them. It's up to you, think about it. Good day, Number 6. Prisoner: Number what?
Number 2: Six. For official purposes. Everyone has a number. Yours is number six.
Prisoner: I am not a number, I am a person. Number 2: Six of one, a half a dozen of another! Good day!
Number 2: Report on Number 6. Normal classification. On arrival, subject showed shock symptoms followed by accepted behavior pattern. Since then, has been uncooperative and distinctly aggressive. Attempted to escape. Subject proving exceptionally difficult, but in view of his importance no extreme measures to be used yet.
"Eleanor, what's going on? It took me a while to figure it out, but just now as we were all fighting and yelling at each other and each one of us demanding we should go to the Bad Place, I thought to myself, 'Man, this is torture.' And then it hit me. They're never gonna call a train to take us to the Bad Place. The can't, because we're already here. This is the Bad Place.
[dramatic music] [evil laugh] "Oh, man! I can't believe you figured it out. [laughs] Oh, God! Y-you ruined everything, you know that? Oh, man. Eleanor, you really suck! - [gasps] - I was so close to pulling it off!" [groans, stammering] [sobs] [ceramic crunches]
"So she's right?"
" Yeah, she figured it out."
Note: Unfortunately, I am not including the video clip for this as the show is still currently active and the networks seem to be very proactive in trying to supress any content whatsoever from being shared.
Analysis: This is the major twist at the end of the first season. Four newly deceased souls are led to believe they are in the good place, heaven. But in reality they are being tortured. Eleanor eventually figures it out, but has her memory wiped and the matrix is rebooted again. The Twilight Zone episode A Nice Place to Visit obviously served as an inspiration for the making of The Good Place. Instead of the Bad Place, Twilight Zone called it the other place.
"All right, let's try again, shall we?"
"You know what, bro? Do your worst. We figured it out once, we can do it again, because you know what, Michael? Ya bas-- "
[chimes tinkle] [door opening]
"Eleanor, come on in. You, Eleanor Shellstrop, are dead." "Cool."
[upbeat music] "You know the way you feel when you see a chimpanzee and a baby tiger who've become friends? [laughter] That's how you're going to feel every day."
Note: Unfortunately, I am not including the video clip for this as the show is still currently active and the networks seem to be very proactive in trying to supress any content whatsoever.
Analysis: Eleanor has her memory wiped, the matrix is rebooted and she is recycled into the afterlife once more.
"The future is bright at Monsters, Incorporated! We're part of your life. We power your car. We warm your home. We light your city... Carefully matching every child to their ideal monster to produce a superior scream refined into clean dependable energy... Every time you turn something on, Monsters Incorporated is there... We know the challenge. The window of innocence is shrinking. Human kids are becoming harder to scare... The best refineries and research into new energy techniques... We're Monster's Inc... 'We scare because we care!'
Analysis: Monsters from another dimension are scaring humans and harnessing their fear as energy to sustain their world. Perhaps this is what is really going on with the astral realms?
Analysis: John Carpenter reveals truth in this classic film. Interesting that "sun" glasses are the metaphor used for seeing the truth. All the signs and language we have in this world have subliminal messages attached to them to get us to submit to authority, obey and consume.
"First there was darkness.Then came the strangers. They abducted us and brought us here. This city, everyone in it... ...is their experiment. They mix and match our memories as they see fit... ...trying to divine what makes us unique. One day, a man might be an inspector. The next, someone entirely different. When they want to study a murderer for instance... ...they simply imprint one of their citizens with a new personality... ...arrange a family for him, friends, an entire history... ...even a lost wallet. Then they observe the results. Will a man, given the history... ...of a killer, continue in that vein? Or are we, in fact, more than the mere sum of our memories? This business of you being a killer was an unhappy coincidence. You have had dozens of lives before now. You just happened... ...to wake up while I was imprinting you with this one."
" Why are they doing all of this?"
" It is our capacity for individuality, our souls, that makes us different from them. They think they can find the human soul if they understand how our memories work. All they have are collective memories. They share one group mind. They're dying, you see? Their entire race is on the brink of extinction. They think we can save them"
"Where do I fit in?"
"You are different, John. You resisted my attempt to imprint you. Somehow... ...you have developed their ability to tune. That is how they change things. That is how they built this city. They have machines buried deep beneath the surface... ...that allow them to focus their telepathic energies. They control everything here, even the sun. That's why it's always dark. They can't stand the light. So why do they need you? When they first brought us here, they extracted what was in us. So they could store the information... ...remix it like so much paint... ...and give us back new memories of their choosing. But they still needed an artist to help them. I understood the intricacies of the human mind... ...better than they ever could... ...so they allowed me to keep my skills as a scientist... ...because they needed them. But they made me delete everything else. Can you imagine what it is like being forced... ...to erase your own past?"
"What about my past? What about my childhood? Shell Beach, Uncle Karl. What about this? This was blank when I found it!"
"You still don't understand, John. You were never a boy... not in this place. Your entire history is an illusion, a fabrication... ...as it is with all of us. You made those drawings happen with your gift."
"You say they brought us here. From where?"
"I'm sorry. I don't remember. None of us remember that... ...what we once were... ...what we might have been... ...somewhere else. I've taken you this far. You don't need me anymore. Let's go. John. There is no ocean, John. There is nothing beyond the city. The only place home exists... ...is Part 2:."
Analysis: Another movie that came out at the end of the millennium revealing the truth. Our memories are messed with while we sleep and our reality is constantly being updated.
"He doesn't realize he is already part of a neverending story.
The neverending story? What's that?
Just as he is sharing all your adventures, others are sharing his."
Analysis: Sebastian reads a book called The Neverending Story, unaware that he is actually the main character in the story. He has to give the Childlike Empress a name or 'The Nothing' will devour the world of Fantasia and it will cease to exist. He names her 'Moonchild'. All that is left of Fantasia is basically a vast empty void (the Nothing?) with one small grain of sand. From this void-like space all potential exists and he can wish anything he wants into Fantasia.
This is a very good metaphor, I believe, for our world. This world we have created is a fantasy, a fabrication of our imagination. Our true nature is infinite awareness without form (void or nothingness, from our earthly perspective, yet everything there is). Infinite awareness is directing and acting out a story that will only end when it stops wishing to experience this divine drama or cosmic play.
"Won't there be trouble
if Section 9 butts in
on Section 6's operation?
That diplomat's a pretty
well-known bastard.
Even if they catch him there,
all they can do is deport him.
We're the only ones
who can get our hands dirty.
They're moving.
Take us over to
the extraction point.
What? The police?
Stop it! Who told you to
open fire?! Drop your guns!
I have diplomatic immunity!
Let me see who's in charge!
Transporting a listed programmer out of the country...
...violates our
arms export treaty"
Analysis: This anime came out before the movie The Matrix and influenced the brothers. This scene shows the jack in the neck (nervous system) and the numbers which scroll on the computer screen.
"My code name
is Project 2501.
I was created
for industrial espionage and data manipulation.
I have inserted programs
into individual ghosts for the benefit
of specific individuals
and organizations.
As I wandered
the various networks l became self-aware.
My programmers considered it a bug and forced me into a body
to separate me from the net.
Hey! Are you going into him
or is he coming into you--
Batou!
At last I'm able
to channel into you.
I've invested
a lot of time in you." "
In me?"
"Before you ever knew me,
I knew about you.
I learned of Section 9
from the many nets you accessed." "Is that why
you ran to Section 9?"
"I entered
this body because l couldn't crack
Section 6's attack protection.
But I came to Section 9
of my own free will."
Hey! What are you saying?!
I can't monitor you!
For what reason?
After I give my reasons,
I want to ask a favor of you.
I called myself
a life-form, but I am still
far from complete.
For some reason,
my system lacks
the basic life processes of either death
or the ability to leave behind offspring.
Can't you copy yourself?
A copy is merely a copy.
There's the possibility
a single virus
could utterly destroy me.
A mere copy doesn't offer
variety or individuality.
To exist, to reach equilibrium,
life seeks to multiply and vary constantly, at times giving up its life.
Cells continue the process
of death and regeneration.
Being constantly
reborn as they age.
And when it comes time to die,
all the data it possesses
is lost leaving behind
only its genes
and its offspring.
All defense against
catastrophic failure
of an inflexible system.
You want the variety needed
to guard against extinction.
But how will you get it?
"I wish to merge with you."
"Merge?"
"A complete joining.
We will both
be slightly changed,
but neither will lose anything.
Afterwards, it should be
impossible to distinguish
one from the other.
Unit 01: target acquired.
Unit 02: acquired.
Cardiovascular synch:
nominal.
Open fire when stabilizer
syncro is complete.
Even after we merge,
what happens when I die?
I can't leave any genes
or children behind.
After the merging,
you will bear my offspring
into the net itself. Just as humans pass on
their genetic structure.
And I will achieve death.
Sounds like you're getting
the better part
of the deal here.
I wish you'd appreciate
my network and functions
a bit more.
What's wrong?
Someone's jamming us
from outside.
Impossible!
Our scrambler codes
are kept absolutely top secret.
Another thing.
What guarantee is there
that I'll remain "me"?
None. But to be human
is to continually change.
Your desire to remain as you are
is what ultimately limits you.
One last question:
Why did you choose me?
Because in you
I see myself.
As a body sees its reflection
within a mirror.
Look.
I am connected
to a vast network,
of which I myself am a part. To one like you,
who cannot access it, you may perceive
it only as light.
As we are confined
to our one section,
so we are all connected.
Limited to a small
part of our functions.
But now we must slip
our bonds, and shift
to the higher structure."
"Enki decreed its fate:
192-209. "Sumer, great mountain, land of heaven and earth, trailing glory, bestowing powers on the people from sunrise to sunset: your powers are superior powers, untouchable, and your heart is complex and inscrutable. Like heaven itself, your just matrix, in which gods too can be born, is beyond reach. Giving birth to kings who put on the good diadem, giving birth to lords who wear the crown on their heads -- your lord, the honoured lord, sits with An the king on An's dais. Your king, the Great Mountain, Father Enlil, the father of all the lands, has blocked you impenetrably (?) like a cedar tree. The Anuna, the great gods, have taken up dwellings in your midst, and consume their food in your giguna shrines among the unique and exceptional trees. Household Sumer, may your sheepfolds be built and your cattle multiply, may your giguna touch the skies. May your good temples reach up to heaven. May the Anuna determine the destinies in your midst.""
Analysis: In this Sumerian text, Enki decrees that Sumer is a matrix patterned after heaven and one in which kings lord over. The anuna gods, the anunnaki, take up dwelling there and breed sheep, cattle, etc.
"Let me tell you why you're here.
You know something.
What you know,
you can't explain.
But you feel it.
You felt it your entire life.
Something's wrong with the world. You don't know what, but it's there.
Like a splinter in your mind driving you mad.
It is this feeling
that has brought you to me.
Do you know what
I'm talking about?"
"The Matrix?"
"Do you want to know what it is?
The Matrix is everywhere.
It is all around us.
Even now, in this very room.
You can see it when you
look out your window or when you turn on your television.
You can feel it when you go to work, when you go to church, when you pay your taxes.
It is the world that has been
pulled over your eyes to blind you from the truth."
"What truth?"
"That you are a slave.
Like everyone else,
you were born into bondage, born into a prison that you cannot
smell or taste or touch.
A prison for your mind.
Unfortunately, no one can be told what the Matrix is.
You have to see it for yourself. This is your last chance.
After this, there is no turning back.
You take the blue pill,the story ends, you wake up
in your bed and believe whatever you want to believe.
You take the red pill, you stay in Wonderland and I show you how deep
the rabbit hole goes.
Remember all I'm offering is the truth.
Nothing more."
Analysis: One of the greatest scenes in cinematic history. It helped to wake up millions of people to the true nature of our reality, that we are slaves born into bondage. Notice it insinuates religion (church) and government (work, taxes) are part of the matrix.
"We marveled at our own magnificence as we gave birth to Al."
"Al. You mean artificial intelligence?"
"A singular consciousness that spawned an entire race of machines. We don't know who struck first, us or them. But we know that it was us that scorched the sky. They were dependent on solar power and it was believed that they would be unable to survive without an energy source as abundant as the sun. Throughout human history, we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony."
"The human body generates more bioelectricity than a 120-volt battery. And over 25,000 BTUs of body heat. Combined with a form of fusion, the machines had found all the energy they would ever need. There are fields, Neo, endless fields where human beings are no longer born. We are grown. For the longest time, I wouldn't believe it. And then I saw the fields with my own eyes... ...watched them liquefy the dead so they could be fed intravenously to the living. And standing there, facing the pure, horrifying precision, I came to realize the obviousness of the truth."
"What is the Matrix?
Control.
The Matrix is a computer-generated
dream world built to keep us under control in order to change a human being into this. [Morpheus holds up a battery].
"No.
I don't believe it.
It's not possible." "I didn't say it would be easy, Neo.
I just said it would be the truth."
Analysis: One of the most classic scenes ever filmed. And the introduction for many into the possibility that we are indeed living in a matrix. And it directly implies we are batteries feeding energy to the artificial intelligences / machine.
Shopkeeper: "Thank you. Good day. Be seeing you. Good morning, sir. And what can I do for you then?
Prisoner: I'd like a map of this area.
Shopkeeper: Map? Color or black and white?
Prisoner: Just a map.
Shopkeeper: Map...
He pauses to remember where he keeps such a thing.
Shopkeeper: Ah. Black and white...
He produces a map from a cupboard.
Shopkeeper: There we are, sir. I think you'll find that shows everything.
The map is labelled "Map of your Village". The Prisoner opens it; it shows the Village bordered by "the mountains": there are no external geographical names.
Prisoner: I... I meant a larger map.
Shopkeeper: Only in colour, sir. Much more expensive.
Prisoner: That's fine.
The shopkeeper fetches him a colour map as inadequate as the last. It folds out as a larger sheet of paper, but still mentions only "the mountains", "the sea", and "the beach", together with the title "Your Village".
Prisoner: Er, that's not what I meant. I meant a... a larger area.
Shopkeeper: No, we only have local maps, sir. There's no demand for any others. You're new here, aren't you?
Prisoner: Where can I get a hire car? Self-drive.
Shopkeeper: No self-drive. Only taxis.
Prisoner: I've tried those.
Shopkeeper: Well, I look forward to the pleasure of your custom, sir. Be seeing you.
Again the gesture; the Prisoner glances back in irritation.
Analysis: The Prisoner obviously influenced the movie The Truman Show. The Prisoner is kidnapped a brought to a village from which he can't escape. If anyone tries to escape, a "rover" is sent from up above and retrieves the soul. The Prisoner is subjected to mind control, but steadfastly refuses to give up his identity as a unique, sovereign individual. He is under the control of a ruler known as Number 2.
Analysis: Truman's world is fake. His island is a giant set. It is all being controlled from a base on the moon. His sun and moon are just programs. His friends are all actors and in on the ruse. He is monitored and his life is broadcast on television non-stop purely for the entertainment of everyone else. The creator of the show is known as a christ-like being, named Christof.
Analysis: Aliens reminiscent of the little greys. due to their bulbous heads and silvery suits, have captured Pike and placed him within a cage bound within a force field. They communicate telepathically. They are studying the human and it is like theatre for them.
Analysis: The protagonist heads to edge of the world only to find it is a hologram. This has parallels to the simulation argument. There is evidence that suggests we may indeed be living in a fractal-based hologram.
Analysis: A holographic power grid was sustaining the underground facility in which the clones were being kept.
"More power!"
"Soul Eater, that guy," "Yes, Maka, there's no doubt."
That guy's soul is already like the egg of a Kishin (demon).
It ain't human.
Souls that have railed off the path of humans, have a high risk of becoming Kish 9 ins.
In the name of Shinigami-sama, cleanse and release that soul.
What's wrong, Maka?"
"The same way he's not human, I'm a weapon just so happens that I have a human form normally.
How the shape looks like doesn't matter What matters is the soul! I understand."
"To the mass murderer, Jack the Ripper.
I'm here to take your soul.
I'm here to take your soul.
The weapon and the owner are two in one.
Let's go, Soul.
Yeah.
This'll make it ninety-nine souls! Thanks for the meal.
Job completed.
We've finally collected ninety-nine pre-Kishin souls.
Just one left! If I can eat a witch's soul, I can become a Death Scythe, the weapon of Shinigami-sama! Not to mention, my coolness level would go up big time! I'm gonna go report to Shinigami-sama."
"Hm, Death Room's number is 42-42-564.
Hello, hello, Shinigami-sama? This is Scythe Technician, Maka.
Ooh! Maka-chan! Is everything alright? What's going on? We just collected the ninety-ninth soul, so now all that's left is the witch's soul.
Good ob! Maka-chan, you're an excellent Scythe Technician, just like your mom. "Hey, Soul Eater! Don't lay a hand on Maka or else I'll take care of you as a Death Scythe"
Analysis: Not much required. The name says it all. And the fact that the moon and sun are such prominent symbols in the show.
Song: "Scattered stars shine on, the star of my dreams. I wanna be [Let's go, let's go, let's go] I wanna, I wanna be...[soul eater]. The world is becoming blackened. Although the breaths I take stay white. Since that day when we promised to decimate the present. But we'll still be able to make it in time. Together with the deepest despair. Scream out. Impale it before it all changes." I wanna, I wanna be... [Soul Eater]"
Song: "I'm falling down into my shadow with breath concealed and the deadly night is waiting. Don't scary. If you wish for any kind of world, it can be reflected in those eyes. See you in your dreams, Yeah, baby. Even if it's a nightmare. Fairy blue, for you. I'll shatter the stars and decorate the black paper moon if you believe in me! When you're lost 'here', I am 'forever' with your soul. It'll sparkle if you look up just like a moon."
Analysis: The song in the show has themes of shadow, dreams, the moon, the sun, a blue fairy, and a soul eater.
An entire afternoon at Blips and Chitz! Oh, this place is the best.
It's got beer, games, prizes, and you can never tell what time it is.
You sold a gun to a murderer so you could play video games?! Yeah, sure, I mean, if you spend all day shuffling words around, you can make anything sound bad, Morty.
Here, check this out.
Aah! Roy, what's wrong? I had a nightmare.
I was with an old man.
He put a helmet on me.
It's just a fever.
Get some sleep.
I don't want you missing school on Monday.
I want you kids to look around you today and think about your future.
Now is the time in your life when anything is possible.
Spiraling perfectly! It's gonna be caught by Roy Parsons! Roy Parsons is at the 20! Now he's at the 10! Nothing can stop Roy "the Rocket"! Touchdown! I just think it's time to get realistic.
Have you talked to my father about the carpet store? Roy? Had we caught it sooner well, hindsight is 20/20, Roy.
What's important is that we move quickly.
I'm not ready to die.
You're not going to.
- Yeah! Whoo! - Yeah! Hey, thanks for the carpet, Roy.
Hey, Roy, you pulled those persian off-white shags for the clearance sale? Whoa.
Sh shit! Oh! Whoa! What the hell?! W-w-where am I?! - What in the hell?! -
55 years.
Not bad, Morty.
You kind of wasted your 30s, though, with that whole bird-watching phase.
- Where's my wife?! -
Morty, you were just playing a game.
It's called "Roy".
Snap out of it.
Come on.
I'm Morty.
You're Rick.
Hey! You sold a gun to a guy that kills people! Look at this you beat cancer, and then you went back to work at the carpet store? Boo! D-don't dodge the issue, Rick! Selling a gun to a hit man is the same as pulling the trigger! It's also the same as doing nothing.
If Krombopulos Michael wants someone dead, there's not a lot anyone can do to stop him.
That's why he does it for a living.
Now excuse me.
It's time to thrash your "Roy" score.
You know, you could stop this killing from happening, Rick! You know, you did a bad thing selling that gun, but you could undo it if you wanted.
Uh-huh, yeah, that's the difference between you and me, Morty.
- I never go back to the carpet store.
- Holy shit! This guy's taking Roy off the grid! This guy doesn't have a social security number for Roy! Hi.
Analysis: Rick and Morty play a virtual reality game where they live and control someone's life. This is similar to the way our higher selves control us like avatars in a VR video game.
"I put a spatially tessellated void inside a modified temporal field until a planet developed intelligent life.
I then introduced that life to the wonders of electricity, which they now generate on a global scale.
And, you know, some of it goes to power my engine and charge my phone and stuff.
You have a whole planet sitting around making your power for you? That's slavery.
It's society.
They work for each other, Morty.
They pay each other.
They buy houses.
They get married and make children that replace them when they get too old to make power."
"That just sounds like slavery with extra steps."
Analysis: Rick builds a microuniverse complete with inhabitants who go to work etc. in order to power his car battery. One of the citizens of the microuniverse, in turn, creates a minuniverse within the microuniverse in order to power it.
"God is a maneater. God is a maneater so people are sacrificed to him. Before humans were sacrificed, it was animals because those they were eaten but not gods."
Analysis: The Secret Gospel of Philip says humans were sacrificed to the gods because god is a maneater.
"Mary answered and said unto Jesus: “ My Lord, in what way will the souls have delayed themselves here outside, and in what type will they be quickly purified?”
And Jesus answered and said unto Mary: “ Well said, Mary; thou questionest finely with thy excellent question, and thou throwest light on all things with surety and precision. Now, therefore, from now on will I hide nothing from you, but I will reveal unto you all things with surety and openness. Hearken then, Mary, and give ear, all ye disciples: Before I made proclamation to all the rulers of the æons and to all the rulers of the Fate and of the sphere, they were all bound in their bonds and in their spheres and in their seals, as Yew, the Overseer of the Light, had bound them from the beginning; and every one of them remained in his order, and every one journeyed according to his course, as Yew, the Overseer of the Light, had established them. And when the time of the number of Melchisedec, the great Receiver of the Light, came, he was wont to come into the midst of the æons and of all the rulers who are bound in the sphere and in the Fate, and he carried away the purification of the light from all the rulers of the æons and from all the rulers of the Fate and from those of the sphere—for he carried away then that which brings them into agitation —and he set in motion the hastener who is over them, and made them turn their circles swiftly, and he [sc. the hastener] carried away their power which was in them and the breath of their mouth and the tears [lit. waters] of their eyes and the sweat of their bodies.
“And Melchisedec, the Receiver of the Light, purifieth those powers and carrieth their light into the Treasury of the Light, while the servitors of all the rulers gather together all matter from them all; and the servitors of all the rulers of the Fate and the servitors of the sphere which is below the æons, take it and fashion it into souls of men and cattle and reptiles and wild-beasts and birds, and send them down into the world of mankind. And further the receivers of the sun and the receivers of the moon, if they look above and see the configurations of the paths of the æons and the configurations of the Fate and those of the sphere, then they take from them the light-power; and the receivers of the sun get it ready and deposit it, until they hand it over to the receivers of Melchisedec, the Light-purifier. And their material refuse they bring to the sphere which is below the æons, and fashion it into [souls of] men, and fashion it also into souls of reptiles and of cattle and of wild-beasts and of birds, according to the circle of the rulers of that sphere and according to all the configurations of its revolution, and they cast them into this world of mankind, and they become souls in this region, as I have just said unto you."
Analysis: The Gnostic text Pistis Sophia details how the moon and sun receive souls, take the light-power and transfer them to Melchizedek, the Receiver of the Light who purifies them and carries them to the Treasury of the Light. The servitors basically recycle souls by taking the material refuse and fashion it into souls for earth.
The moon is often shown as a foreboding warning that something dark or bad is about to occur. The moon is sometimes shown as a base from which the earth is watched and controlled.
"... but the Moon, its exact size is such that it gives us total eclipses. Its disc exactly covers the Sun. And the chances of that occurring are so, literally, astronomically small, it's, it's very disturbing.
NARRATOR: The Sun's diameter is 400 times greater than the Moon and coincidentally the Sun also happens to be nearly precisely 400 times further away.
This is the reason that the Sun and the Moon appear the same size in the Earth's sky and why we on Earth can experience eclipses of the Sun.
CHILDRESS: It's just perfectly in that orbit to eclipse our Sun.
The odds of the Moon being in that orbit accidentally are a zillion to one.
So that right there is evidence that our Moon is in a perfect orbit around our planet. That's not accidental.
BARA: In order to have a solar eclipse the Moon has to be exactly the size that it is, which is 2,160 miles.
Not 2,161, not 2,159, but 2,160 miles at its equator.
And there are people out there that actually think that's a coincidence.
The fact is, is that that is by design.
NARRATOR: Throughout our observable galaxy, this relationship and others have not been duplicated. Other moons are sizably smaller by comparison to their mother planet. Earth's satellite not only orbits closer than it should for its size, it is also the only moon in the solar system that has a near-perfect circular orbit. And no other lunar bodies are known to have such a stabilizing role as the Moon has with the Earth.
HENRY: Recent computer simulations have shown that without the Moon's presence, the Earth's axis tilt would be completely different than it is today.
We might not even have seasons as we know them presently.
Without the seasons it could be very difficult for life on Earth.
So the Moon is actually performing an incredible function.
It's life-sustaining.
Without it, we might not be here.
BUTLER: There are so many peculiarities about the way the Moon has affected the Earth that one might be forgiven for believing that there is intelligence behind it, that something made it that way.
The Moon is so strange, so odd in terms of what we find elsewhere in the solar system, and particularly in terms of what it does for the Earth, having made the Earth into a haven for life, that one feels obliged to ask the question, "Could such things have come about by chance?" Was it placed there deliberately? Was it engineered, maybe by aliens? And therefore, is our whole existence a planned event?
NARRATOR: Ancient astronaut theorists suggest that the perfect size and placement of the Moon may not be the product of mere chance, but was engineered by extraterrestrial beings in Earth's prehistory.
Analysis: A very good and quite revealing epsiode about the moon. The title of the episode is a nod to the famous scene in Star Wars where the moon is revealed to be a space station called the "death star".
TSOUKALOS: There are ancient stories that speak of a time when the Moon was not up in the sky and there are descriptions that say that the Moon was artificially pulled into place.
So if we have two modern Russian scientists who have suggested that perhaps the Moon was pulled into place, and that is a corroboration of ancient mythologies, that's when I listen.
CHILDRESS: So the whole idea that our Moon is some gigantic hollow spaceship that's been put into a special orbit around our planet, and contains cities and structures that are inside and outside of the Moon is to me a very reasonable assertion.
And in fact it would seem to be that our Moon is some kind of gigantic artificial spaceship that is here to monitor our planet.
NOORY: Would I discount the fact that the Moon is a foreign object, a spaceship, a Death Star? I don't think you can rule that out.
NARRATOR: "Might there not only be structures on the lunar surface but also unidentified activity? Activity that might point to current extraterrestrial occupation of the Moon? Ancient astronaut theorists say yes and suggest that further evidence may be found on the dark side of the Moon."
NARRATOR: The Moon is the most visible celestial body in the night sky. But we only ever see one side as it is in synchronous rotation with Earth, meaning it takes just as long to rotate around its own axis as it does to complete its orbit around our planet. Therefore, we can only observe one side, and up to 41% of the Moon's surface is never seen. The Moon is in what we call synchronous rotation with the Earth. That is that the effect of the gravity of the Earth and the Moon means that the Moon only shows us one side, its one face, the face that we're all familiar with.
PAUL DAVIES: The reason for this is because when two objects get close enough to each other, they do become so-called phase-locked in that manner. It means it presents the same face to the Earth the whole time.
BRANDENBURG: Because of the tidal locking of the Moon's rotation, it presents the same face. And of course this leads to speculation because this creates a perfect place to create large installations on the Moon that are not directly observable from Earth. Hypothetically, the far side of the Moon, it's an excellent place to put up bases. And that has been a fixture of a lot of science fiction.
SALLA: There have been whistle-blowers that say that they've been taken to a base, which is called Lunar Operations Command, on the far side of the Moon and that this base is part of a network of bases on the far side of the Moon that are run by various secret space programs and extraterrestrial civilizations. The Apollo missions have taken surveillance photographs of the Moon's surface and some of the photographs have shown what appear to be structures.
NARRATOR: "Could it be that there are active bases on the far side of the Moon? Not only secret military bases, but extraterrestrial bases as well?"
"The Moon is so strange, so odd in terms of what we find elsewhere in the solar system, and particularly in terms of what it does for the Earth, having made the Earth into a haven for life, that one feels obliged to ask the question, "Could such things have come about by chance?" Was it placed there deliberately? Was it engineered, maybe by aliens? And therefore, is our whole existence a planned event?
NARRATOR: Ancient astronaut theorists suggest that the perfect size and placement of the Moon may not be the product of mere chance, but was engineered by extraterrestrial beings in Earth's prehistory. As evidence, they point to ancient accounts that speak of a time before the celestial object even existed. Beginning in the 5th century BC, Roman and Greek authors wrote of a time "before there was a moon in the heavens." Allusions to this can also be found in the Hebrew Bible. And there are Zulu legends that say the Moon was brought to Earth hundreds of generations ago. Wowane and Mpanku were the names of two Zulu deities from prehistory. The Zulus have a legend that it was they who brought the Moon into existence. They supposedly did so by stealing an egg from a giant sky dragon, hollowing out the center, the yolk of the egg, and then rolling the resultant planet across the sky to become the Moon. And the reason that the Zulus say the Moon was put there was to keep an eye on human beings.
WHITEHEAD: "The Zulu legend is really interesting. We first heard about it from a Zulu shaman named Credo Mutwa, and he talked about the fact that the Moon was towed in to our orbit. And when it did so, it caused all kinds of floods and cataclysms, and it changed the axis of the planet. And you can't help but wonder, could the Moon be an artificial satellite? Could the Moon have come from somewhere else and is now used as an observational base for extraterrestrial beings? "
NARRATOR: "Is it possible that the Zulu legend is true, as ancient astronaut theorists suggest? Was our Moon towed into place in the remote past? Perhaps further clues can be found by examining the scientific evidence suggesting that the Moon is, in fact, hollow."
NARRATOR: Does the uniform depth of the craters on the Moon suggest some sort of metallic barrier underneath moon rock and dust? But if so, why wouldn't mainstream scientists acknowledge this? Ancient astronaut theorists suggest that by doing so, they might also have to acknowledge that the Moon may be hollow.
MAN: Yankee Clipper, Houston.
NARRATOR: November 20, 1969. (indistinct radio communications) During their ascent back to the command module, Commander Charles Conrad Jr. and lunar module pilot Alan Bean release the Apollo 12 launch vehicle and crash it back to the Moon.
MAN: Apollo 12, Houston, the LM is on its way down. Roger.
NARRATOR: Upon impact, something very unexpected happened. The Moon was said to have seismically reverberated like a bell for more than an hour.
CUNNINGHAM: With Apollo 12, people refer to a crash. It wasn't really a crash. It was a aimed deorbit of the rocket used to lift off the, uh, lunar module. And the crew separated the launch vehicle and crashed it back into the ground right close to where they'd had a seismograph that they had installed down there. Well, it vibrated, so it was kind of an early clue as to how solid was the surface of the Moon.
HENRY: What was amazing about this is that suddenly the Moon began to ring like a bell and did so for nearly an hour. Dr. Werner von Braun, who was then the head of NASA, decided that for Apollo 13 they were going to intentionally crash a heavier portion of the rocket into the lunar surface. -(sustained gong) -And when they did this, the Moon rang like a gong this time for over three hours into a depth of over 20 miles.
BUTLER: This was not expected and it still puzzles a lot of scientists today. The inference is that the Moon must be hollow because the Moon is made predominantly on the surface of a kind of rock called basalt. Although it's a very lightweight rock, it also absorbs impact extremely well. And so if the whole of the Moon was made of that kind of rock, you wouldn't expect it to reverberate when a large impact took place. The reason that this is played down is because the idea of the Moon being hollow just contradicts what we know about physics.
NARRATOR: In his 1966 book, Intelligent Life in the Universe, renowned scientist and astronomer Carl Sagan defined modern scholarship regarding the composition of celestial bodies throughout the cosmos.
TSOUKALOS: Carl Sagan suggested that a natural satellite cannot be a hollow object. This is very odd because why would the Moon be vibrating unless it's a hollow object? That would suggest it's artificial.
NICK REDFERN: Significant portions of the Moon may have been hollowed out. If that is the case, the chances are that was not achieved naturally. That would have to have been achieved artificially. This brings up the important question, who would've had the ability, the skills, and the technology to do that? Certainly not us. That would only have to be the work of extraterrestrials and no one else.
NARRATOR: Is it possible that the Moon is not only hollow, but also an artificial structure? And if so, could it be an extraterrestrial creation? Ancient astronaut theorists say yes and as evidence, they point to research indicating the Moon is actually a spaceship.
BUTLER: Two Russian physicists, Vasin and Shcherbakov, came up with the idea that the Moon must be an artificial object. They based their ideas on, first of all, the fact that it appeared that the Moon was hollow. Since no hollow planet could exist according to the known laws of physics, that would mean that the Moon had to be an artificial, an engineered object.
WILCOCK: This article was quite groundbreaking. In fact, what they did is to fundamentally redefine scholarship around what we think the Moon is.
NARRATOR: Based on the maximum depth of the Moon craters, Vasin and Shcherbakov proposed that the surface was only 2½ miles thick. NASA scientists had determined that this moondust primarily consisted of chromium, titanium and zirconium. In their publication, Vasin and Shcherbakov noted, "If a material had to be devised to protect "a giant artificial satellite from the unfavorable effects "of temperature from cosmic radiation "and meteorite bombardment, "the experts would probably have hit on precisely these elements. "
TSOUKALOS: Now they themselves proposed that this suggestion is outlandish. However, only through their calculations and all the mathematics, they determined that their theory is correct. We're talking people in academia who may perhaps lose their position at the universities. I don't think anybody would publish a paper like this unless they were 100% convinced that their findings are true. The entire object may be of artificial origin. And if that is the case, my question is: who built the Moon, who placed it here, and how long ago? And so these Russian scientists, their theory is that the Moon is a spaceship. It's got engines within. But that on the outside, they've coated it with this moon-looking substance. Now, it's a farfetched idea, but it makes a lot of sense in that you might want to shroud or cloak this craft and make it look like a, uh, very natural object.
NARRATOR: Since the publication of the Vasin and Shcherbakov article, other researchers have come out in support of their theory.
WILCOCK: In 1975, Don Wilson wrote Our Mysterious Spaceship Moon. In 1976, George Leonard wrote Somebody Else Is on the Moon, and these books further explored a variety of anomalies. Now, they note some very bizarre things. For example, the mineral and metallic composition of the material on the Moon is not like anything that we see on Earth, and the apparent age of the Moon seems to be greater than the actual age of our solar system. So they believe that the Moon was actually brought here from somewhere else.
BARA: Lots of people have talked about the idea that the Moon itself is actually a spacecraft, that it was piloted here and put in this particular orbit. There's no question that there's evidence that the Moon could be a modified natural object.
TSOUKALOS: There are ancient stories that speak of a time when the Moon was not up in the sky and there are descriptions that say that the Moon was artificially pulled into place. So if we have two modern Russian scientists who have suggested that perhaps the Moon was pulled into place, and that is a corroboration of ancient mythologies, that's when I listen.
CHILDRESS: So the whole idea that our Moon is some gigantic hollow spaceship that's been put into a special orbit around our planet, and contains cities and structures that are inside and outside of the Moon is to me a very reasonable assertion. And in fact it would seem to be that our Moon is some kind of gigantic artificial spaceship that is here to monitor our planet.
NOORY: "Would I discount the fact that the Moon is a foreign object, a spaceship, a Death Star? I don't think you can rule that out."
NARRATOR: But perhaps as intriguing as the various structures seen on the surface of the Moon are the numerous reports of lights and other unexplainable activity. Intermittent reflections emanating from the lunar surface have been observed for more than a century, including by famed astronomer Francis Bailey in 1835. And the phenomenon was also reported by the Apollo 11 crew.
BUZZ ALDRIN: "The windows are all dark. And that's when I began seeing a flash and a streak and another flash. Flicker flashes we called them. Kept seeing them. And I said, "You guys see anything unusual? You see any flashes?" Neil said, "Yeah, I saw about 100 of them. " "How about you, Mike?" "Nah, I didn't see a thing. " Any deep Analysis by the crew as to what the hell it was? No. (chuckles) 'Cause we were, we were on our way home. Let's, let's let somebody else worry about that. "
WILCOCK: "These things were actually disclosed by NASA in their own transient lunar anomalies catalog showing lights moving around, showing puffs of smoke, showing things that should not be there on the Moon's surface, all of which suggests that there is, in fact, a very thriving extraterrestrial community living on the Moon today. "
NARRATOR: November 1966. Three years before the Apollo astronauts made it to the Moon, the Orbiter 2 spacecraft situates itself in lunar orbit. It was designed to capture high-resolution images of the surface to assist with the selection of landing sites for the Apollo missions. One image in particular catches the eye of researchers, as it shows what appear to be the shadows of several pointed spires.
WILCOCK: On November 20, 1966, the Lunar Orbiter 2, NASA's probe, photographs this area on the Moon that was actually in the Sea of Tranquility, only 300 kilometers away from where Apollo 11 ended up landing. And, what's so bizarre is that this area has undeniable architecture that looks like what you would see from obelisks. There's eight different spires. And scientists calculated that the largest of these spires would be an obelisk that is 15 stories tall. These do appear to be just like an Egyptian-style obelisk. But, what the heck are they doing on the Moon?
TSOUKALOS: Of the multiple anomalies on the Moon, I think the spires are some of the most fascinating ones because astronomers have calculated that these spires are very tall for them to be exclusively natural occurrences.
BARA: They have to be artificial, simply from the fact that the Moon has been bombarded in kind of an incessant meteoric rain for 4.5 billion years. There is no way that anything bigger than a basketball can be standing straight up on the lunar surface. (indistinct radio communications)
BUTLER: The inference is that NASA would have known this and that one of the reasons that they sent their mission there was so that the astronauts of the Apollo mission could gain more information about these artificial structures on the Moon. (indistinct radio communications)
ASTRONAUT: CAPCOMM, we're a go for undocking. CAPCOMM: Roger, Eagle, undock.
BARA: On Apollo 11, when the astronauts were descending to the lunar surface, they got this very strange computer alarm.
MISSION CONTROL: The 1202 alarm. -CAPCOMM 1: 1202. -CAPCOMM 2: 1202 alarm.
BARA: The famous 1202 computer alarm. (stammers) Basically, nobody knew what it was. What it came out to, um, was that the computer itself was overwhelmed with information because Buzz Aldrin, the lunar module pilot, had turned on the radars on the lunar lander. It had two radars-- it had a side looking radar and it had a docking radar. So, in other words, you had one that pointed down and one that pointed to the side. Now, if there's nothing on the surface of the Moon, if there are no artificial structures, if there are no spires sticking ten, 20 stories up into the sky, why would you turn on the side radar? There's no reason to, but Aldrin did it. And, I think it's because he knew and NASA knew that there was some danger of running into these things."
Analysis: Ancient Aliens hit it out of the park with this episode, in my opinion. The show touched on the most relevant arguments and anomalies associated with the moon, enough to cause any thinking person to seriously ponder about whether there could be an extraterrestrial base on the moon.
"While Neil and Buzz were on the lunar surface, Neil switched to the medical channel and spoke directly with the chief medical officer saying, 'They're here. They're parked on the side of a crater. They're watching us.' "
"I spotted a lot of stuff that seemed to not belong on the moon."
"-AND IT HAS VERY DISTINCT FEATURES OF A SATELLITE DISH.
IT'S GOT THE DISH ITSELF,
THE CRATER SHAPE,
IT'S GOT A LONG SPIKE THAT APPEARS TO COME OUT OF THE MIDDLE,
ALL SORTS OF STUFF
THAT LOOKS EXACTLY LIKE
A SATELLITE DISH ON EARTH LOOKS.
-THERE'S AN INTERESTING PICTURE
ON THE MOON THAT DOES APPEAR
TO SHOW SOMETHING THAT COULD BE
A BRIDGE, MAYBE A PIPE,
COULD BE AN INCHING WORM.
-I HAVE NO DOUBT THAT EXTRATERRESTRIALS
COULD VERY WELL HAVE POPULATED
OR MADE STRUCTURES
ON THE FAR SIDE OF THE MOON.
-THE REACTION OF NUMEROUS
SPACE DEFENSE OFFICIALS
WAS FEAR AND ASTONISHMENT.
-IT WOULD MAKE SENSE
THAT GOVERNMENTS
AND MILITARY AGENCIES MIGH WELL BE QUAKING IN THEIR BOOTS
WONDERING WHO'S BUILT THESE STRUCTURES.
WHERE ARE THEY FROM?
WHAT DO THEY WANT?
-THERE IS ONE OBJECT THAT REMINDS PEOPLE
OF A COOLING TOWER FROM A NUCLEAR POWER PLANT.
ANY SPECIES THAT COULD TRAVEL
THROUGH THE STARS
ENOUGH TO PUT A BASE ON THE MOON
WOULDN'T HAVE TO BLINK BEFORE
THEY COULD TAKE CARE OF US.
-THE OTHER THING THAT IS INSIDE
THIS LUNAR MODULE
LOOKS LIKE A WOMAN,
AND THIS IS THE ALIEN THAT THEY RECOVERED FROM THE SHIP.
THERE WAS A STUDY DONE BY
THE BROOKINGS INSTITUTE
IN THE EARLY 1960s,
SO BEFORE NASA WENT TO THE MOON.
THERE WAS SORT OF THIS IDEA
THAT IF WE WERE TO HAVE
ANY KIND OF INTERACTION WITH AN
ALIEN LIFE FORM OR INTELLIGENCE
THAT MAYBE WE SHOULDN'T TELL
THE PUBLIC
BECAUSE THE PUBLIC MIGHT NOT BE
ABLE TO HANDLE IT.
-AS THE THE 45th ANNIVERSARY
OF THE APOLLO 11 MISSION
TO THE MOON DAWNS,
THERE ARE MANY MYSTERIES ABOUT MAN'S FIRST LUNAR LANDING
THAT REMAIN UNSOLVED.
WHAT DID THE ASTRONAUTS
ACTUALLY ENCOUNTER THERE?
WHAT MADE NASA STOP GOING BACK
TO THE MOON AFTER APOLLO 17?
IS THERE EVIDENCE
OF AN ALIEN PRESENCE ON THE MOON
AND PERHAPS ALL AROUND US?
-THESE STARTLING PHOTOGRAPHS
RECENTLY DISCOVERED
IN NASA'S OFFICIAL ARCHIVE
WERE TAKEN BY THE APOLLO
ASTRONAUTS THEMSELVES.
THE GIGANTIC ARTIFICIAL-LOOKING
STRUCTURES THEY DOCUMENT,
WHICH HAVE NEVER BEEN SHOWN
ON TELEVISION BEFORE,
SEEM TO DEFY
SIMPLE SCIENTIFIC EXPLANATION.
COULD THIS BE A NUCLEAR
POWER PLANT OF SOME KIND?
A MASSIVE SATELLITE DISH
TRAINED ON EARTH?
EVEN AN ALIEN FORTRESS?
WE TOOK THE PICTURES
TO SOME OF THE BRIGHTEST PEOPLE
OF OUR WORLD
AND NOBODY CAN SAY FOR SURE
WHAT THESE STRUCTURES REPRESENT.
MILITARY EXPERTS TELL US
THAT IF THERE IS AN ALIEN BASE
ON THE MOON,
IT POSES A SERIOUS THREAT TO HUMANITY.
TONIGHT, WE'LL EXAMINE
ALL THE EVIDENCE.
WE'LL ATTEMPT TO DETERMINE
IF SUCH AN ALIEN MENACE EXISTS,
AND WE'LL INVESTIGATE
THE BAFFLING CASE OF APOLLO 20.
COULD THIS REALLY BE
A FEMALE ALIEN RECOVERED
DURING A SECRET MISSION
TO THE MOON
JUST A FEW YEARS AFTER THE
APOLLO PROGRAM SUPPOSEDLY ENDED?
YOU DECIDE FOR YOURSELF
AS WE INVESTIGATE "ALIENS ON THE MOON:
THE TRUTH EXPOSED."
Analysis: Even some of the astronauts are saying there is someone else on the moon. What a perfect place the moon would be to control life on this planet.
"And what did they bring back with them?
'Houston, this is Discovery. We still have the alien spacecraft under our belly.' "
Narrator: "The moon -- For decades, we've dreamt of sending people to its surface, wondering what secrets we may discover. Now, more than 40 years after we touched down, evidence shows we may not know the whole truth about what or who NASA found on the moon."
Birnes: Something strange is happening on the moon, and we believe it's not human."
Narrator: "Doctored photos, U. F. O. sightings by astronauts, and allegations of a massive cover-up plague NASA's five-decade history. What did astronauts find on the moon? And what did they bring back with them? Tonight, we expose the secret side of space missions the world has never seen. Join us as the hidden truth behind NASA and aliens on the moon is unsealed. Secret files hidden from the public for decades detailing every UFO account are now available to the public. We are about to uncover the truth behind these classified documents. Find out what the government doesn't want you to know. Exposing the biggest secrets on planet earth."
Analysis: Any kind of coverup is very suspicious, to say the least. That quote from the Discovery about alien spacecraft is pretty mind blowing to say the least.
"According to the transcript of the Gemini mission, Astronaut McDivitt says, "I just saw something else up here with me, but just as I was getting close enough to take a good picture, the sun got in the way and I lost it. It had big arms sticking out of it, it looked like. I only had it for just a minute. " After many of the Gemini astronauts started to see things in space, they came up with code words Like "fire," "bogey," even "Santa Claus" to describe craft that they were seeing flying outside of the spaceship."
Narrator: "On December 24, 1968, the apollo 8 spacecraft makes the first successful orbit around the moon. "
Salla: "This is something that many people could easily dismiss as just being a reference to the upcoming Christmas day, but many others have said, "Well, 'Santa Claus' was, in fact, one of the code words used, and this was his way of communicating to cape canaveral That, in fact, that they were seeing a U. F. O."
Narrator: "What could be hidden in the conversations Between Apollo 11 astronauts and Capcom, the mission control center in Houston, Texas?"
Armstrong: Tranquility base here. The eagle has landed.
Duke: 'Roger, Tranquility. We copy you on the ground.' According to U. F. O. theorists, the most significant moment came when the transmission from Buzz Aldrin and Neil Armstrong suddenly cut off for two minutes.
Birnes: Supposedly, in that audio transmission, there's a missing two minutes. What could've been in those missing two minutes?
Salla: Now, there had been some unofficial radio communications that had been circulated, saying that, basically, Armstrong and Buzz Aldrin saw U. F. O. S on the moon.
Man: "No. No, this is not an optical illusion. No one's gonna believe this. [ beep .] "
Man: Repeat. Repeat. I'd say that there were other spaceships that lined up on the other side of the crater. There they are, and they're watching us." This was something that had been intercepted through ham -- amateur ham radio -- and basically released through unofficial sources. There were a number of NASA officials that claimed that this, in fact, was a genuine transmission from Neil Armstrong.
Martell: "Any time we look at the communication taking place between Capcom and astronauts in space, there are are two channels in use. There's the public channel relaying information. There's also the secret channel, or the Department of Defense line, where they can cut off public feed and communicate securely between the astronauts and Capcom. "
Narrator: "NASA has never confirmed that the conversation took place, but even Buzz Aldrin himself has come forward stating that an unknown object was spotted outside Apollo 11. Could Neil Armstrong and Buzz Aldrin be our first human ambassadors to space and have met aliens on the moon?"
Analysis: Testimony from astronauts saying they saw stuff on the moon that shouldn't have been there. Wow.
In the 1990s, Richard Hoagland discovered a shard and other artifacts on the moon, such as a domed area. A YouTuber independently ordered the NASA photos in question and was able to validate the structure of 'the shard' using Google Moon and other enhancement techniques.
Jose Escamilla put out a documentary in 2012 called Celestial, pointing out some moon anomalies from NASA's own archives. Also be sure to check out some of his footage of what he calls 'rods', large cylindrical objects which fly around in our atmosphere similar to insects or perhaps becteria/parasites.
"There appear to be some square buildings and this tall structure has what appears to be the number 2 along its side. Again you have to look at the sizes of these structures. They are massive. Moving to the right of the crater Othello, I found this crater called Ramsden. There appears to be a glass or some kind of translucent dome over it. It protrudes upward. The sun is glistening off this area and you can see some green areas within it. You can see some structures in there. When we zoom out a little further you can plainly see this is, in fact, a dome-shaped structure. The crater is 15 miles in diameter and a little over a mile deep. Here we have a dome on the moon with some kind of environment going on that was built by somebody."
"Let's revisit Aristarchus. It is 25 miles in diameter and has a depth of 12,000 feet or 2.25 miles. When you compare this crater to the surrounding structures such as the one that resembles an eel with its mouth open, you have to realize that the structure is massive. It's about the third of the size of Aristarchus. Who has the technology to build such a structure and what does it mean? What is its purpose? The pyramids are wonders we can't explain."
Analysis: A good documentary. One worth checking out. It shows what is puported by Jose to be pipes, a tower, domes, a pyramid, and other anomalies on the moon.
Analysis: Another good show. Bill Kaysing provides very cogent points about how the footage we saw was likely not the real footage, if we even went to the moon, but likely footage created from a studio in Area 51 or one nearby in the desert terrain.
"Look at him. He's heading for that small moon!"
"I think I can get him before he gets there. He's almost in range."
"That's no moon! It's a space station!"
"It's too big to be a space station."
Analysis: Star Wars is obviously one of most successful movie franchises in history. It features a moon posing as a space station and called the death star. What a huge reveal.
Analysis: One of several movies showing the astronauts seeing something on the far / dark side of the moon. This one portrays them as nazis. NASA was started with many former nazis. Even the name NASA is very close to NASI.
"The Apollo 11 is at the moment on the far side of the moon."
"Neil, you are dark on the rock. Mission is a go. We have 21 minutes."
Analysis: Another movie revealing astronauts seeing something on the far (dark) side of the moon.
"Sailor moon. Sailor Chibi moon. In the name of the moon, we'll punish you."
Analysis: Sailor Moon was really a princess, but another entitiy was pretending to be her. Notice this princess of the moon punishes in the name of the moon.
"I'm in bad trouble.
If I am a real boy, then I can go back.
And she will love me then.
How?
The Blue Fairy made Pinocchio
into a real boy.
She can make me into a real boy.
I must find her.
I must become real.
There must be someone in the whole
world who knows where she lives."
"Moon on the rise!"
"It's the Flesh Fair. They destroy us
on-stage. I've been there."
"What do we do?"
"We run now."
"Any old iron.
Any old iron.
Any old iron.
Any old iron.
Expel your Mecha!
Purge yourselves of artificiality.
Let some Mecha loose to run.
Any old unlicensed iron down there?
Hey, you see that?
Could be a human thing.
No, he's scanning cold.
No expiration date, no I.D.
-What's a new model doing loose?
-It's a late-generation lover-Mecha.
That's a relief from all this
antique iron. Sure he's not a man?
I don't want another Trenton incident.
He's a free-range Mecha running hot."
"Reel him in!
Sic the hounds on the rest."
"Shake down shantytown!
What's your name?
My name is David.
Hello, David. How old are you?
I don't know.
You need someone to take care of you?
Would you like a nanny?
I have many good references.
Do you know where
the Blue Fairy lives?""
Analysis: The moon chases after the robots to reel them in and sell their parts at a flesh fair. The Blue Fairy is also a prominent figure in this movie. They seek her in order to become real.
The Demiurge is primarily a Gnostic idea that there is an entity or being which controls the show here on earth. To many Gnostics the Demiurge is seen as mostly evil and eqiuvalent to the god of the Old Testament, Yahweh, who they considered to be a false god who is blind and deluded. This type of being is depicted in quite a few movies, most notably as the Wizard of Oz or the Architect in The Matrix series.
I interviewed a "man who met a demiurge". I met him at the local IANDS group.
"But I'm coming back and then I'm seeing a little bitty tiny blue marble and it gets bigger and bigger and bigger and then I'm about to hit the atmosphere and then -- BAM!!!!! -- stopped!.
Wayne: Stopped?!! What happened?
Guest: Well.... you wanted to hear a story about the Demiurge. [Wayne: Yeah!] I couldn't tell you the Demiurge story without talking about the Light first so I don't want you to mistake these two different personalities.
Wayne: Okay, so all of a sudden you stopped. You're entering the Earth's atmosphere. [Guest: Right.] [Guest: BAM!!] Then BAM!! What happened?
Guest: I'm like right in front of this Norman Rockwell kinda of looking guy -- big, long flowing white hair... big white beard... [Wayne: Sounds like Santa Claus ] ...nah, it aint't that. You ain't gonna think it's Santa Claus after this although a lot of people... we'll talk about that later... He had burning, red eyes... brassy face... brass-colored face. But he's translucent kinda like the gold up in 'heaven', whatever you want to call that place. And he's SEVERE. This guy's not somebody that you wanna mess with. I mean, he's just full of SERIOUS intent. I mean, very, very serious guy and he's got all these star maps and he's showing them to me and I'm like absorbing it and he's trying to explain to me everything and I'm having to make some agreements to go into a body and he's showing me why. THIS star's aligned with THIS and THIS galaxy and THIS planet and THIS, THAT and it's like these maps.
Wayne: You don't remember these details at this point.. you just remember that he was explaining... it's all over your head? Kind of like you couldn't follow it?
Guest No, I understood it at the time but it's like it was blanked from my... it's like it was taken from me. I was left... he opened up some new books, okay, for me and he showed me how we interact with one another. And one of them was 'waves'. We're in waves and the waves go across the whole Earth and they're like a... imagine ocean waves. And there are waves that go across the entire Earth of Light and Darkness. And he showed me how he was like a filter for the Earth that caused the waves. In other words, he caused the waves by his presence of Darkness. It's like imagine putting up a veil in front of a window and some of it goes through and somehow putting the veil caused the Light and the Darkness on the Earth to pull up. The Light pulls up and the Darkness pulls down. And so the whole Earth was like a big round ball of waves that move across.
Wayne: Sort of like a prism in some kind of sense, or not? [Note: I meant to say 'hologram']
Guest: I don't know. I mean, imagine a bowling ball but with waves going all the way across it. if you wanna call it a prism, I just know what it was, okay, and the Light pulled down and ... I mean, the Light pulled UP, the Darkness pulled DOWN and it was a perfect balance to him. And he was trying to explain to me how HE was superior to the Light. Okay. How WAS he superior? Because he had this thing balanced. Everybody lined up for miles and miles to come here because they wanted to experience what he has, and what he has is this perfect balance of 1/3 Light and 2/3... I mean 2/3 Light and 1/3 Darkness. It's like a counterbalance, the ying and yang thing. But the Lightness, it's more Light than it is Dark and it's not always exactly in balance. What he was describing is that he needed me to DO some things, to keep the balance of Light up because if they're aren't people doing 'Light' things then the balance gets too wonkered and it gets too dark and it's like GAME OVER -- everybody goes home, it's DONE. And he has to... he can not... I mean, people call him the Devil. How can a guy be the Devil who wants good things to happen, you know, that wants 'Light' things to happen, that wants Love, kindness, joy?
Wayne: Yeah, I was just about to say he's kind of encouraging you to do good works, that doesn't sound, you know, like the Devil.
Guest: Right? He ain't the Devil. I've heard --
Wayne: Maybe in a selfish way because he wanted to keep his system going?
Guest: Well, yeah. Yeah, the motive is totally insincere, you know what I mean? [Wayne: Right ] It's just because he wants to prove that he's better, you know, than the Light. He says, 'Look. I got all these people that come down here... trillions of souls, spirits... they all come down here... they line up.'
Analysis: This is from a 3-hour interview I did with someone who had a near death experience and went to a cubed light which he calls spaceship heaven. He was stopped on his way back to Earth by a Demiurgic being near the moon that required him to consent to a contractual agreement. This entity is filtering the light and trying to create a system that's better than the Light's. Its system tried to maintain a balanced ratio of roughly 2/3 light-to-dark. It's the producer of this show or game we participate in on Earth.
Robert Monroe wrote several books on his out of body experiences and research into the astral plane.
"We, us, how and why did we it were where we us how and why did we get here? This is the thing that is a subject of great curiosity to say the least. Well, let's take a typical one but not the most important one. Here you look we are moving on here and boy we hit that part of that radiation and we smell it, taste it. 'What's that?' So we move in little ever over here to another. We get another taste of it, you see. 'You know, that's real interesting. I wonder what that is and what that's like.' So you're trying to figure a way where you can move in here because it's getting pretty strong stuff and sticky and this kind of thing. So you're very cautious and at that particular moment as you're contemplating, you're perceiving all this in here with great curiosity.
All of a sudden this big man -- 'man', wouldn't that's a misnomer -- I, he, she -- that's more like it -- appeared. It asks, 'What you want?' and you say, 'Well, what's that down there?' He says, 'That's humans.' and you say, 'Well, can I go closer?' and he says, 'Well, not unless you be human'. he said, 'Well, I'll be human.' He says, 'You what?' 'Well, I'd like to be human.' He says, 'Well, I suppose you could if you really want to.' And you say, 'Well, how do I do it?' He says, 'Well, just call me -- yet incidentally, I'm the Entry Director -- and just so you can call me Ed, for short.' Say, 'Oh ,yes, Ed.' 'Okay,' he says.
'The first thing you have to do in order to be human...' You say and you say, 'Oh, understand I just want to get a taste, assemble and zoom in and zoom out, that's all. I don't want to stay there. Oh, no I wouldn't think it's staying there then that's just a taste even just a little sip.' He looks at you says, 'Yes, yes. I understand. So what'd you do in that process,' he says, 'The first thing that you need to do in order to be human is recognize that time-space exists, you see.' 'Well, somehow I perceive it. There it is as you do.' He says, 'Well, what you perceive is only part of it. There's a lot more to it than that,' he says. 'Well,' you say, 'Well, I'll take my chances.' He says, 'Well, the other part is that you have to recognize that when you become human that you have an important thing you must do in order to be human.' You say, 'Oh, what's that?' 'Well, you have to have shut off all of your present memory and your present self otherwise you can't generate this this human consciousness.' You say, 'Ah, sure. I can pick it up when I get out.' And he says, 'Yeah, yeah. And this is the other thing is that you just you are really on your own because that's what that is down there is that people are on their own. Those who come in and become human make supposedly their own decisions.' You say, 'Oh, I'll make my own decisions.' He says, 'Yeah.'
So he says, 'Now if you really want we can set it up.' You say, 'Oh, sure.' 'Alright, first thing I do is what do you want or do you want to be male or female?' And you look at saying, 'What's that?' 'There's.... never mind, in cases,' He says, 'Can I select for you?' 'Oh. yeah. you tell me which way.' 'Alright, fine,' He says, 'The next thing is that you have to make a decision of where you want your entry point is.' and he says, 'That's a decision that you have to make because they're kind of problems.' He says, 'For example, in Park Avenue in New York, there's a wait list line... long this time to get there. Kent in Marin County, California... long line, that kind of stuff. And he says, 'Beverly Hills, almost impossible sees. But he says, 'We got plenty of fast takers say in Africa. Instant service. You get in right away. South America, the same thing. Easy. No problem.' And he says, 'And I can just really ring it you say well that first one. You sounds pretty interesting but you say, 'Somebody 'Listen,' he says. 'Yeah, yeah. Park Avenue, forget it, but in New York his buddy and you say what if it's New York and it's close to that waitlisting. Isn't there any place in New York I can get it and he thinks this is him, 'Yes, I can get you in as a matter of fact pretty quickly. I just right now, right for just waiting, to see you see that's fine you're right is all right. You got to be careful now. Remember you're on your own so. 'I can make it I can make--' "
Analysis: Robert Monroe, who wrote several books on his out of body experiences and research into the astral realms, speaks here of a Demiurgic figure he calls the Entry Director.
"So he says, 'Okay, you agreed. Sign the contract. he's over 'Here, fine.' Click. 'I sign.' So he takes you and he goes, you go bang, and at that bang, you look very closely if one were a blur there and they would see a little new more blue new born baby squalling and screaming not hearing the screams. 'Let me out of here. Let me out of here.' But just a screaming baby newly born lying in the broken glass the garbage and the dust and the dirt on the landing of a fifth floor walk-up in the Bronx while the thirteen year old mother having just given birth is hurrying down the stairs to get away. And so one begins life here.
The thing that happens after that is where the action really starts. You go through that life process and the symbology can been have been a hundred thousand years ago. The whole symbology is still the same. You make your exit and you start out again. Now originally your intent was to take your escape velocity and go on out and continue of wherever you were intended to go or whatever you intended to do. But right about here, somewhere you begin to bend a little bit. The reason is that as you made this process through here in what we call physical life, you picked up a greater load factor than you realized. Unconsciously, you picked up that load factor and you in had friction which slowed you up. The combination of those two is expressed in the bending of that for you. No one else, no law, nothing else makes the decision. When you said how many times 'I gotta go back. It's just something I wanted to do and I didn't get a chance to do it. I wanted to have five children instead of two and I got to go back and have three more children', or some such thing. Or 'I never got to drink alcohol. I'd like to go back and drink some booze.' Whatever the reason. And you say, 'Oh.', just say to yourself, 'Just once, that's all in there not go on my way.'
And so you begin that turn to make 'just once more', one little more run, just one more for the road, or whatever. And at that moment that decision, which was yours and no one else's. No law, no rule, just you. You lost your escape velocity and you went into orbit in this area and you went down and around again at another life. And as you came out of that, you still were at as, in essence, above this line, so you will recognize still from whence you came. You came up around to here and you made another decision, having lost more velocity, having picked up an additional load factor. You're here and you say, 'only won't hurt to go back once more and I've always always wanted to ride a camel.' So you decide to go back and riding on a camel . So round you go again and go through the process here and again you are steadily losing velocity and your orbit is decaying. As you can see once you get below this line of demarcation, as it were, you're thinking more about here than you are about there. Your memory of you as you originally work is declining because of the overwhelming input from this human radiation. So down you go again for another life... another one, another one, another, until you get to this point or you're locked in and you have little even in between life. So germs you have little if any perception of this radiation from whence you came.
There's a word for that which I probably have already used that fits it very, very accurately and that word is: we all have become human 'junkies'. We're addicted to being human and the human experience."
Analysis: Robert Monroe, perhaps the father of OBEs, is talking about the Demiurge here who he calls the entry director. His experience is very similar to the man I interviewed.
Analysis: The neoplatonic idea of a Demiurge figure and archontic minions are present in quite a few Japanese anime productions. Digimon Adventure tri. is one of those productions. The first episode of the six part series begins with the explanation of the Demiurge as being a soulless creator and ignorant of the existence that created him. And that the world he created was a shadow of the true world. This is a Gnostic idea. The Gnostics called the true world the Pleroma, which means Fullness.
"So Philip K. Dick had this theory that time was an illusion and that we were all actually in 50 A.D. And the reason that he had written this book was that he had somehow momentarily punctured through this illusion, this veil of time. And what he had seen was what was going on in the Book of Acts. And he was really into Gnosticism and this idea that this demiurge, or demon, had created this illusion of time to make us forget that Christ was about to return and the kingdom of God was about to arrive and that we're all in 50 A.D. and there's someone trying to make us forget, you know, that... you know, that God is imminent. And that's what time is. That's what all of history is, this kind of continuous, you know, daydream or distraction."
Analysis: The movie Waking Life mentions how sci-fi writer Philip K. Dick based his books on his own personal experiences which mirrored the teachings of Gnosticism. The movie emphasizes the need for us to wake up from this dream we call life.
Ed Bradley: Why do you still do it? Why are you still out here?
Bob Dylan: Well, it goes back to that destiny thing. I made a d-- bargain with it, you know, long time
ago. And I’m holding up my end…
EB: What was your bargain?
BD: …to get where I am now.
EB: Should I ask who you made that bargain with?
BD: [laughs] With the chief commander.
EB: On this earth?
BD: [laughs] In this earth and in the world we can’t see.
EB: Do you ever look back at the music that you’ve written and look back at it and say
“Wow! That surprise me!”?
BD: I used to. I don’t do that anymore. I don’t know how I got to write those songs.
EB: What do you mean you don’t know how?
BD: All those early songs were almost magically written. Ah… “Darkness at the break of
noon, shadows even the silver spoon, a handmade blade, the child’s balloon…”
Narrator: This Dylan classic, It’s Alright, Ma, was written in 1964.
BD: Well, try to sit down and write something like that. There’s a magic to that, and it’s not
Siegfried and Roy kind of magic, you know? It’s a different kind of a penetrating magic.
And, you know, I did it. I did it at one time.
Analysis: Bob Dylan almost said he made a 'deal', but stopped short of it and called it a bargain. One could interpret it as meaning he made a deal with god, but when you look at his comments about magick and also some of the Isis symbolism he uses, one has to wonder.
Nanci Danison is a near death experiencer.
In her book Backwards, she wrote, "I understood that rejoining Source would give me access to the thoughts, emotions, and experiences of the zillions of its other points of awareness or thought-forms in the same way I had shared merged energies with my five companions. And through merger I would know what Source does about its own existence and its source."
And in one of her talks she said, "This energy source existed alone. What I understand of its nature is just a little tiny bit. I'm not sure if that's because it doesn't understand its own nature or because that's all I got or that's all I remember. But my impression was that this energy is part of a greater energy source or a greater species of entities or... it's not the end-all be-all. There's something larger or greater, more powerful than it. But this energy source is definitely what we call 'God'."
Analysis: Nanci is the first and may be the only NDEr who realized that the "tunnel" is actually a manifested setup, and eventually she realized that everything we experience, both in afterlife and on "Earth" is a manifested setup, a dream-like virtual reality. But Nanci said, as she learned from the 'Source', that he is not the only one, and that is a very important insight from her.
"Come on, Come forward!"
"Tell me when it's over! Look at that! Look at that! I want to go home!"
"I am Oz... ...the great and powerful!Who are you? Who are you?"
"If you please, I am Dorothy... ...the small and meek, We've come to ask-- "
"Silence! The great and powerful Oz knows why you have come. Step forward, Tin Man! You dare to come to me for a heart, do you? You clinking, clanking, clattering collection of caliginous junk!"
"Yes, sir, Yes, Your Honor, You see, a while back... ...we were walking down the Yellow Brick Road, and-- "
"Quiet! And you, Scarecrow... ...have the effrontery to ask for a brain... ...you billowing bale of bovine fodder!"
"Yes, Your Honor, I mean, Your Excellency, I mean, Your Wizardry!"
"Enough! And you, Lion! Well?"
"You ought to be ashamed of yourself... ...frightening him like that when he came to you for help!"
"Silence, whippersnapper! The beneficent Oz has every intention of granting your requests!"
"What's that? What'd he say? What'd he say?"
"But first, you must prove yourselves worthy... ...by performing a very small task. Bring me the broomstick of the Witch of the West."
"But if we do that, we' ll have to kill her to get it!"
"Bring me her broomstick... ...and I'll grant your requests. Now, go!"
"But what if she kills us first?"
"I said, ' Go!' "
"Do not arouse the wrath of the Great and Powerful Oz. I said, 'come back tomorrow.'
"If you were really great and powerful, you'd keep your promises."
"Do you presume to criticize the Great Oz? You ungrateful creatures. Think youself lucky that I'm giving you auidence tomorrow instead of twenty years from now. The Great Oz has spoken.
Pay no attention to that man behind the curtain!"
Analysis: The so called great and powerful Wizard of Oz was revealed to be a meek, frail man behind a curtain pulling all the levers. This movie was decades ago yet very revealing. The man was able to assume power and control only because he was able to put on a convincing, deceptive act.
"Hello, Neo." "Who are you?" "I am the Architect. I created the Matrix. I've been waiting for you. You have many questions. And though the process has altered your consciousness you remain irrevocably human. Ergo, some of my answers you will understand and some you will not. Concordantly, while your first question may be the most pertinent you may or may not realize it is also the most irrelevant. Why am I here? Your life is the sum of a remainder of an unbalanced equation inherent to the programming of the Matrix. You are the eventuality of an anomaly, which despite my sincerest efforts I've been unable to eliminate from what is otherwise a harmony of mathematical precision. While it remains a burden assiduously avoided it is not unexpected and thus not beyond a measure of control which has led you, inexorably here. -You haven't answered my question. -Quite right. Interesting. That was quicker than the others. Others? How many? What others? The Matrix is older than you know. I count from the emergence of one integral anomaly to the emergence of the next. In which case, this is the sixth version. Five before me? He's lying. Bullshit. There are only two possible explanations. There were five before me. Either no one told me - or no one knows. -Precisely. As you are undoubtedly gathering, the anomaly is systemic creating fluctuations in even the most simplistic equations. You can't control me! I'm gonna smash you to bits! I'm gonna fucking kill you! You can't make me do anything. You old, white prick! Choice. The problem is choice."
"The first Matrix I designed
was naturally perfect, a work of art.
Flawless, sublime.
A triumph equaled only
by its monumental failure.
The inevitability of its doom
is apparent now as a consequence of the imperfection
inherent in every human.
Thus, I redesigned it
based on your history to more accurately reflect
the varying grotesqueries of your nature.
However, I was again frustrated
by failure.
I have come to understand that the answer eluded me because it required a lesser mind.
Or perhaps, a mind less bound
by the parameters of perfection.
Thus, the answer was stumbled upon
by another, an intuitive program initially created to investigate
certain aspects of the human psyche.
If I am the father of the Matrix,
she would undoubtedly be its mother."
"The Oracle."
"As I was saying, she stumbled upon a
solution whereby 99 percent of subjects accepted the program, as long as they
were given a choice, even if they were only aware
of the choice at a near unconscious level.
While this answer functioned,
it was fundamentally flawed thus creating the otherwise
contradictory systemic anomaly that, if left unchecked,
might threaten the system.
Ergo, those that refused the program,
while a minority, if unchecked would constitute
an escalating probability of disaster."
"This is about Zion." "You are here because Zion is about to be destroyed. Its every living inhabitant terminated, its entire existence eradicated." "Bullshit." "Denial is the most predictable of all human responses. But rest assured, this will be the sixth time we have destroyed it and we have become exceedingly efficient at it. "
"The function of the One is now to return to the source, allowing
a dissemination of the code you carry, reinserting the prime program after which you will be required to select
from the Matrix 23 individuals...
...sixteen female, seven male,
to rebuild Zion.
Failure to comply with this process
will result in a cataclysmic system crash, killing everyone connected
to the Matrix, which, coupled with the
extermination of Zion will result in the extinction
of the entire human race."
"You won't let it happen. You can't. You need human beings to survive."
"There are levels of survival
we are prepared to accept.
The relevant issue is
whether or not you are ready to accept the responsibility for the death
of every human being in this world.
It is interesting reading your reactions.
Your five predecessors were, by design,
based on a similar predication: a contingent affirmation that was meant
to create a profound attachment to the rest of your species,
facilitating the function of the One.
While the others experience this
in a general way, your experience is far more specific vis--vis love." " Trinity!"
"Apropos, she entered the Matrix to save your life at the cost of her own." "No." "Which brings us at last to the moment of truth, wherein the fundamental flaw is ultimately expressed and the anomaly revealed as both beginning and end. There are two doors. The door to your right leads to the source and the salvation of Zion. The door to your left leads back to the Matrix, to her and the end of your species. As you adequately put, the problem is choice. But we already know what you are going to do, don't we? Already I can see the chain reaction, the chemical precursors that signal the onset of an emotion designed specifically to overwhelm logic and reason. An emotion that is already blinding you from the simple and obvious truth: She is going to die and there is nothing you can do to stop it. Hope. It is the quintessential human delusion, simultaneously the source of your greatest strength and your greatest weakness."
"If I were you, I would hope that we don't meet again." "We won't."
Analysis: The Matrix disclosed many hidden truths about our reality, one of which was the Architect, an AI program that created the matrix.
"I'm leaving."
"Have you not yet realized there's no way out? Now, look, I have something that will interest you. Oh, feel free."
Number 2: At last! Delighted to see you. Come in, come in. Do sit down. I'm sorry, I can never resist that. I hope you don't mind a working breakfast. Tea or coffee?" Prisoner: "Tea."
Number 2: "Indian or China?" Prisoner: "Either. With lemon." Number 2:" One or two eggs with your bacon?" Prisoner: "Two?" Number 2: "That will be all. Help yourself to toast."
Number 2: "I suppose you're wondering what you're doing here." Prisoner: "It had crossed my mind. What's it all about?"
Number 2: "Sit down and I'll tell you. It's a question of your resignation." Prisoner: "Go on."
Number 2: "The information in your head is priceless. I don't think you realize what a valuable property you've become. A man like you is worth a great deal on the open market."
Prisoner: "Who brought me here?"
Number 2: "I know how you feel, believe me. And they have taken quite a liberty." Prisoner: "Who are "they"?
Number 2: "A lot of people are curious about what lies behind your resignation. You had a brilliant career. Your record is impeccable. They want to know why you suddenly left."
Prisoner: What people?
Number 2: Now personally I believe your story. I do think it was a matter of principle. But, er, what I think doesn't really count, does it? One has to be sure about these things.
Prisoner: And that gives you the right to poke your nose into my private business?
Number 2: Now please. It's my job to check your motives.
Prisoner: I've been checked!
Number 2: Of course, but when a man knows as much as you do, a double check does no harm. A few details may have been missed.
Prisoner: I don't know who you are, or who you work for... and I don't care: I'm leaving.
Number 2: Have you not yet realized there's no way out? Now look, I have something that will interest you... Oh, feel free! A most important day...remember? Getting ready to meet Chambers, about to become late of the Foreign Office. You were hoping to, er, persuade him to change his mind before the big boys found out. You waited and waited, but he never turned up. A nice guy, Chambers. And so taut! You see there's not much we don't know about you, but one likes to know everything. For instance, do you remember that time you arrived back from Singapore? Change of climate, feeling a bit shaky. You were sickening for a cold -- sneezed yourself out of our camera. Deciding to take a vacation! Now where can you go? Ireland? A bit too cold that time of the year. Paris! Maybe not. What was that? Sounded like a click. Something in the mirror? Or was it over there? Yes, over there too. As I said, one likes to know everything. For instance I had no idea you liked lemon tea."
Prisoner: The time of my birth is missing. Number 2: Well, there you are. Now let's bring it all up to date.
Prisoner: Four thirty-one a.m., nineteenth of March 1928. I've nothing to say. Is that clear? Absolutely nothing.
Number 2: Now be reasonable, old boy. It's just a matter of time. Sooner or later you'll tell me. Sooner or later you'll want to. Let's make a deal. You cooperate, tell us what we want to know, and this can be a very nice place. You may even be given a position of authority.
Prisoner: I will not make any deals with you. I've resigned. I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
Number 2: Is it?
Prisoner: Yes. You won't hold me.
Number 2: Won't we? Let me prove that we will. Come, I'll show you. We can take this up later."
Analysis: The Prisoner influenced many shows, including The Truman Show. There is a scene in the green room under the dome where the constellations are shown on one side and a map of the earth on the other. Seems a clear intention to show the base of operations as the moon.
"You can speak." [over speaker] I can hear you."
"Who are you?"
"I am the creator... of a television show that gives hope and joy and inspiration to millions."
"Then who am I?"
"You're the star."
"Was nothing real?"
"You were real. That's what made you so good to watch. Listen to me, Truman. There's no more truth out there than there is in the world I created for you. The same lies. The same deceit. But in my world, you have nothing to fear. I know you better than you know yourself."
"You never had a camera in my head."
"You're afraid. That's why you can't leave. It's ok, Truman. I understand. I have been watching you your whole life. I was watching when you were born. I was watching when you took your first step. I watched you on your first day of school. [laughs] The episode when you lost your first tooth. You can't leave, Truman."
"Please, god."
"You belong here... with me. Talk to me. Say something. Well, say something, Goddamn it. You're on television. You're live to the whole world."
"In case I don't see you... 'Good afternoon, good evening, and good night. Yep."
"Yeah! Yeah! He did it. He did it. He did it! He did it! He made it! Yeah! All right, Truman!"
Analysis: Unknown to him, Truman's life was a reality television show and he was the star. I think the metaphor is more than just a movie and very apt for what is truly happening.
"Greetings, programs!" (PROGRAMS CHEER) "Together we have achieved
a great many things.
We have created a vast, complex
system. We've maintained it.
We've improved it.
We have rid it of its imperfection.
Not to mention
rid it of the false deity
who sought to enslave us.
Kevin Flynn!
- Where are you now?"
- (PROGRAMS BOO)
(LAUGHS)
"My fellow programs,
let there be no doubt
that our world is a cage no more.
For at this moment,
the key to the next frontier is finally
in our possession!
(PROGRAMS CHEER)
Your disk. And unlike our selfish Creator,
who reserved the privilege of our world
only for himself,
I will make their world open
and available to all of us!
(PROGRAMS CHEER)
Yes!
To all of us!"
SAM: He's taking all of this with him.
He's figured out how to do it.
CLU: And whatever we find there,
there our system will grow!
There our system will blossom!
Do this.
Prove yourselves.
Prove yourselves to me!
Be loyal to me!
And I will never betray you!
(PROGRAMS CHEER)
Dad, we have to get your disk.
We gotta get to the portal.
You shut them down outside.
Even if I make it, you won't
last in here, nor will Quorra.
- We'll be all right. Come on.
- I'm not going home without you.
Sam...
The same team.
Remember?
I was afraid you were gonna say that.
Meet me on the flight deck in five
and get us some wheels.
Wheels? What's your plan?
I'm a user. I'll improvise.
CLU: Maximize efficiency.
Rid the new system of its imperfection!
My vision is clear, fellow programs.
Out there is a new world!
Out there is our victory!
(PROGRAMS CHEER)
Out there
is our destiny."
Analysis: CLU is an anagram of LUC, an abbreviation for Lucifer. He was charged by Sam Flynn to create the perfect system. He is the leader of the programs and blames the creator as being selfish. He says their world is a cage.
'Dead' isn't quite the word, though, is it? More like 'hobbled'.
"You broke into my office.
With due respect, sir, you broke into my mind.
I built your mind, Bernard.
I have every right to wander through its rooms and chambers and halls, and to change it if I choose, even to burn it down.
After all this time, I know it almost as intimately as my own.
Except that isn't entirely true, is it? I took a look at my code.
And the most elegant parts of me weren't written by you.
Arnold built us, didn't he? Which means maybe he had something different in mind for us.
And maybe you killed him for it.
Arnold was disturbed.
Who can say why he acted as he did? He must have had a reason.
And if you won't tell me, then he will.
I want access to my history.
All of it.
Since the day I first came online.
If Arnold made me, then I've met him.
Somewhere in my memory, he's there, waiting along with the truth.
Your memories are woven into your identity. If I should unlock them now when you're conscious, I could lose my mind.
I'm aware.
No, I was going to say you may not like what you find.
You're allowed to hold that, Bernard, but not to use it.
Oh, it's not for me.
Seems when they lobotomized Clementine, they didn't bother to reset her prime directives.
I can't hurt you.
But she can.
I hacked what's left of her to ensure she only responds to me.
But if you get lost in your memories or devoured by them You'll pull me back out, won't you? Or Clementine will make sure neither of us makes it back.
Now.
Please.
(gasping) (rapid beeping)
Charlie: "Dad. Dad. Wake up. Wake up."
I must've drifted off.
Where were we? "The madman".
"Oh.
Of course."
"The Hatter who says, 'If I had a world of my own, everything would be nonsense.
Nothing would be what it is because everything would be what it isn't.' "
Analysis: Westworld was built as a theme park where humans can indulge in their wildest fantasies. The park is populated by machines that are indistinguishable from humans. Some of the machines start to wake up and question their nature.
"When I built you, I gave you one as an homage of a kind."
"Put me back in. I want to meet Arnold, to remember him."
"Not possible. I told you, Arnold didn't build you, I did."
"You're lying! I finally know how to reach him. I need to go all the way back to the beginning, to my very first memory. Send me back. Do it. "
Analysis: Westworld was built as a theme park where humans can indulge in their wildest fantasies. The park is populated by machines that are indistinguishable from humans. Some of the machines start to wake up and question their nature.
"What do we do now, Mr. Wonka?"
"I hope you enjoyed yourselves.
Excuse me for not showing you out.
Up the stairs. I'm busy.
A whole day wasted.
Good-bye to you both."
"What happened?
Did we do something wrong?"
"I don't know, Charlie.
But I'm going to find out."
"I am extraordinarily busy, sir.
I wanted to ask about the chocolate.
The lifetime supply of chocolate?
For Charlie.
When does he get it?" "He doesn't." "Why not?" "Because he broke the rules." "What rules?
We didn't see any rules, did we?"
"Wrong, sir! Wrong!
Under Section 37-B of the
contract signed by him, it states clearly that all offers
shall become null and void if,and you can read it
for yourself in this copy, 'I, the undersigned shall forfeit all rights,
privileges and licenses herein contained,' et cetera, 'fax mentis, incendium gloria culpam,'
et cetera, et cetera. 'Memo bis punitor della cattum!'
It's all there! Black and white! Clear as crystal!
You stole Fizzy-Lifting drinks!
You bumped into the ceiling
which now has to be sterilized!
So you get nothing!
You lose!
Good day, sir!"
"You're a crook!
A cheat and a swindler,
that's what you are!
How can you do this?!
Build up a little boy's hopes and
then smash his dreams to pieces!
You're an inhuman monster!"
"I said, "Good day"!
"Come on, Charlie.
Let's get out of here.
I'll get even,
if it's the last thing I do.
If Slugworth wants a Gobstopper,
he'll get one."
"So shines a good deed in a weary world.
My boy.
You've won! You did it! You did it!
I knew you would!
I just knew you would!
Forgive me for putting you through this.
Come in, Mr. Wilkinson.
Charlie, meet Mr. Wilkinson.
-
"Pleasure." - "Slugworth!" "That's not Slugworth!
He works for me!" "For you?" "I had to test you, Charlie.
And you passed the test.
You won!"
"Won what?" "The jackpot, my dear sir!
- The grand and glorious jackpot!" "The chocolate?" "The chocolate, yes.
But, that's just the beginning!
We have so much time
and so little to do!
Strike that. Reverse it.
This way, please!
We'll take the Wonkavator.
Step in, Charlie.
Grandpa Joe, sir.
This is the great glass Wonkavator." "It's an elevator." "A Wonkavator.
An elevator goes up and down.
But the Wonkavator goes
sideways, slantways, backways..."
Analysis: Willy Wonka portrayed a type of wizard. His office clearly contains much demiurge symbolism. 'Demi' means 'half' and everything in his office was cut in half (except the hat he wore).
"I, course, am Mr. Hoober-Bloob, the Dispatcher. This is the place we dispatch them from. Down there is the place we dispatch them to. And this is how we go about it." He tells his assistant, a three-stringed Lyre: "Adjust the Katipulator". The Katipulator/Gatipulator is a magical box or cube-like machine that produces a variety of contraptions for Mr. Hoober-Bloob. "First the carriage. Then the 'Occupant'." The Katipulator produces a carriage. Then a baby boy referred to as 'Bub' is produced from the machine and placed into the carriage. Notice the soul is taken out from being held inside of the cubed box or machine and shown as a blob, a white egg-shaped sphere or orb and not as a human baby. This is fairly accurate to what the soul looks like according to NDE reports.
"I hope you're comfortable. Now, we don't send them down unprepared like we used to. In these modern days we brief them scientifically. The big telescope, please." The machine produces a telescope which is aimed at Earth and is placed up against the baby. "Now, before we ship you down to Earth in your very special cart, we're going to be quite honest and you'll listen, if you're smart. I hope you can see clearly. A hole, please." The machine creates a hole (moon crater?) which will "ship" the occupant to Earth via the highway. "
Analysis: Dr. Seuss knew and hid it in a childrens' show. The Dispatcher is a demiurgic figure. He is somewhat honest and open about what life one can choose. But he was able to get the occupant to sign the contract to go to earth.
USS CALLISTER. SHOOTING SCRIPT. 06.01.17 29.
NANETTE: "Someone needs to be straight with me right now.
SHANIA steps forward. Trying to calm her.
SHANIA: "Okay. Listen. This is Infinity.
That's what we're all inside--
(gesturing around) -- that's where all this exists."
NANETTE: "Infinity the game?"
SHANIA
(nodding): "Daly's got his own modded version
of Infinity - re-skinned to look like his favourite TV show --"
NANETTE: "Space... Thing..."
WALTON brings the vodka over and hands it to her.: "Space Fleet. Hence the groovy decor."
SHANIA
(indicating own outfit): "And this get-up."
NANETTE: "Infinity's an online game, like a multiplayer deal, I mean --"
DUDANI: "This is his development build.
Sealed off. So he can control it.
He keeps it offline so the custom
code he's written can’t be detected and deleted.
WALTON: "It’s a bubble universe ruled by an asshole God.
NANETTE is almost lost for words.
NANETTE: "He -- put us in here?"
SHANIA
(nodding): "Drink your vodka."
NANETTE: "How do we get out?"
SHANIA holds the shot of vodka closer.
SHANIA: "Really, drink it.
NANETTE downs the shot. And gasps.
SHANIA: "You can't leave."
NANETTE: "What!?"
SHANIA: "None of us can. Because you're not
actually you."
NANETTE: "What?"
SHANIA: "I know, it’s mental. But -- you're
a copy of you."
DUDANI: "A digital clone."
NANETTE looks around, trying to process this. WALTON
sympathetically signals for her to drink another shot.
NANETTE: "No. I'm me."
WALTON: "
- but not the real you."
DUDANI: "Daly's created an identical digital version of you - of all of us. From
your DNA. He’ll have harvested it
somehow."
Analysis: A brilliant episode. The ruler of the virtual reality game called Infinity is said to be an "asshole god" and in the episode he certainly was. The characters in the game were digitial copies of their real, true selves. This is pretty much what the Gnostics said a couple thousand years ago.
Text on screen: "Aeon Flux and the Monican resistance force have captured The Demiurge, a powerful god-like being, and prepare to send it into space to rid the Earth of its influence. The Breens, led by Trevor Goodchild, battle to prevent the launch..."
"Light, in the absence of eyes, illuminates nothing. Visible forms are not inherent in the world but are granted by the act of seeing. Though the world and events do exist independent of mind they obtain of no meaning in themselves. None that the mind is not guilty of imposing on them. I bid my people follow, and like all good equations, they follow. For full endowment of purpose they do submit. In turn, they resign me to a role inhuman, impossible, and unaccountable. But I can no longer stand the sleepless nights. I think I am learning to love the Demiurge."
"No!" "Yes, it is 'that which is' !"
" It is not. What? No! Nader, how are you?"
"Aeon Flux, stop and think. It could have changed everything."
"Not the ways that we are."
"Everything! Family members are reminded to have identification ready when entering the morgue area. Weapons and personal effects may be reclaimed in hanger 12.
Have you found this man? Zenith, Nader. You were out there. You were Weren't you with I'm sorry. This man's body is missing. - Listen, please! - I'll listen later. - After I find my gun. - Your gun? Yes. Is this This one looks good. Please, tell me what you know. We won. We must have been right. You know something. - Tell me what you know. - What I know?"
"He said the light was beautiful."
Yes, it was.
No use, see? Because the truth isn't even pretty. What else?"
"Oh, right. Love isn't the answer, it's the problem."
Analysis: Notice the worm-like creature. Some of the Gnostics alluded to the archons as being wormlike, if I recall correctly.
"Katherine. Come back.
07.4.872. Noted. Returned to stream.
Gregor Plitzen. 70.5.872. Noted. Returned to stream.
Suki Denali. 02.4.875. Noted. Returned to stream.
Welcome back. Una Flux.
32.4.870. Collected.
Successfully reassigned as Sasha Prillo.
Repeat. Una Flux. Reassigned as Sasha Prillo.
Sasha Prillo. Address. Sasha Prillo. Address.
Handler."
Analysis: The Aeon Flux television show and movie are often cited as being Gnostic influenced.
This is terrible! I can't budge her an inch!
This is a spell, this is!
It's the Wicked Witch! What'll we do?
Help!
Help!
It's no use screaming at a time like this,
Nobody will hear you! Help!
Help!
It's snowing!
No, it isn't!
Yes, it is!
Maybe that'll help!
But it couldn't help!
It does help!
Dorothy, you're waking up!
Unusual weather we're having, ain't it?
Look, he's rusted again!
-Give me the oilcan, quick!
-Here! Oil him,
-He is rusted.
-Here.
Here. Quick!
Curses! Curses!
Somebody always helps that girl!
But shoes or no shoes,
I'm still great enough to conquer her,
And woe to those who try to stop me!
Come on, let's get out of here,
Look, Emerald City is closer
and prettier than ever!
'
Song:
You're out of the woods.
You're out of the dark.
You're out of the night
'Step into the sun, step into the light.
Keep straight ahead
for the most glorious place on the face of the earth
or the sky.
Hold onto your breath.
Hold onto your heart. Hold onto your hope ..
March up to the gate
and bid it open.
To the Emerald City as fast as lightning!
You're out of the woods
You're out of the dark
You're out of the night
Step into the sun, step into the light
'
March up to the gate
And bid it open
' Open'
"Who rang that bell?
We did!
Can't you read?"
"Read what?" "The notice!" "What notice?" "It's on the door, as plain as the nose
on my face!"
'Bell out of order, please knock,'
"Well, that's more like it,
Now, state your business,"
"We want to see the Wizard,"
"The Wizard?
But nobody can see The Great Oz!
Nobody's ever seen the great Oz! Even I've never seen him!"
"Well, then, how do you know there is one?"
"Because he's....
You're wasting my time!" "Please! Please, sir!
I've got to see the Wizard,
The Good Witch of the North sent me," "Prove it!"
"She's wearing the ruby slippers she gave her!" "So she is!
Well, bust my buttons!
Why didn't you say that in the first place?
That's a horse of a different color!
Come on in!"
Analysis: The song talks about stepping into the light of the sun as they go to the Emerald City where the Demiurge, Wizard of Oz, lives and runs the illusion.
"Can I believe my eyes?
Why have you come back?"
"Please, sir, We've done what you told us,
We've brought you the broomstick
of the Wicked Witch of the West,
We melted her,"
"You liquidated her, eh?
Very resourceful!"
"Yes, sir, So we'd like you to keep
your promise to us, if you please, sir,"
"Not so fast! Not so fast!
I'll have to give the matter a little thought!
Go away, and come back tomorrow!"
"Tomorrow?
But I want to go home now!"
"You've had plenty of time already!
Yeah!
Do not arouse the wrath
of the great and powerful Oz!I said, ' Come back tomorrow!'
"If you were really great and powerful,
you'd keep your promises!
If you were really great and powerful,
you'd keep your promises!"
"Do you presume to criticize the great Oz?
You ungrateful creatures!
Think yourselves lucky
that I'm giving you audience tomorrow instead of 20 years from now!
The great Oz has spoken!"
"Pay no attention to that man
behind the curtain. The great Oz has spoken!"
"Who are you?"
"I am the great and powerful Wizard of Oz,"
"You are?
I don't believe you!"
"No, I'm afraid it's true,
There's no other wizard except me,"
"You humbug!
Yeah!"
"Yes, that's exactly so, I'm a humbug,"
"You're a very bad man!" "No, my dear, I'm a very good man,
I'm just a very bad wizard."
"What about the heart
that you promised Tin Man?
And the courage
that you promised Cowardly Lion?
And Scarecrow's brain?"
"Why, anybody can have a brain,
That's a very mediocre commodity,
Every pusillanimous creature
that crawls on the earth...
...or slinks through slimy seas has a brain!
Back where I come from
we have universities...
...seats of great learning, where men go
to become great thinkers..."
Analysis: Notice the Wizard says there is no other wizard except him. That is similar to the Demiurge Yahweh saying there is no other god than him, or thou shalt not worship other gods.
Pip: "Yes, Mr Valentine. What can I do for you?"
Mr. Valentine: "Will you stop creeping around?" "Anything you say, sir"
"Anything I say. Knock it off, will ya?"
"Is something wrong?"
"Oh, no. Nothing's wrong. Everything is just peachy. Look, I've been in this dump for a month and I can't stand it anymore."
"But I don't understand."
"I'll spell it out for you, Fats. I'm bored, bored, bored! I mean, there's no excitement around here. No kicks."
"Yeah, but the gambling. I thought you enjoyed that?"
"I do, but when you win every time, that ain't gambling. That's charity."
"Well, I could arrange for you to lose on occasion, if you like. Would that help?"
It might.... no, no, it's no good. It ain't the same. I would know."
"Perhaps you miss your old vocation. Is that it?"
"Now you're gettin' it."
"There's a nice bank on the corner you could rob or would you prefer a jewelry store?"
"No, a bank's okay."
"Fine, now as to the getaway car we have quite a large variety to choose from and something inconspicuous, I imagine. "
"Wait a minute. Is there a chance I could get caught?"
"Well, of course, if that's what you'd like. Let me just make a note of it. "
"Come on. Sit down, Fats. Sit down. Now, look. I don't know how to explain this, but it just ain't the same thing. I mean, what's the kick knocking off a bank if everybody knows about it? Huh? And the dames. I never thought I would get bored with beautiful dames, but... look, look. I wouldn't expect an angel to understand this, see, but being a big guy with a chick it don't mean anything if it's all set up in advance. I mean, everything is great here. Really, really great. It's just the way I'd always imagined except just between you and me, Fats, I don't think I belong here. I don't think I fit in. "
"Oh, nonsense. Of course you do."
"No, I mean it, I mean it. There's just somebody must have goofed. If I gotta stay another day here I'm gonna go nuts. Look, look. I don't belong in heaven, see. I wanna go to the other place."
"Heaven? Whatever gave you the idea you were in heaven, Mr. Valentine? This is the other place."
Analysis: It's quite obvious this Twilight Zone episode helped serve as an inspiration for The Good Place. But notice how the departed soul is bored without there being risk or a chance for unexpected bad things to happen. Predictability is boring.
"Eleanor, what's going on?"
"It took me a while to figure it out, but just now as we were all fighting and yelling at each other and each one of us demanding we should go to the Bad Place, I thought to myself, 'Man, this is torture.' And then it hit me. They're never gonna call a train to take us to the Bad Place. They can't, because we're already here. This is the Bad Place!"
[dramatic music] [evil laugh] "Oh, man! I can't believe you figured it out. [laughs] Oh, God! Y-you ruined everything, you know that? Oh, man. Eleanor, you really suck! - [gasps] - I was so close to pulling it off!" [groans, stammering] [sobs] [ceramic crunches]
"So she's right?"
" Yeah, she figured it out."
Analysis: The four departed souls never get what they really want and are slowly tortured by their interactions with each other which makes "the good place" a sort of living hell for them.
"All right, let's try again, shall we?"
"You know what, bro? Do your worst. We figured it out once, we can do it again, because you know what, Michael? Ya bas-- "
[chimes tinkle] [door opening]
"Eleanor, come on in. You, Eleanor Shellstrop, are dead." "Cool."
[upbeat music] "You know the way you feel when you see a chimpanzee and a baby tiger who've become friends? [laughter] That's how you're going to feel every day."
Analysis: Not only is the so called heavenly realm in the afterlife really the bad place or hell, the occupants get their memories wiped and are rebooted into a new and improved system again.
"Hmm, good work." "Sorry, everyone.'I hope you weren't waiting too long. "Demiurge. He's an insanely powerful being and guardian of the Tomb's 7th floor. If Nasderink is ever in crisis, he is set to lead the other NPCs in its defense. "My Lord, we the guardians pledge our fidelity."
"Before we begin, may I have your name, warrior. You may call me Yaldabaoth."
"That's quite a mouthful. Fine. I'll play along. I am Momon, Adamantite class adventurer. What is your purpose here?
"Apparently an item with the power to summon and subjugate my kind has found its way into the city. I would prefer it not remain in the wrong hands, you understand.
"He got information out of him without even trying. He's a first rate adventurer, alright"
"Demiurge, Yaldabaoth. Is there truly no option but to oppose each other?"
"No, there is not."
Analysis: Demiurge here is named Yaldabaoth, the name the Gnostics gave to the demiurge. Notice the demiurge's role is to oppose. That is what the word Satan means, the opposer or accuser.
It's hard to believe that our wait is over, but it is, and it seems that the supervisor for Earth, Karellen, deems us ready to look him in the eye.
And here we are at the designated monument site-- I can't believe it's arrived.
We're ready, huh? Guess we are, Amy.
Guess we are.
It's a beautiful, balmy evening as the sun starts to set on the 200,000 excited spectators.
Delegates from the World Federation are taking to the main podium.
It's fair to say that everybody's breath is truly bated as we wait to meet our guardian angels.
There's--there's some disturbance in the sky.
And it's here.
It's above us right now.
People are on their feet.
We haven't seen an Overlord ship this close since they first arrived over a decade and a half ago.
Now, it does appear to be docking with the arrival ramp.
And it's docked.
The ship is docked.
"This is Karellen.
Let the children come forward."
The child greeters that Karellen asked for are now entering the arrival ramp.
My God.
Karellen was right to hide himself from us.
Still, I think, uh I think it may be too soon.
This world will be okay, won't it? Yeah.
Yeah, I think so.
"Hello.
There is no need to be afraid."
Analysis: Arthur C. Clarke book turned into a mini-series. A huge twist or suprise at the end of the first part.
"It came to pass then, when she sang praises to the region of the height, that all the rulers in the twelve æons, who are below, hated her, because she had ceased from their mysteries, and because she had desired to go into the height and be above them all. For this cause then they were enraged against her and hated her, [as did] the great triplepowered Self-willed, that is the third triple-power, who is in the thirteenth æon, he who had become disobedient, in as much as he had not emanated the whole purification of his power in him, and had not given the purification of his light at the time when the rulers gave their purification, in that he desired to rule over the whole thirteenth æon and those who are below it.
It came to pass then, when the rulers of the twelve æons were enraged against Pistis Sophia, who is above them, and hated her exceedingly, that the great triple-powered Self-willed, of whom I have just now told you, joined himself to the rulers of the twelve æons, and also was enraged against Pistis Sophia and hated her exceedingly, because she had thought to go to the light which is higher than her. And he emanated out of himself a great lion-faced power, and out of his matter in him he emanated a host of other very violent material emanations, and sent them into the regions below, to the parts of the chaos, in order that they might there lie in wait for Pistis Sophia and take away her power out of her, because she thought to go to the height which is above them all, and moreover she had ceased to perform their mystery, and lamented continuously and sought after the light which she had seen. And the rulers who abide, or persist, in performing the mystery, hated her, and all the guards who are at the gates of the æons, hated her also.
It came to pass then thereafter by command of the First Commandment that the great triplepowered Self-willed, who is one of the three | triple-powers, pursued Sophia in the thirteenth æon, in order that she should look towards the parts below, so that she might see in that region his lion-faced light-power and long after it and go to that region, so that her light might be taken from her.
It came to pass then thereafter that she looked below and saw his light-power in the parts below; and she knew not that it is that of the triplepowered Self-willed, but she thought that it came out of the light which she had seen from the beginning in the height, which came out of the veil of the Treasury of the Light. And she thought to herself : I will go into that region without my pair and take the light and thereout fashion for myself light-æons, so that I may go to the Light of lights, which is in the Height of heights.
This then thinking, she went forth from her own region, the thirteenth æon, and went down to the twelve æons. The rulers of the æons pursued her and were enraged against her, because she had thought of grandeur. And she went forth also from the twelve æons, and came into the regions of the chaos and drew nigh to that lion-faced light-power to devour it. But all the material emanations of Self-willed surrounded her, and the great lion-faced light-power devoured all the light-powers in Sophia and cleaned out her light and devoured it, and her matter was thrust into the chaos; it became a lion-faced ruler in the chaos, of which one half is fire and the other darkness,—that is Yaldabaoth, of whom I have spoken unto you many times. When then this befell, Sophia became very greatly exhausted, and that lion-faced light-power set to work to take away from Sophia all her light-powers, and all the material powers of Self-willed surrounded Sophia at the same time and pressed her sore"
Analysis:
"It happened that the realm (aeon) Wisdom (Sophia)
Of conceptual thought (Epinoia),
Began to think for herself,
She used the thinking (enthymesis)
And the foreknowledge (prognosis)
Of the Invisible Spirit.
She intended to reveal an image from herself To do so without the consent of the Spirit, Who did not approve, Without the thoughtful assistance of her masculine counterpart, Who did not approve.
Without the Invisible Spirit’s consent Without the knowledge of her partner She brought it into being. Because she had unconquerable Power Her thought was not unproductive. Something imperfect came out of her Different in appearance from her. Because she had created it without her masculine counterpart She gave rise to a misshapen being unlike herself.
Sophia saw what her desire produced. It changed into the form of a dragon with a lion’s head And eyes flashing lightning bolts. She cast him far from her, Outside of the realm of the immortal beings So that they could not see him. [She had created him in ignorance.]
Sophia surrounded him with a brilliant cloud, Put a throne in the center part of the cloud So that no one would see it. [Except for the Holy Spirit called the Mother of the Living] She named him Yaldabaoth. Yaldabaoth is the chief ruler. He took great Power (dynamis) from his mother, Left her, and moved away from his birthplace. He assumed command, Created realms for himself With a brilliant flame that continues to exist even now.
The Fashioning of This World
Yadabaoth united with the thoughtlessness (aponoia) within him. He begot ruling authorities (exousia) Modeling them on the incorruptible realms above.
The first is Athoth
The second is Harmas [called the eye of flame]
The third is Kalilaumbri
The fourth is Yabel
The fifth is Adonaiu [called Sabaoth]
The sixth is Cain [called the sun]
The seventh is Abel The eighth is Abrisene
The ninth is Yobel
The tenth is Armupiel
The eleventh is Melcheir-adonein
The twelfth is Belias
Who rules over the very depth of Hades.
He made the first seven rulers to reign in the seven spheres of heaven. He made the next five rulers to reign in the five depths of the abyss.
He shared a portion of his fire with them, But shared none of the power of Light he had received from his mother.
[He is ignorant darkness.
When the Light mingled into the darkness
the darkness shone.
When darkness mixed with the Light,
the Light diminished,
No longer Light nor darkness but dim.]
This dim ruler has three names: Yaldabaoth is the first. Saklas is the second. Samael is the third. He is blasphemous through his thoughtlessness. He said “I am God, and there is no God but me!” Since he didn’t know where his own Power originated.
His rulers created seven Authorities for themselves. Each of these Authorities created six demons apiece, There came to be 365 demons altogether...."
Analysis:
"After the natural structure of the immortal beings had completely developed out of the infinite, a likeness then emanated from Pistis (Faith); it is called Sophia (Wisdom). It exercised volition and became a product resembling the primeval light. And immediately her will manifested itself as a likeness of heaven, having an unimaginable magnitude; it was between the immortal beings and those things that came into being after them, like [...]: she (Sophia) functioned as a veil dividing mankind from the things above.
Now the eternal realm (aeon) of truth has no shadow outside it, for the limitless light is everywhere within it. But its exterior is shadow, which has been called by the name 'darkness'. From it, there appeared a force, presiding over the darkness. And the forces that came into being subsequent to them called the shadow 'the limitless chaos'. From it, every kind of divinity sprouted up [...] together with the entire place, so that also, shadow is posterior to the first product. It was <in> the abyss that it (shadow) appeared, deriving from the aforementioned Pistis.
Then shadow perceived there was something mightier than it, and felt envy; and when it had become pregnant of its own accord, suddenly it engendered jealousy. Since that day, the principle of jealousy amongst all the eternal realms and their worlds has been apparent. Now as for that jealousy, it was found to be an abortion without any spirit in it. Like a shadow, it came into existence in a vast watery substance. Then the bile that had come into being out of the shadow was thrown into a part of chaos. Since that day, a watery substance has been apparent. And what sank within it flowed away, being visible in chaos: as with a woman giving birth to a child - all her superfluities flow out; just so, matter came into being out of shadow, and was projected apart. And it did not depart from chaos; rather, matter was in chaos, being in a part of it.
And when these things had come to pass, then Pistis came and appeared over the matter of chaos, which had been expelled like an aborted fetus - since there was no spirit in it. For all of it (chaos) was limitless darkness and bottomless water. Now when Pistis saw what had resulted from her defect, she became disturbed. And the disturbance appeared, as a fearful product; it rushed to her in the chaos. She turned to it and blew into its face in the abyss, which is below all the heavens.
And when Pistis Sophia desired to cause the thing that had no spirit to be formed into a likeness and to rule over matter and over all her forces, there appeared for the first time a ruler, out of the waters, lion-like in appearance, androgynous, having great authority within him, and ignorant of whence he had come into being. Now when Pistis Sophia saw him moving about in the depth of the waters, she said to him, "Child, pass through to here," whose equivalent is 'yalda baoth'.
Since that day, there appeared the principle of verbal expression, which reached the gods and the angels and mankind. And what came into being as a result of verbal expression, the gods and the angels and mankind finished. Now as for the ruler Yaltabaoth, he is ignorant of the force of Pistis: he did not see her face, rather he saw in the water the likeness that spoke with him. And because of that voice, he called himself 'Yaldabaoth'. But 'Ariael' is what the perfect call him, for he was like a lion. Now when he had come to have authority over matter, Pistis Sophia withdrew up to her light.
When the ruler saw his magnitude - and it was only himself that he saw: he saw nothing else, except for water and darkness - then he supposed that it was he alone who existed. His [...] was completed by verbal expression: it appeared as a spirit moving to and fro upon the waters. And when that spirit appeared, the ruler set apart the watery substance. And what was dry was divided into another place. And from matter, he made for himself an abode, and he called it 'heaven'. And from matter, the ruler made a footstool, and he called it 'earth'.
Next, the ruler had a thought - consistent with his nature - and by means of verbal expression he created an androgyne. He opened his mouth and cooed to him. When his eyes had been opened, he looked at his father, and he said to him, "Eee!" Then his father called him Eee-a-o ('Yao'). Next he created the second son. He cooed to him. And he opened his eyes and said to his father, "Eh!" His father called him 'Eloai'. Next, he created the third son. He cooed to him. And he opened his eyes and said to his father, "Asss!" His father called him 'Astaphaios'. These are the three sons of their father.
Seven appeared in chaos, androgynous. They have their masculine names and their feminine names. The feminine name is Pronoia (Forethought) Sambathas, which is 'week'.
And his son is called Yao: his feminine name is Lordship.
Sabaoth: his feminine name is Deity.
Adonaios: his feminine name is Kingship.
Elaios: his feminine name is Jealousy.
Oraios: his feminine name is Wealth.
And Astaphaios: his feminine name is Sophia (Wisdom).
These are the seven forces of the seven heavens of chaos. And they were born androgynous, consistent with the immortal pattern that existed before them, according to the wish of Pistis: so that the likeness of what had existed since the beginning might reign to the end. You will find the effect of these names and the force of the male entities in the Archangelic (Book) of the Prophet Moses, and the names of the female entities in the first Book of Noraia.
Now the prime parent Yaldabaoth, since he possessed great authorities, created heavens for each of his offspring through verbal expression - created them beautiful, as dwelling places - and in each heaven he created great glories, seven times excellent. Thrones and mansions and temples, and also chariots and virgin spirits up to an invisible one and their glories, each one has these in his heaven; mighty armies of gods and lords and angels and archangels - countless myriads - so that they might serve. The account of these matters you will find in a precise manner in the first Account of Oraia.
And they were completed from this heaven to as far up as the sixth heaven, namely that of Sophia. The heaven and his earth were destroyed by the troublemaker that was below them all. And the six heavens shook violently; for the forces of chaos knew who it was that had destroyed the heaven that was below them. And when Pistis knew about the breakage resulting from the disturbance, she sent forth her breath and bound him and cast him down into Tartaros. Since that day, the heaven, along with its earth, has consolidated itself through Sophia the daughter of Yaldabaoth, she who is below them all.
Now when the heavens had consolidated themselves along with their forces and all their administration, the prime parent became insolent. And he was honored by all the army of angels. And all the gods and their angels gave blessing and honor to him. And for his part, he was delighted and continually boasted, saying to them, "I have no need of anyone." He said, "It is I who am God, and there is no other one that exists apart from me." And when he said this, he sinned against all the immortal beings who give answer. And they laid it to his charge.
Then when Pistis saw the impiety of the chief ruler, she was filled with anger. She was invisible. She said, "You are mistaken, Samael," (that is, "blind god"). "There is an immortal man of light who has been in existence before you, and who will appear among your modelled forms; he will trample you to scorn, just as potter's clay is pounded. And you will descend to your mother, the abyss, along with those that belong to you. For at the consummation of your (pl.) works, the entire defect that has become visible out of the truth will be abolished, and it will cease to be, and will be like what has never been." Saying this, Pistis revealed her likeness of her greatness in the waters. And so doing, she withdrew up to her light.
Now when Sabaoth, the son of Yaldabaoth, heard the voice of Pistis, he sang praises to her, and he condemned the father [...] at the word of Pistis; and he praised her because she had instructed them about the immortal man and his light. Then Pistis Sophia stretched out her finger and poured upon him some light from her light, to be a condemnation of his father. Then when Sabaoth was illumined, he received great authority against all the forces of chaos. Since that day he has been called "Lord of the Forces".
He hated his father, the darkness, and his mother, the abyss, and loathed his sister, the thought of the prime parent, which moved to and fro upon the waters. And because of his light, all the authorities of chaos were jealous of him. And when they had become disturbed, they made a great war in the seven heavens. Then when Pistis Sophia had seen the war, she dispatched seven archangels to Sabaoth from her light. They snatched him up to the seventh heaven. They stood before him as attendants. Furthermore, she sent him three more archangels, and established the kingdom for him over everyone, so that he might dwell above the twelve gods of chaos.
Now when Sabaoth had taken up the place of repose in return for his repentance, Pistis also gave him her daughter Zoe (Life), together with great authority, so that she might instruct him about all things that exist in the eighth heaven. And as he had authority, he made himself first of all a mansion. It is huge, magnificent, seven times as great as all those that exist in the seven heavens.
And before his mansion he created a throne, which was huge and was upon a four-faced chariot called "Cherubin". Now the Cherubin has eight shapes per each of the four corners, lion forms and calf forms and human forms and eagle forms, so that all the forms amount to sixty-four forms - and seven archangels that stand before it; he is the eighth, and has authority. All the forms amount to seventy-two. Furthermore, from this chariot the seventy-two gods took shape; they took shape so that they might rule over the seventy-two languages of the peoples. And by that throne he created other, serpent-like angels, called "Seraphin", which praise him at all times.
Thereafter he created a congregation of angels, thousands and myriads, numberless, which resembled the congregation in the eighth heaven; and a firstborn called Israel - which is, "the man that sees God"; and another being, called Jesus Christ, who resembles the savior above in the eighth heaven, and who sits at his right upon a revered throne. And at his left, there sits the virgin of the holy spirit, upon a throne and glorifying him. And the seven virgins stand before her, [...] possessing thirty harps, and psalteries and trumpets, glorifying him. And all the armies of the angels glorify him, and they bless him. Now where he sits is upon a throne of light <within a> great cloud that covers him. And there was no one with him in the cloud except Sophia <the daughter of> Pistis, instructing him about all the things that exist in the eighth heaven, so that the likenesses of those things might be created, in order that his reign might endure until the consummation of the heavens of chaos and their forces.
Now Pistis Sophia set him apart from the darkness and summoned him to her right, and the prime parent she put at her left. Since that day, right has been called justice, and left called wickedness. Now because of this, they all received a realm in the congregation of justice and wickedness, [...] stand [...] upon a creature [...] all.
Thus, when the prime parent of chaos saw his son Sabaoth and the glory that he was in, and perceived that he was greatest of all the authorities of chaos, he envied him. And having become wrathful, he engendered Death out of his death: and he (viz., Death) was established over the sixth heaven, <for> Sabaoth had been snatched up from there. And thus the number of the six authorities of chaos was achieved. Then Death, being androgynous, mingled with his (own) nature and begot seven androgynous offspring. These are the names of the male ones: Jealousy, Wrath, Tears, Sighing, Suffering, Lamentation, Bitter Weeping. And these are the names of the female ones: Wrath, Pain, Lust, Sighing, Curse, Bitterness, Quarrelsomeness. They had intercourse with one another, and each one begot seven, so that they amount to forty-nine androgynous demons. Their names and their effects you will find in the Book of Solomon."
Analysis:
"I am the Lord and there is none else. I form the light, and create darkness: I make peace, and create evil: I the LORD do all these things.""
Analysis:
Disney's intro to their movies begins by zooming out on a bright star while playing the song When You Wish Upon A Star, the theme song to their 1940 movie Pinocchio, and ends with the fairy light, Tinker Bell, flying in an arc over the Disney castle which was modeled after the castle in Wagner's operas, situated near the hill known as Venusberg. The Disney Kingdom is the magical kingdom where fairies live and where fairy tales come true. Some of these fairies, like Tinker Bell, are tinkers who build and maintain our world with magic pixie dust much like the clockwork elves and machine elves in DMT experiences. The fairies use their alluring light as psychopomps to the afterlife and grant wishes to mankind.
In Pinocchio, Gepetto wishes upon a star to make his puppet a real boy, that is, a physical incarnation on Earth. In the original fairy tale book, the goddess Aphrodite (the Greek equivalent of Venus) comes to fulfill the wish. That star pays a visit and so the Greek Aphrodite a.k.a. Roman Venus a.k.a The Evening Star, is presumed to be the Blue Fairy or what is called "the wishing star" in the movie.
This same star is shown in the 1954 Disney movie Peter Pan and is said to be "the second star to the right" and where Neverland lies. Neverland is where Pan lures and takes the "lost children". Peter Pan is a veiled metaphor for Pan, the pagan god of the forest, also known as the Devil. Peter Pan is called a "flying devil" and a "bloody demon". Peter Pan also plays the pan pipes and is also a metaphor for The Pied Piper who lured children into the portal of a giant mountain or rock with the beautiful playing of his flute. Incidentally, Disney made animated shorts called Playful Pan and The Pied Piper before they ever made any full length movies. In Playful Pan, Pan accidentally starts a forest fire and uses a flute to lure the flames into a river.
The 1991 Disney movie Hook shows a grown up Peter Pan annoyed by Tinker Bell, calling her a "firefly from hell". She tells Pan to follow her and she begins to pull him. Pan exclaims he is "dying and heading toward the white light". This joke is a direct reference to the second star, the Evening Star, Venus, as being the white light that near death experiencers talk about and perhaps an inside joke about it leading to the hell of reincarnating. So in this case, Tinker Bell is portrayed not only as a fairy, but also a ferry to the afterlife, a psychopomp.
The 2008 Disney movie Tinker Bell displays the title of the movie by showing the fairy Tinker Bell flying to the star.
Finally, in Disney's 2009 movie The Princess and the Frog, the movie begins by showing this star and calling it The Evening Star and devotes a song to the Evening Star. The princess Tatiana makes a wish on it so that her dreams will come true. The frog, Ray, is in love with the Evening star, who he calls Evangeline, When he dies, he ascends into the heavens and takes his place to the left of the star, making Evangeline the second star to the right.
It is also interesting that Disney collaborated in the making of a TV series based on the 1986 video game series The Legend of Zelda. The main character, Link, is based on Peter Pan and is aided on his quest by the pixie sprite, Neva. In Legend of Zelda: Link to the Past, the Fairy Queen makes an appearance granting wishes in the forms of arrows and bombs for warfare. According to the Fandom page, "Venus is a character from The Legend of Zelda: A Link to the Past. She is queen of the Fairies who resides in the Pond of Happiness at Lake Hylia." In the Zelda series there is also a Queen of Fairies named Fi also called Spirit of the Sword which is interesting because Disney also released the 1963 movie Sword in the Stone, based on the legend of King Arthur and the Excalibur sword. In the 1994 Disney animated series Gargoyles, there is an episode named Pendragon where the Fairy Queen, the Lady of the Lake, tells Arthur and his dragon friends where to find the sword.
The Sumerian equivalent of Venus, Inanna, was known as the Queen of Heaven and Venus is called the Queen of the Night.
As an aside, The Wagner opera Tannhauser is a story about the goddess Venus and her alluring beauty and ability to tempt and lure Tannhauser to the Venusberg which is Hell. Wolfram sings a song, Ode to the Evening Star, although it seems it is an ode to the Virgin Mary, a.k.a. "the star of the sea", another appellation for Isis or Venus..
So it seems the entire Disney franchise is built around promoting this magical, otherworldly afterlife kingdom of Venusberg and Neverland where the fairies live, invoking the goddess Venus, making wishes to her, and calling upon her magical powers to make your dreams come true.
Walt Disney is well known for bringing fairy tales to life. Here is my interpretation of the Disney intro. All the new intros to Disney movies begin with a bright star, the evening star, Venus. The camera then zooms out and pans to reveal a magic kingdom modeled after Wagner's Venusberg. Finally, a light darts across the front of the castle, presumably the fairy Tinker Bell, and sprinkles magic pixie dust to create a semicircular sunrise effect over the kingdom.
Opening song:
When you wish upon a star, makes no difference
who you are.
Anything your heart desires will come to you. if your heart
is in your dream.No request is too extreme.
When you wish upon a star as dreamers do,
Fate is kind.
She brings to those who love the sweet fulfillment of their secret longing.
Like a bolt out of the blue,
Fate steps in and sees you through.
When you wish upon a star, your dreams come true.
Pretty, huh?
I'll bet a lot of you folks
don't believe that.
About a wish coming true, Do you?
Well, I didn't either.
Of course, I'm just
a cricket singing my way from hearth to hearth...
but... let me tell you
what made me change my mind.
One night, a long time--
Pardon me. Wait 'til I, I fix this thing here. There.
One night, a long time ago,
my travels took me to
a quaint little village. It was a beautiful night.
The stars were shining
like diamonds high above the roofs....
Analysis: The opening song When You Wish Upon A Star serves as the song in the Disney intro for its movies. This has a major subconscious effect on us at death when we see a star-like white light off in the distance and subsequently "wish" to go to it.
Opening Song: "The Evening Star is shining bright.
So make a wish and hold on tight.
There's magic in the air tonight and anything can happen."
EUDORA: "Just at that moment,
the ugly little frog looked up with
his sad, round eyes and pleaded,
'Oh, please, dear princess,
only a kiss from you
can break this terrible spell that was inflicted on me
by a wicked witch!' "
"Here comes my favorite part."
"And the beautiful princess was
so moved by his desperate plea that she stooped down,
picked up the slippery creature,
leaned forward, raised him to her lips,
and kissed that little frog! Then, the frog was transformed
into a handsome prince. They were married and lived
happily ever after. The end."
Analysis: The opening song for the movie literally states the star is the Evening Star. This is Venus, in mythology. Venus is the goddess of desire and lust / love. Her other appellations were also known for war.
Opening song:
The second star to the right shines in the night for you to tell you that the dreams you plan really can come true
The second star to the right shines with a light so rare and if it's Never Land you need,
Its light will lead you there
Twinkle, twinkle little star, so we'll know where you are
Gleaming in the skies above lead us to the land we dream of
And when our journey is through, each time we say 'Good night'
We'll thank the little star
that shines, the second from the right
Narrator: "All this has happened before.
And it will all happen again..."
Analysis: The star is said to be the second star on the right. And is used repeatedly in Disney movies. Also known as the wishing Star and the Evening Star.
NARRATOR: Have you ever wondered
how nature gets its glow?
Who gives it light and color
as the seasons come and go?
Who helps all creatures,
great and small,
to walk, to swim, to fly?
Who crafts such tiny details?
You might see them if you try.
For it's all the work of fairies,
but they stay well out of sight.
(COOING)
(LAUGHING)
And the first time that a baby laughs,
a fairy's life takes flight.
(SINGING)
When the moon comes out to shine her face
The birds are fast asleep and the lanterns hang from every post
The fairies leave their keep.
They join their hands
and sing their songs that nary a soul can hear
In the springtime
when the earth is new
(RINGS)
To the fairies they draw near,
To the fairies they draw near."
Analysis: the second star on the right is the home of Neverland and of the fairies. It says the fairies sing songs and the song says "to the fairies they draw near". Venus may be associated with the blue fairy or may be the queen of the fairies.
"If you had wings to lift you and the Second Star your guide, you’d find a place where all the seasons flourish side by side. Yet past the Summer Meadow and beyond the Autumn Wood, lies an icy land of secrets, a world misunderstood. But if your mind is open and your heart just has to know, your wings can take you farther than you ever thought you’d go."
Analysis: The second star on the right is called a guide to a land of secrets which is misunderstood.
"Of the fairies been unfurled. But nature's greatest challenge comes beneath the autmn sky. And mysteries reveal themselves as harvest time draws nigh. This year, a shimmering blue moon will rise before the frost. Perhaps its rays can light the way to find what has been lost.”
Analysis: The moon is mentioned and also harvest.
"Firefly from hell!
Big damn bug!"
"It is you! It is! A big you!
It's not bad you're big.
You were always big.
Maybe this means you'll
be twice as much fun.
What fun we'll have again!
What times! What great games!"
"You're a little..." "Faerie." "Pixie."
"If less is more, there's
no end to me, Peter Pan." "Peter Banning." "Pan." "Banning." "Pan. Whoever you are, it's still you.
Because only one
person has that smell."
"Smell?" "The smell of someone
who's ridden the wind.
The smell of sleeping in trees.
Adventures with Indians and pirates.
Remember? The world was ours!
We could do everything or nothing. I had to be anything
because it was always us."
"It's happened. I'm having
a nervous breakdown."
"Come on, Peter. Follow me and
all will be well."
"I'm dying. I'm heading towards
the white light. I've left my body.
You see, there's my house way down there.
There are my feet. Oh, my god. Where are we going?"
"To save your children, of course!" "How do you know about my kids?" "Everybody knows!"
Analysis: Here Tinker Bell is a psychopomp to lead him to the white light because he thinks he has died.
"Oh, Figaro! Look, look! The wishing star! Star light, star bright, first star I see tonight; I wish I may, I wish I might have the wish I make tonight. Figaro, you know what I wish? I wish that my little Pinocchio... might be a real boy. Wouldn't that be nice? Just think! A real boy!"
Analysis: The star is said to be a wishing star able to make dreams come true and to allow someone to incarnate in the flesh into a real person.
"As I live and breathe, a fairy!"
"Mm-mmm.
Good Geppetto, you have given
so much happiness to others.
You deserve to have
your wish come true.
Little puppet made of pine,
wake.
The gift of life is thine."
"Whew! What they can't do
these days!"
"I can move!
I can talk!
I can walk!"
"Yes, Pinocchio,
I've given you life."
"Why?" "Because tonight, Geppetto
wished for a real boy."
"Am I a real boy?" "No, Pinocchio.
To make Geppetto's wish come
true will be entirely up to you." "Up to me?"
"Prove yourself brave,
truthful and unselfish, and someday you will be a real boy." "A real boy!"
"That won't be easy.
You must learn to choose
between right and wrong."
"Right and wrong?
But how will I know?"
"How will he know?"
"Your conscience will tell you." "What are conscience? What are conscience!"
"I'll tell ya!
A conscience is that
still small voice that
people won't listen to. That's just the trouble with the world today, you see?"
"Are you my conscience?"
"Who, me?"
"Would you like to be Pinocchio's conscience?"
"Well, w-- uh, I--
I-- uh-- Ohh. Uh-huh.
Very well. What is your name?
Uh, oh, uh, Cricket's the name.
Jiminy Cricket."
"Kneel, Mr Cricket."
"Huh?
No tricks now."
"I dub you
Pinocchio's conscience,
lord high keeper of the
knowledge of right and wrong,
counselor in moments
of temptation
and guide along the straight
and narrow path.
Arise, Sir Jiminy Cricket."
"Well! Oh-ho-ho!
My, my!
Mmm. Say, that's pretty swell.
Gee... thanks.
But, uh, don't I get
a badge or something?"
"Well, we'll see. You mean maybe I will?" "I shouldn't wonder." "Make it a gold one?" "Maybe.
Now, remember, Pinocchio,
be a good boy.
And always let your conscience
be your guide."
"Goodbye, m' lady."
"Hey, that star again. The Lady. The Fairy."
"What'll she say? What do I tell her?"
"You might tell her the truth."
Analysis: The Blue Fairy is the fairy of the wishing star, or evening star to which we are supposed to make our wishes to, almost like a prayer.
"You're alive! And, and
you are a real boy!
- Yea! Whoopie!
- A real live boy!
This calls for a celebration!
Professor, lots of music!
Well! Huh. Th-This is
practically where I came in.
Thank you, milady.
He deserved to be a real boy.
And it sure was nice of you to--
Huh? Wha-- Uh-- Wh-- Wh--
W-- Well, I'll be!
My, my!
Solid gold too.
Oh, I think it's swell!
Ending song:
"When your heart
is in your dream, no request is too extreme.
When you wish upon a star, your dreams come true.
You'll find
your dreams come true."
Analysis: The song pleads us to wish upon the star, aka Venus, the Evening Star.
"Daddy! Look!" "Where are you going?"
"Charlotte's fairy tale book said
if you make a wish on the Evening Star,
it's sure to come true."
Well, you wish on that star, sweetheart.
Yes. You wish and you dream
with all your little heart.
But you remember, Tiana, that
that old star can only take you
part of the way.
You got to help it along with
some hard work of your own,
and then, yeah, you can do anything
you set your mind to.
Just promise your daddy one thing.
That you'll never, ever lose sight
of what's really important.
Okay?
See you in the morning, babycakes.
Get some sleep."
[Tatiana, wishing upon the star] "Please, please, please!"
(CROAKS)
(SCREAMING)
(SIGHS)"
Analysis: The song pleads us to wish upon the star, aka Venus, the Evening Star.
My girl? Ho, ho, ho. That's Evangeline." "Evangeline?"
"She the most prettiest firefly
ever did glow.
You know, I talk to Evangeline
most every night.
She's kind of shy. Don't say much.
And I know in my heart
someday we are
going to be together. Yeah."
"There she is.
The sweetest firefly in all creation."
"Evangeline?
I want to meet this girl. Where she at?
"How you can miss her?
She glowing right up there
in front of y'all."
Song, Ma Belle Evangeline:
"Look how she lights up the sky,
Ma Belle Evangeline. (Ha, that ain't no firefly)
So far above me yet I,
Know her heart belongs to only me.
Je t'adore, Je t'aime Evangeline,
You're my queen of the night, So still,
So bright. That someone as beautiful as she,
Could love someone like me. Love always finds a way it's true!
And I love you, Evangeline.
Love is beautiful,
Love is wonderful!
Love is everything, do you agree?
Mais oui!
Look how she lights up the sky,
I love you, Evangeline."
Analysis: The star, Evengeline is aka Venus, the Evening Star.
"I like that very much.
Evangeline likes that, too."
(PLAYING SOLEMN TUNE)....
(GASPS)....
(ALL GASPING)...
(ALL CHEERING)
"We just follow the second star, ride the breeze, follow the waves all the way across the sea.
And then, there it is."
"Wow! The mainland sounds flitterific!"
Analysis: They literally say to follow the second star.
["Oh, but, Mother...
it was such a wonderful adventure.
Tinker Bell and the mermaids
and Peter Pan.
Oh, he was the most
wonderful of all. Why, why, even when we were
kidnapped, I..." - "Kidnapped!"
"Mm-hmm. I knew Peter Pan
would save us, and he did.
And we all called him a codfish!
Uh, Captain Hook, I mean.]
"And then we sailed away
on a ship in the sky."
"Hmm. Mary, I'm going to bed."
"Oh, Mother.
He really is wonderful, isn't he?
See how well he sails the ship."
"George. George!" "Now what, Mary?" "Nana, d-did you see..."
You know, I have
the strangest feeling...
that I've seen that ship before.
A long time ago...
when I was very young."
"George, dear." "Father."
Ending song:
"When there's a smile in your heart, there's no better time to start.
Think of all the joy you'll find when you leave the world behind and bid your cares goodbye.
You can fly,
You can fly,
You can fly."
Analysis: Tannhauser is enraptured by the bliss he feels while in the presence of the goddess Venus. After a while he becomes bored with the euphoria and yearns to come back to Earth to experience the breeze, birds singing, etc. When he comes back his peers condemn him for having gone to the Venusberg, the mountain of Venus, also known as the underground or hell. This is similar to the bliss and rapture a soul may experience after having died andn gone to the light or the astral plane. After a while it may desire to experience life on earth again.
Pan is a pagan Greek god of the forest. He is depicted as a goat or faun playing his pan pipes or flute. He is sometimes tied to the Pied Piper who lures children with his song. In other accounts like Wind in the Willows, he is the windsong of nature. Pan has been associated with the Devil as well.
Analysis: Disney made animated shorts before producing full length movies. One of the earlier ones was called Playful Pan. Pan, the pagan entity also called the devil, is a pied piper of sorts in this animation. After he creates a forest fire, he lures the flames into the water to extinguish them.
Analysis: One of the Disney animated shorts was The Pied Piper. The Piper leads children into a giant rock. The other side of the portal is a sort of heavenly candyland for them.
"This is no mere boy. 'Tis some fiend fighting me. A flying devil!"
Analysis: Captain Hook calls Peter Pan a fiend, a flying devil.
"He's there.
Pan.
I can feel his smugness.
Shall we? While we still have the element of surprise on our side?"
"Careful.
He may look like a boy, but he's a bloody demon."
Analysis: Pan is called a bloody demon.
"He's just not used to working with the bad guys.
I can assure you, on this island, I am not the bad guy.
Yeah, well, Pan's not supposed to be one either.
What possibly gave you that idea?
Every story I ever heard as a child.
Well, they got it all wrong.
Pan is the most treacherous villain I've ever faced. "
Analysis: Pan is called a villain.
"He so likes his games.
What game? There's nothing there.
If he said there's a map on this parchment, then there is.
Great.
So if I just stop denying who I really am, whatever that means, then we'll be able to read this thing.
But how do we know Pan won't use it to lead us straight into a trap? Because he doesn't need to.
This whole island's his bloody trap.
There's no sign of him anywhere.
Any luck with the map? - Don't hold your breath.
- What's that supposed to mean? Don't you see what he's doing? Every second we spend talking about this is another second we're not looking for my son.
You got a better idea? Magic.
If there's a lock on there, I'll find a way around it.
Pan said it had to be me.
I'd listen to Emma, luv.
Breaking Pan's rules would be unwise.
Sadly, I agree with the pirate.
I'm winning you over.
I can feel it.
And your magic doesn't exactly have a gentle touch, Regina.
Use it on the map, it might blow up in all our faces.
Well, that's a risk I'm willing to take.
Well, I'm not.
If I'm the one who's supposed to figure out this thing, I need to do what Pan said.
Great.
She'll get there.
Hey.
Don't give up.
He's playing a game.
You can win."
Analysis: Hook says all of Neverland is Pan's bloody trap.
"Yet the dawn is almost here. You'd think the birds would be starting to sing."
"Shhh. did you hear something?""Only the wind in the reeds." "No, it was something else. There! [haunting music] Surely you can hear it now."
Mole listened intently. And the music began to come to him faintly on the breeze."
"I can hear it now, Ratty."
"Follow it. must follow it. "
And then a voice too. A voice that began to whisper on the wind."
'Lest the awe should dwell--And turn your frolic to fret--You shall look on my power at the helping hour--But then you shall forget!, forget, forget, forget...'
"Ratty, I'm afraid." "No, not afraid. Something else, but not afraid. Come on."
'Lest limbs be reddened and rent--I spring the trap that is set--As I loose the snare you may glimpse me there--For surely you shall forget!, forget, forget, forget, forget....'
"What does it mean?" "I don't know."
'Helper and healer, I cheer--Small waifs in the woodland wet-- Strays I find in it, wounds I bind in it--Bidding them all forget!, forget, forget, forget, forget...'
"What was it?" "I don't know. I just felt it was meant for us. I've heard that there's something or someone who looks after animals in trouble. Why, Mole. There's Portly just lying beneath that old statue safe and sound as if he were in his father's arms. Well, did you ever? Portly, Wake up, young fellow, my lad."
"Mr. Rat Hello, Mr. Mole. Who is he?" "Who?" "I got lost and then there was a great noise and I was afraid and I ran away and then he came."
"Uh, oh. You've been dreaming, old chap."
"Yeah, but where is he?"
"Come on, Portly. You want to see your father again, don't you? And you'd like to have a row in Mr. Rat's boat."
"I guess. We going now?"
"this very minute. "
"Otter. Otter" "Dad." "Portly, Portly. Where you been, Portly?
"Was it a dream, Rat?"
"It was like a dream and yet not quite."
"I feel dreadfully tired. No, not dreadfully. Pleasantly tired as though good things have happened and now it's time to sleep."
"How odd, Mole. I feel as you do. Hmm, isn't it jolly to feel the sun again soaking into one's bones and the wind playing in the reed?"
"That music. Faraway music."
So they slept for this was the last gift he could give. The gift of forgetfulness. When they awoke, they would all be happy and light-hearted as before just as though they had never seen the Piper at the Gates of Dawn. And as though his voice had only been the wind in the willows.
Song: Spin me a dream woven silver and gold
From sunshine and shadows and days long ago
Where people are memories and stories unfold
Willows, the tales you have told me
Wind in the willows you'll just seem to know
Who you can turn to and which way to go
To unwind your wonderous mind
Wind in the willows, take me there."
Analysis: The Piper at the Gates of Dawn is shown to be a horned faun. There is mention of a trap and a snare and the following of music and a whispering wind in the willows and reeds.
"The young pup doesn't swim well and there are waterfalls and traps."
"Try to remember what you told me when I was afraid of the wildwood."
"I'm trying, Moley. I'm trying. But. Oh, Moley, he's so little."
"I rowed the boat to that willow tree by the bank. I'll search the thicket while you watch over the river."
Song Wind in the Willows by Judy Collins:
Wind in the willows, strange melodies.
All who would hear them lean to the breeze.
Birds acapella, add to the song.
All hear their versions, no one is wrong
'Some say there is a being: kindly, benevolent whose heartbeat is all of nature and whose embrace protects small animals everywhere. Piper. Pan. Call him what you will.'
Song continues:
Soon, soon you shall forget
What's turned frolic to fret
Follow the windsong, soon will it fade
Ballads and lullabies lost in the glade
"Ratty, Ratty. Good ol' Ratty."
"Hmm? Oh, Moley. How pleasant."
"And this little badger I'll bet is Portly."
"I don't know who he is. Hasn't spoken yet. Found him crying in a beam of sunlight. Couldn't take him with me on my journey. Couldn't leave him alone. Sailor fellow went on without me. How did you find us?"
"I was led." "Led? By what? Whom?"
"I feel as if I've suddenly awakened from a beautiful dream. I can't remember it. I know it was beautiful, but that's all. It's faded now."
Song: Sing, soon you shall forget
" 'Lest the awe should dwell--And turn your frolic to fret--You shall look on my power at the helping hour--But then you shall forget!'"
"You hear all that? I just hear the wind in the willows."
"It's hard to catch and it grows fainter each minute. No. That's all. The song has died away into reed-talk."
"But what do the words mean?"
"That I don't know. I merely pass them onto you the way they reach me."
Song: Dies in a rustle, ends in a sigh
"Portly, you're safe! How did you...?"
"Ratty found him. Then I found Ratty."
"Ha, a lot of finding's been going on tonight. Look at my discovery."
"Toad!" "Found him half-drowned on the river bank."
"Well, there."
"He was all covered with mud. Absolute wonder I saw him. Like I was led to him somehow."
Song: Wind in the willows, then the wind is still"
Analysis: The entity is actually refered to as Piper and Pan. Traps are mentioned and the idea of being led to him somehow, presumably by the wind song.
I've been worrying about Toad. Keep wondering how he will stick being in prison."
"Never mind Toad. He always falls on his feet"
Ratty, how could you?"
"Save your concern for the otters. Young Portly's been missing for several days. He's strayed before, but never for so long and the river swollen."
"And no great swimmer yet. You suppose..."
"Quiet. His father's frantic. He's going to keep watch all night by the fallen. It's where he caught his first fish, you see."
"Toad, ol' boy. You are a marvel. My wallet. It's in my other clothes. I haven't got any money. Oh no. Wait, don;t go. Oh sir. Oh sir. I'm a poor unhappy washer woman and I lost all my money. And I can;t pay for a ticket and I must get home tonight."
"Hmm, ain't got nippers waiting for you"
"Oh, dear" "I'll tell you what. You wash a few shirts for me. I"ll give you a ride."
"Yes, yes. A thousand shirts."
"up with you."
What brilliant theatrical skill. You've bamboozled the prison guards with subtle arts of persuasion. clod of a train driver. Why, you're probably the greatest actor in England and you're once again free, my dear fellow. Free..."
"Here's the tunnel a coming. You must jump off right before. Are you ready? Now, jump! Jump!"
Narrator: "So Toad was safe for the moment. But what of little Portly? Missed. Looked for. Not yet found. And leaving no clues to help the searchers. Ah, Ratty. Dear old Ratty who was so wise in the ways of the river was following an instinct of his own. Something there was in the air. Some spirit lure him on. Haunting. Awesome. And once he heard its voice, he had no option but to follow. Sometimes the beauty of it hurt him. It would come and go. Fainter now and then stronger. Twas nowhere and yet everywhere at once. A merry bubble and joy of a thin, clear, happy call that he had once heard at its loudest and strongest at the place of what he called his songdream, a holy place where, if anywhere at all, that spirit might be found."
"Ratty, are you afraid?
"Of him? Never. Never."
"Some great creature has been here."
"Here he is, Ratty. Now we must get you back to your father, young Portly. Come along, Rat. Think of poor Otter waiting by the ford."
"You scoundrel! Where did you get to? You know I've had no sleep for two nights because of you! "
"I'm so tired, Rat. Are you?" "Dead tired. Something very splendid and beautiful has happened though. Hark! to the wind in the reeds."
"It's like faraway music."
"Music, yes. But words too."
"I can't hear any words."
" 'Lest the awe should dwell--And turn your frolic to fret--You shall look on my power at the helping hour--But then you shall forget!' Can't you hear those words in the reeds, Mole?"
"No, Ratty. I'm sorry. I just can't."
" 'Helper and healer, I cheer--Small waifs in the woodland wet-- Strays I find in it, wounds I bind in it--Bidding them all forget!"
"I can't forget Mr. Toad. Not ever."
Analysis: A spirit lure him on with the call of its voice. Like faraway music and bidding them all to forget.
"It's you. the phantom piper! No! No! I'll not go with you!"
"You devils! You killed him, an unarmed man!"
Analysis: The legend of the McCrimmon Piper (known for coming to take people when they die) comes to life. The setting for the miniseries is the moon.
Analysis: An entertainer known as the Pied Piper uses a flute and a pulsing strobe light to hypnotize his victims.
"So everything looks fine. No masses, no deviations in your intracranial space."
"But I've seen it three times in the past few days."
"Seen what?
"The white light. And there's something else. You're gonna think I'm crazy, but, um...
I'm seeing and hearing
all kinds of electrical stuff."
"EVP stands for
electronic voice phenomena. Precognition, the light you're seeing,
all that is part of supernatural white noise. I've got a grant to study these things."
"So EVP, what exactly is it?"
"It's the recording of the deceased using
a detuned apparatus like a TV or radio.
Some people believe that EVP
is the afterlife manifest all around us.
Others think it's a charge
or electromagnetic fields,
still others that it's a means through
which the dead can communicate with us.
Frankly, who knows? As long as
we're not exactly sure what it is,
they'll keep funding my grant."
"What are you doing down here?"
"This... is my EVP room.
These have been detuned and I record 'em
to see if I've captured any transmissions."
"I suppose that's an important part
of your work, then?"
"That? Oh.
No, I didn't want to detune that one.
That's Change of Habit.
I'm recording it for research purposes.
I thought I might learn something
from Dr Presley.
You're not a fan of this one?"
"No, it's just...
I just saw one of those things on the screen."
"Transmissions are only visible
after they've been recorded."
"On the last close-up of Elvis,
I saw a blast of static with
what looked like an unformed person."
"So what are you doing now?"
"I've rewound the feed, I'll detune it.
Let's see if you really saw something."
"There. There, that's it. That's it.
That was it. That's what I saw."
"I'll be damned."
"So what does that mean?"
"Maybe when you had your NDE,
you yourself became a detuned receiver.
You see white-noise transmissions, EVP,
communications with the dead, all that,
without any of this.
You're in uncharted territory.
There's a very good chance you're
going to be seeing some wacky stuff."
Analysis: This is one of the few movies to feature EVP, electronic voice phenomenon. It is a real phenomenon that some people try to use to contact the dead. But it can be dangerous and open up gateways where the practitioner can become harassed and maybe even possessed by astral entities.
"Cross over, children. All are welcome. All welcome. Go into the light." "You said, 'No'!" "There is peace and serenity in the light." "You said don't go into the light!"
Analysis: It is interesting that Spielberg played upon the idea that going into the light may not be good, or that spirit mediums are not all trustworthy.
Analysis: A young boy is able to see dead people, i.e. ghosts. The movie also addresses the idea that some people are not aware they are dead.
Analysis: A ghost sucks the life force out and is able to shape shift form and assume her identity.
Analysis: A ghost sucks the life force out and is able to shape shift form and assume her identity.
"Where are you going? Inside.
I'll be waiting for you there once you're ready.
Ready for what? To leave.
Hey, kiddo.
Dad? Hello, Jack.
I don't understand.
You died.
Yeah.
Yes, I did.
Then how are you here right now? How are you here? I died, too.
It's OK.
It's OK.
It's OK, son.
- I love you, Dad.
- I love you, too, son.
Are you? Are you real? I sure hope so.
Yeah, I'm real.
You're real.
Everything that's ever happened to you is real.
All those people in the church, they're all real, too.
They're all They're all dead? Everyone dies sometime, kiddo.
Some of them before you, some long after you.
But why are they all here now? Well, there is no "now" here.
Where are we, Dad?
This is a place that you that you all made together so that you could find one another.
The most important part of your life was the time that you spent with these people.
That's why all of you are here.
Nobody does it alone, Jack.
You needed all of them, and they needed you.
For what? To remember.
And to let go.
Kate. She said we were leaving.
Not leaving, no.
Moving on.
Where are we going? Let's go find out.
We've been waitin' for you, now."
Analysis: The producer J.J. Abrams attended the same small university that the great mythologist Joseph Campbell attended. Joseph Campbell was the mythologist that George Lucas consulted to create the Star Wars saga of the one force being used for the light side and the dark side. Lost is very similar to Star Wars in that respect. Lost is more a reference to being lost spiritually than being lost on a deserted island, an island that is said to be a living entity. There is much light and dark, black and white symbolism throughout the series.
I did NOT watch the entire series. I am currently watching the series and am about halfway through. I also watched the end of the last episode. Sounds like there is a Man in Black / Smoke Monster character which is like an archon / shadow being that shapeshifts and take on various forms, including some of the people on the island. This black smoke monster/man in black can shape shift and appear to people who see it as a beautiful light. As far as I can tell, this man-in-black figure often appears and lure them into a trap or danger of some sort. And there is some kind of consensus purgatory / bardo reality that is created to help souls flesh out their karma or unfinished business. Still only about halfway through it so don't know everything.
The producer J.J. Abrams went to the same college as Joseph Campbell, the famous mythologist who popularized the Hero's Journey. George Lucas consulted Campbell while conceiving the Star Wars saga of the force being used for light vs dark. And LOST incorporates the same light vs dark symbolism quite frequently.
I know that there is a secret psychological experiment known as the Dharma Initiative going on. Dharma is a Buddhist term so this may have to do with their karmic debts, etc.
The island is called a prison or a cage at times. There are people watching and monitoring them. I know there is a brother known as Jacob which is a type of deity figure.
The one guy saw the smoke monster and said it was a beautiful bright light. There is some kind of hole that leads to the heart of the island which requires sacrifices etc and a bright light emanates at times. I know there is some sort of consensus reality that was set up by them so that they could resolve their issues, almost like how ghosts need to settle karmic debt before moving on.
Jack's "father" said they had all created that scene (the church and maybe even the island, idk) as a way to connect with each other. Probably for a necessary closure. I think Jack's father whose name is Christian Shepherd leads them into the light after they have dealt with their karmic issues.
This is a perfect example of spirits being stuck and not knowing they are dead. And also how the dead can create a consensus reality together for them participate in. This is what William Buhlman says is the case with the astral plane and the white light (as well as this reality too).
I just talked to a guy who had an NDE a few days ago and he was saying there are ghosts who aren't aware they have died. I said it should be obvious when they try to talk to people and don't get answers or their hand goes through a door knob etc but it seems, unlike most NDErs who have a 10x heightened awareness, those who die suddenly in a tragic way, for example, may actually be in a lower state as if running off their subconscious.
"Therefore, I say to you, be sober; do not be deceived! And many times have I said to you all together, and also to you alone, James, have I said, 'Be saved!' And I have commanded you to follow me, and I have taught you what to say before the archons."
Analysis: "The Lord" (Jesus) talking to James and telling him not to be deceived by the archons. This is the Francis E. Williams translation.
"Now when James heard these things, he wiped away the tears in his eyes and very bitter [...] which is [...]. The Lord said to him, "James, behold, I shall reveal to you your redemption. When you are seized, and you undergo these sufferings, a multitude will arm themselves against you that <they> may seize you. And in particular three of them will seize you - they who sit (there) as toll collectors. Not only do they demand toll, but they also take away souls by theft. When you come into their power, one of them who is their guard will say to you, 'Who are you or where are you from?' You are to say to him, 'I am a son, and I am from the Father.' He will say to you, 'What sort of son are you, and to what father do you belong?' You are to say to him, 'I am from the Pre-existent Father, and a son in the Pre-existent One.' When he says to you, [...], you are to say to him [...] in the [...] that I might [...]."
'[...] of alien things?' You are to say to him, 'They are not entirely alien, but they are from Achamoth, who is the female. And these she produced as she brought down the race from the Pre-existent One. So then they are not alien, but they are ours. They are indeed ours because she who is mistress of them is from the Pre-existent One. At the same time they are alien because the Pre-existent One did not have intercourse with her, when she produced them.' When he also says to you, 'Where will you go?', you are to say to him, 'To the place from which I have come, there shall I return.' And if you say these things, you will escape their attacks.
"But when you come to these three detainers who take away souls by theft in that place [...] these. You [...] a vessel [...] much more than [...] of the one whom you [...] for [...] her root. You too will be sober [...]. But I shall call upon the imperishable knowledge, which is Sophia who is in the Father (and) who is the mother of Achamoth. Achamoth had no father nor male consort, but she is female from a female. She produced you without a male, since she was alone (and) in ignorance as to what lives through her mother because she thought that she alone existed. But I shall cry out to her mother. And then they will fall into confusion (and) will blame their root and the race of their mother. But you will go up to what is yours [...] you will [...] the Pre-existent One."
Analysis: "The Lord" (Jesus) talking to James and instructing him on how to escape the archons that steal souls. This is the William R. Schoedel translation.
"THE REALITY OF THE RULERS
INTRO
The Reality of the Rulers also called the Hypostasis or Nature of the Archon was written in Greek perhaps in Egypt sometimes before 350 C II probably in the 3rd century. It now exists as a Coptic text in the Nag Hammadi library. Like The Secret Book of John it is a syncretic retelling of early Genesis myth, but this account is more abbreviated. The Secret Book of John or a similar text with a more complete cosmogony needs to be consulted to understand more fully the dramatic story that is told here.
The Reality of the Rulers
SAMAEL’S SIN
Because of the reality of the authorities, inspired by the spirit of the father of truth, the great messenger referring to the authorities of the darkness told us that “our contest is not against flesh and blood, rather, the authorities of the universe and the spirits of wickedness.” I have sent you this because you inquire about the reality of the authorities.
Their chief is blind. Because of his power and his ignorance and his arrogance he said, with his power, “I am god; there is no other but me.”
When he said this, he sinned against all. This speech rose up to incorruptibility. Then there was a voice that came forth from incorruptibility, saying, “You are wrong, Samael,” that is, god of the blind.
His thoughts became blind. And having expelled his power—that is, the blasphemy he had spoken—he pursued it down to chaos and the abyss, his mother, at the instigation of Pistis Sophia. She established each of his offspring in conformity with its power, after the pattern of the realms that are above, for by starting from the invisible world the visible world was invented.
As incorruptibility looked down into the region of the waters, her image appeared in the waters, and the authorities of the darkness became enamored of her. But they could not lay hold of that image which had appeared to them in the waters, because of their weakness, since beings that merely have soul cannot lay hold of those that have spirit. For they were from below, while it was from above.
THE CREATION OF ADAM AND EVE
This is the reason why incorruptibility looked down into the region, so that, by the father’s will, she might bring all into union with the light.
The rulers laid plans and said, “Come, let us create a human that will be soil from the earth.” They modeled their creature as one wholly of the earth.
The rulers have bodies that are both female and male, and faces that are the faces of beasts. They took some soil from the earth and modeled their man, after their body and after the image of god that had appeared to them in the waters.
They said, “Come, let us lay hold of it by means of the form that we have modeled, so that it may see its male partner and we may seize it with the form that we have modeled,” not understanding the partner of god, because of their powerlessness. And he breathed into his face, and the man came to have a soul and remained on the ground many days. But they could not make him rise because of their powerlessness. Like storm winds they persisted in blowing, that they might try to capture that image which had appeared to them in the waters. And they did not know the identity of its power.
Now, all these events came to pass by the will of the father of all. Afterward the spirit saw the man of soul on the ground. The spirit came forth from the adamantine land. It descended and came to dwell in him, and that man became a living soul. And the spirit called his name Adam, since he was found moving upon the ground.
A voice came forth from incorruptibility for the assistance of Adam. The rulers gathered together all the animals of the earth and all the birds of heaven and brought them in to Adam to see what Adam would call them, that he might give a name to each of the birds and all the beasts.
The rulers took Adam and put him in the garden, that he might cultivate it and keep watch over it. They issued a command to him, saying, “From every tree in the garden shall you eat, but from the tree of knowledge of good and evil don’t eat, nor touch it. For the day you eat from it you will surely die.”
They said this to him, but they did not understand what they said. Rather, by the father’s will, they said this in such a way that he might in fact eat, and that Adam might not regard them as would a man of an exclusively material nature.
The rulers took counsel with one another and said, “Come, let us cause a deep sleep to fall on Adam.” And he slept. Now, the deep sleep that they caused to fall on him, and he slept, is ignorance. They opened his side, which was like a living woman. And they built up his side with some flesh in place of her, and Adam came to be only with soul.
The woman of spirit came to him and spoke with him, saying, “Rise, Adam.” And when he saw her, he said, “It is you who have given me life. You will be called ‘mother of the living.’ For she is my mother. She is the physician, and the woman, and she has given birth.”
ADAM AND EVE IN THE GARDEN
The authorities came up to their Adam. When they saw his female partner speaking with him, they became very excited and enamored of her. They said to one another, “Come, let us sow our seed in her,” and they pursued her. And she laughed at them for their foolishness and blindness. In their clutches she became a tree and left before them her shadowy reflection resembling herself, and they defiled it foully. And they defiled the seal of her voice, so that by the form they had modeled, together with their own image, they made themselves liable to condemnation.
Then the female spiritual presence came in the form of the snake, the instructor, and it taught them, saying, “What did he say to you? Was it, ‘From every tree in the garden shall you eat, but from the tree of recognizing evil and good do not eat’?”
The woman of flesh said, “Not only did he say ‘Don’t eat,’ but even ‘Don’t touch it. For the day you eat from it, you will surely die.’”
The snake, the instructor, said, “It is not the case that you will surely die, for out of jealousy he said this to you. Rather, your eyes will open and you will be like gods, recognizing evil and good.” And the female instructing power was taken away from the snake, and she left it behind, merely a thing of the earth.
And the woman of flesh took from the tree and ate, and she gave to her husband as well as herself, and those beings, who possessed only a soul, ate. And their imperfection became apparent in their lack of knowledge. They recognized that they were naked of the spiritual, and they took fig leaves and bound them around themselves.
Then the chief ruler came, and he said, “Adam, where are you?”—for he did not understand what had happened.
Adam said, “I heard your voice and was afraid because I was naked, and I hid.”
The ruler said, “Why did you hide, unless it is because you have eaten from the tree from which alone I commanded you not to eat? You have eaten!”
Adam said, “The woman you gave me gave me fruit and I ate.” And the arrogant ruler cursed the woman.
The woman said, “The snake led me astray and I ate.” They turned to the snake and cursed its shadowy reflection, so it was powerless, and they did not comprehend that it was a form they themselves had modeled. From that day, the snake came to be under the curse of the authorities. Until the perfect human was to come, that curse fell on the snake.
They turned to their Adam and took him and expelled him from the garden along with his wife, for they have no blessing, since they too are under the curse.
Moreover, they threw human beings into great distraction and into a life of toil, so that their human beings might be occupied by worldly affairs and might not have the opportunity of being devoted to the Holy Spirit."
Analysis: This text deals primarily with the archons and their chief, the Demiurge, Samael. 'Hypoastasis' means 'reality' and 'archon' means 'ruler'. Notice it equates the chief ruler of the archons / authorities as the god of the Old Testament. The chief leader of the archons says the same things the god of the Bible said and the tale of the garden of Eden is told here.
"Genesis 6
1
When men began to increase in number on the earth and daughters were born to them,
2
the sons of God saw that the daughters of men were beautiful, and they married any of them they chose.
3
Then the LORD said, "My Spirit will not contend with [1] man forever, for he is mortal [2] ; his days will be a hundred and twenty years."
4
The Nephilim were on the earth in those days--and also afterward--when the sons of God went to the daughters of men and had children by them. They were the heroes of old, men of renown.
5
The LORD saw how great man's wickedness on the earth had become, and that every inclination of the thoughts of his heart was only evil all the time.
6
The LORD was grieved that he had made man on the earth, and his heart was filled with pain.
7
So the LORD said, "I will wipe mankind, whom I have created, from the face of the earth--men and animals, and creatures that move along the ground, and birds of the air--for I am grieved that I have made them."
Analysis: Genesis 6 speaks of the archons or watchers, the nefilim / nephilim or giants. They took the beautiful earth women and had offspring. The god of this earth (the demiurge) wanted to destroy mankind, his creation, with a flood. The Sumerian texts actually show that it wasn't just one being, but it was the anuna gods, or anunnaki. An assembly of anuna gods, including Enlil, wanted to destroy mankind with a flood, but Enki, the genetic scientist who helped create mankind wanted to help mankind so he told 'Noah' how to build an ark.
"Enki and Ninmah
1-11. In those days, in the days when heaven and earth were created; in those nights, in the nights when heaven and earth were created; in those years, in the years when the fates were determined; when the Anuna gods were born; when the goddesses were taken in marriage; when the goddesses were distributed in heaven and earth; when the goddesses …… became pregnant and gave birth; when the gods were obliged (?) …… their food …… dining halls; the senior gods oversaw the work, while the minor gods were bearing the toil. The gods were digging the canals and piling up the silt in Ḫarali. The gods, crushing the clay, began complaining about this life.
12-23. At that time, the one of great wisdom, the creator of all the senior gods, Enki lay on his bed, not waking up from his sleep, in the deep engur, in the subterranean water, the place the inside of which no other god knows. The gods said, weeping: "He is the cause of the lamenting!" Namma, the primeval mother who gave birth to the senior gods, took the tears of the gods to the one who lay sleeping, to the one who did not wake up from his bed, to her son: "Are you really lying there asleep, and …… not awake? The gods, your creatures, are smashing their ……. My son, wake up from your bed! Please apply the skill deriving from your wisdom and create a substitute (?) for the gods so that they can be freed from their toil!"
24-37. At the word of his mother Namma, Enki rose up from his bed. In Ḫal-an-kug, his room for pondering, he slapped his thigh in annoyance. The wise and intelligent one, the prudent, …… of skills, the fashioner of the design of everything brought to life birth-goddesses (?). Enki reached out his arm over them and turned his attention to them. And after Enki, the fashioner of designs by himself, had pondered the matter, he said to his mother Namma: "My mother, the creature you planned will really come into existence. Impose on him the work of carrying baskets. You should knead clay from the top of the abzu; the birth-goddesses (?) will nip off the clay and you shall bring the form into existence. Let Ninmah act as your assistant; and let Ninimma, Šu-zi-ana, Ninmada, Ninbarag, Ninmug, …… and Ninguna stand by as you give birth. My mother, after you have decreed his fate, let Ninmah impose on him the work of carrying baskets."
5 lines fragmentary …… she placed it on grass and purified the birth.
44-51. Enki …… brought joy to their heart. He set a feast for his mother Namma and for Ninmah. All the princely birth-goddesses (?) …… ate delicate reed (?) and bread. An, Enlil, and Lord Nudimmud roasted holy kids. All the senior gods praised him: "O lord of wide understanding, who is as wise as you? Enki, the great lord, who can equal your actions? Like a corporeal father, you are the one who has the me of deciding destinies, in fact you are the me."
52-55. Enki and Ninmah drank beer, their hearts became elated, and then Ninmah said to Enki: "Man's body can be either good or bad and whether I make a fate good or bad depends on my will."
56-61. Enki answered Ninmah: "I will counterbalance whatever fate -- good or bad -- you happen to decide."
Analysis: The Sumerian text Enki and Ninmah tells how Enki created mankind as a substitute because the minor gods were complaining of all the hard work they were doing. Enki took the primitive being already present on earth and genetically modified it and the birth-goddesses gave birth.
"I'm trying to help you, stop fighting me....
You're in a dangerous profession, Captain.
You face death every day.
There'll be another time, and I'll be waiting.
Eventually, you'll come into my matrix and you will nourish me for a long, long time."
"Go back to hell, coward."
"Kathryn? I'm no longer detecting the alien presence."
"That alien, his Matrix, he was like the spider that has to lure a fly into his web... Do you think it's possible that each of the near death experiences we've heard about are the result of an alien inhabitation?"
Analysis: An alien shapeshifting to take on the appearance of a dying person's father in an attempt to lure its prey into a matrix of light. Then, the crew wonders if all aliens aren't responsible for the phenomenon of near death experiences. Probably the most revealing scene ever.
"Hi, Sparks."
Dad?
I missed you.
Aren't you...?
I'm sorry I couldn't be
there for you, sweetheart.
You're not real.
None of this is real!
That's my scientist.
When I was unconscious, you
downloaded my
thoughts, my memories.
Pensacola!
We thought it might make
things easier for you.
Why did you contact us?
You contacted us.
We were just listening.
There are others?
Many others.
They all travel here through that
transit system you built?
We didn't build it.
We don't know who did.
They were gone long
before we ever got here.
Maybe someday
they'll come back.
All the civilizations
you find come here?
Not all.
- Is this some test?
- No, no test.
You have your mother's hands.
You're an
interesting species, an interesting mix.
You're capable of such
beautiful dreams and such
horrible nightmares.
You feel so lost, so cut off, so alone.
Only you're not.
In all our searching, all we've found that makes the emptiness bearable is each other.
What happens now?
Now?
You go home.
Home?
But I have so many questions.
Do we get to come back?
This was just a first step.
In time, you'll take another.
But other people need
to see what I've seen.
This is the way it's been
done for billions of years.
Small moves, Ellie.
Small moves."
Analysis: An alien shapeshifts to appear to Ellie as her father to make her feel more comfortable, "more easier" for her.This is exactly what happens in near death experiences. There are at least a dozen where the light asks the experiencer what form they would like it to take. I originally thought the star pattern shown throughout the movie represented the seven sisters of the Pleiades, but now I am pretty sure it is the Corona Borealis (Northern Crown). In mythology, according to Wikipedia, it is "considered to represent a crown given by Dionysus to Ariadne, the daughter of Minos of Crete, after she had been abandoned by the Athenian prince Theseus. When she wore the crown at her marriage to Dionysus, he placed it in the heavens to commemorate their wedding."
Now Dionysus is linked to Pan. "In Welsh mythology, it was called Caer Arianrhod, "the Castle of the Silver Circle", and was the heavenly abode of the Lady Arianrhod." "Ariadne was a Cretan princess in Greek mythology. She was mostly associated with mazes and labyrinths because of her involvement in the myths of the Minotaur and Theseus. The ancient Roman author Hyginus identified Ariadne as the Roman Libera/Proserpina at approximately the same time as Libera was officially identified with Proserpina in 205 BC, these 2 names becoming synonymous for the same goddess." Prosperina or Persephone was associated with the underworld and was abducted and taken to Hell by Hades, the king of the underworld. Personphone is the princess that the Disney animated short, Goddess of Spring, and the subsequent movie, Snow White, was patterned after. I wrote about this in my article on Disney and the moon princesses.
"I need to watch things die from a good safe distance.
Vicariously, I live while the whole world dies.
You all feel the same, so why can't we just admit it."
Analysis: An incredibly revealing song and video. Perhaps the band Tool is under the influence of these parasitic entities or perhaps they are aware of the parasitic archons and entities that feed off us and are letting us know through their music?
Analysis: Alex Grey's artwork is influenced by his DMT experiences. He collaborated with Tool to produce these videos. The song Vicarious is about parasites which feed off us. In the video they are depicted as worms, ticks, leeches and octopi-squid like creatures.
"Lo! ’t is a gala night
Within the lonesome latter years!
An angel throng, bewinged, bedight
In veils, and drowned in tears,
Sit in a theatre, to see
A play of hopes and fears,
While the orchestra breathes fitfully
The music of the spheres.
Mimes, in the form of God on high,
Mutter and mumble low,
And hither and thither fly—
Mere puppets they, who come and go
At bidding of vast formless things
That shift the scenery to and fro,
Flapping from out their Condor wings
Invisible Wo!
That motley drama—oh, be sure
It shall not be forgot!
With its Phantom chased for evermore
By a crowd that seize it not,
Through a circle that ever returneth in
To the self-same spot,
And much of Madness, and more of Sin,
And Horror the soul of the plot.
But see, amid the mimic rout,
A crawling shape intrude!
A blood-red thing that writhes from out
The scenic solitude!
It writhes!—it writhes!—with mortal pangs
The mimes become its food,
And seraphs sob at vermin fangs
In human gore imbued.
Out—out are the lights—out all!
And, over each quivering form,
The curtain, a funeral pall,
Comes down with the rush of a storm,
While the angels, all pallid and wan,
Uprising, unveiling, affirm
That the play is the tragedy, “Man,”
And its hero, the Conqueror Worm."
Analysis: This Edgar Allan Poe poem narrated by Vincent Price reveals angels watching as theater the horrific drama or play of Mankind returning over and over again. The mimes in the form of god are consumed by the conquering worm, i.e. death... or perhaps the archontic element since some Gnostics described the chief archon as a worm. Gnostic texts also mention bile.
"I've ordered the House of..."
Analysis: The word 'harkonnen' is so close to the word 'archon' that I doubt it is just a coincidence. The haronnens and the baron Harkonnen is the enemy. Worms are also the enemy as they harvest the spice.
"Spice mining.
Carryalls lower
the harvester to the sand and lift it off to safety when a worm attacks. Worms attack all rhythmic vibrations. Weather. See storms. No precipitation.
[ Paul ] Never one drop of rain on Arrakis. And the Harkonnens are near. There. Giedi Prime and the Baron Harkonnen. The enemy.
[ Man ] The Baron Harkonnen has sworn to destroy House Atreides and steal the ducal signet ring for himself."
Analysis: Alex Grey's artwork is influenced by his DMT experiences. He collaborated with Tool to produce these videos. The song Vicarious is about parasites which feed off us. In the video they are depicted as ticks, leeches and octopi-squid like creatures.
"The worm ! Spice !
ls there a relationship ?"
Analysis: Archons have been depicted in the Gnostic texts as being worm-like. They harvest the spice.
"Travelling without moving.
Now I truly control the worm and the spice.
And I have the power
to destroy the spice forever !
Father !
Father, the sleeper has awakened !"
Analysis: The worm is overcome by travelling without moving. Once again,
"Always remember: Your focus determines your reality.
Stay close to me and you'll be safe.
Master, sir, I heard Yoda talking about midichlorians.
I've been wondering...What are midichlorians?
Midichlorians are a microscopic life-form that resides within all living cells.
- They live inside me?
- Inside your cells, yes. - And we are symbionts with them.
- Symbionts?
Life-forms living together for mutual advantage. Without the midichlorians, life could not exist and we would have no knowledge of the Force. They continually speak to us, telling us the will of the Force. When you learn to quiet your mind, you'll hear them speaking to you."
Analysis: This is a major reveal here by George Lucas and he wanted the midichlorians to play a much larger role in his last trilogy, but when Disney obtained the rights, they did not include it and this pissed George off tremendously.
"Waiting for the final solution
to strengthen the strain. Waiting to follow the worms. Would you like to see
Britannia rule again, my friend.
All you need to do
is follow the worms.
Hammer! Hammer!
Hammer! Hammer!
Hammer! Hammer! Hammer!
Pink:
Stop!
Stop.
I wanna go home, take off this uniform, and leave the show.
But I'm waiting in this cell because I have to know: have I been guilty all this time?
Lawyer: Good morning, Worm, Your Honor.
The crown will plainly show the prisoner who now stands before you was caught red-handed showing feelings of an almost human nature.
This will not do!
Call the schoolmaster.
Schoolmaster:
I always said he'd come to no good in the end, Your Honor.
If they'd let me have my way,
I could have flayed him into shape.
But my hands were tied.
The bleeding hearts and artists let him get away with murder.
Let me hammer him today.
Pink: Crazy, toys in the attic.
I am crazy.
Truly gone fishing.
They must have taken my marbles away.
Wife: You, little shit, you're in it now.
I hope they throw away the key.
You should've talked to me
more often than you did.
But, no, you had to go your own way.
Have you broken
any homes up lately?
Just five minutes, Worm, Your Honor.
Him and me alone.
Mother:
Babe.
Come to Mother, baby.
Let me hold you in my arms.
M'lud, I never wanted him
to get in any trouble.
Why'd he ever have to leave me?
Worm, Your Honor,
let me take him home.
Pink: Crazy.
Over the rainbow.
I'm crazy.
Bars in the window.
There must have been a door there
in the wall when I came in.
The judge: The evidence before the court
is incontrovertible.
There 's no need
for the jury to retire.
In all my years of judging
I have never heard before of someone more deserving the full penalty of law.
The way you made them suffer -- your exquisite wife and mother --fills me with the urge to defecate.
Since, my friend,
you have revealed your deepest fear,
I sentence you to be exposed before your peers.
Tear down the wall.
Tear down the wall."
Analysis: Notice the main character, named Pink, says he is in a show and is a prisoner in a cell. He wants to go home. But he is under a totalitarian regime and is being held prisoner. He is waiting to follow the worms. And the Judge is called Worm too. The Demiurge was depicted by some Gnostic sect as a worm. The archons are rulers, but parasites. They are mind parasites and steal energy.
"Our world has never been more perfect. Only it is no longer our world. We've been invaded by an alien race. They occupy the bodies of almost all human beings on the planet. The few humans who have survived are on the run."
Analysis: The Host was written and directed by Andrew Niccol, the writer of The Truman Show. Human bodies are hosts for alien entities. The eclipse is a major symbol throughout the movie, from te opening scene to the depictions of the eyes of the hosts.
"What was the name of this planet?
Zalintyre, I think.
Have you ever seen a harvest?
Oh, no. Never!
But I've heard they feel no pain.
It's all quite humane,
from what I've been told.
Well, there are marshals
and administrators
to make sure everything's done
according to code, but still...
It can be rather... affecting.
Now you sound like Mother.
Most of them were miserable in their lives
and what we do for them is a mercy.
Balem, thank you for responding.
We were just admiring this ledger
from your latest success.
Well done, brother.
The house of Abrasax continues to thrive,
despite the squandering
of your inheritance, brother.
I must say, you're looking
a little worse for wear.
Could it be success
does not agree with you?
And you look so well.
Could it be that failure
agrees with you?
You may have inherited Mother's head
for business, but I inherited her heart.
And what does that leave me?
- Her beauty.
- Liar.
- Her humor.
- Her unluckiness in love?
Her fetish for wrinkles.
Well, if this is to be another
of your eulogies, Titus,
I have more important matters to attend.
It was her birthday recently.
You know I get sentimental, and I was going
through some of Mother's old sheave-work.
And I came across a description of a planet
she claimed was the most rare
and beautiful estate she ever owned.
- I believe she named it...
- Earth.
...Earth. It was part of your inheritance,
wasn't it, brother?
I was quite moved by her description
and I was wondering
if there was any chance
you might be willing to part with it.
Titus, didn't you bother
to look at the sheaves?
That planet is worth more
than all of your estates combined. Really?
I had no idea."
Analysis: In some schools of Gnosticism, Abrasax is one of the names of the Demiurge. The House of Abrasax is harvesting humans and Earth as a product for their business.
I want this facility
running at capacity.
I want full diagnostics and cost
projections for an early harvest.
Of course, My Lord.
What kind of grade
are we getting from the skim?
Excellent product, sire.
Premium grade.
It's a... particularly robust stock.
Assuming market stability,
if we harvest later this century, profit margins should eclipse your nearest competitor.
Understand this, Mr. Night. I will harvest that planet tomorrow
before I let her take it from me.
- Here we go.
- I trust you.
Premium Abrasax, as requested.
Now...
Where is Her Majesty?
Good evening, Your Majesty.
Allow me to assist.
I am Sendi, your chamber presence.
- New clothes?
- We wish only to attend your needs.
Where am I?
This is the Alcazar of Kalique Abrasax,
second primary of the house of Abrasax."
Mercy, My Lord! Mercy!
Mr. Greeghan.
Bring her to me.
Yes, My Lord."
Kneel before me. I said. Kneel!
Is not this simpler?
Is this not your natural state?
It's the unspoken truth of humanity,
that you crave subjugation.
The bright lure of freedom diminishes
your life's joy in a mad scramble for power,
and identity.
You were made to be ruled.
In the end, you will always kneel.
Not to men like you.
- There are no men like me.
- There are always men like you.
Look to your elder, people.
Let him be an example.
You know, the last time I was in Germany
and saw a man standing above everybody else,
we ended up disagreeing.
I'm not the one who's out of time.
Loki, drop the weapon and stand down.
Kneel.
Not today!
Analysis: The Norse demigods are the main characters. Same entities known as the anunna (anunnaki) in the Sumerian tablets. Loki (likely the Sumerian Enki) is a trickster god in Norse mythology.
Where's the Tesseract?
- I missed you too.
-
Do I look to be in a gaming mood?
- Oh, you should thank me.
With the Bifrost gone, how much dark energy did the
All-Father have to muster to conjure you here?Your precious earth.
I thought you dead.
Did you mourn?
- We all did.
Our father...
- Your father.
He did tell you my true parentage, did he not?
We were raised together.
We played together, we fought together.
- Do you remember none of that?
-
I remember a shadows.
living in the shade of your greatness.
I remember you tossing me into an abyss.
- I who was and should be king!
-
So you take the world I love as recompense for
your imagined slights?
No, the earth is under my protection, Loki.
And you're doing a marvelous job with that.
The humans slaughter each other in droves, while you ideally threat.
-
I mean to rule them. That's why should I not...
- Think yourself above them.
- Well, yes.
- Then you miss the truth of ruling, brother.
A throne would suit you ill.
I've seen worlds you've never known about.
I have grown, Odin's son, in my exile.
I have seen the true power of the Tesseract. And when I wield it...
Who showed you this power?
Who controls the would be king?
- I am the king!
- Not here!
You give up the Tesseract!
You give up this poisonous dream!
You come home.
I do not have it.
You need the cube to bring me home,
but I've sent it off. I know not where.
You listen well, brother.
I'm listening.
- Do not touch me again.
- Then don't take my stuff.
You have no idea what you're dealing with.
Uh...Shakespeare in the park.
Doth mother know, you weareth her drapes?
ODIN: Long before the birth of light,
there was darkness.
And from that darkness
came the Dark Elves.
Millennia ago,
the most ruthless of their kind, Malekith
sought to transform our universe
back into one of eternal night.
Such evil was possible
through the power of the Aether,
an ancient force of infinite destruction.
(SCREECHING)
Malekith.
(SPEAKING ELVEN LANGUAGE)
Asgard ' s forces are upon us.
(EXPLOSION)
(FIRING)
(SCREAMING)
ODIN: The noble armies of Asgard,
led by my father, King Bor,
waged a mighty war
against these creatures.
(YELLING)
(GRUNTING)
(BLASTING)
(MALEKITH SPEAKING
ELVEN LANGUAGE)
Send in the Kursed!
(ROARING)
(ALL YELLING)
(GRUNTING)
ODIN: As the Nine Worlds
converged above him,
Malekith could at last
unleash the Aether.
(GRUNTS)
(ALL YELLING)
(GRUNTING)
Ahh!
(PANTING)
ODIN: But Asgard ripped
the weapon from his grasp.
Without it, the Dark Elves fell.
(GROANING)
(YELLING)
ODIN: With the battle all but I082',
Malekith sacrificed his own people
in a desperate attempt
to lay waste to Asgard's army.
(MALEKITH SPEAKING
ELVEN LANGUAGE)
Their deaths will mean our survival.
This war is far from over.
ODIN: Malekith was vanquished,
and the Aether was no more.
Or so we were led to believe.
Sire, the Aether. Shall we destroy it?
If only we could.
But its power is too great.
Bury it deep.
Somewhere no one will ever find it.
(CHAINS CLANKING)
Loki.
Hello, Mother.
Have I made you proud?
Please, don't make this worse.
Define "worse."
ODIN: Enough!
I will speak to the prisoner alone.
(LAUGHS)
I really don't see
what all the fuss is about.
Do you not truly feel
the gravity of your crimes?
Wherever you go, there is war, ruin,
and death.
I went down to Midgard to rule the
people of Earth as a benevolent god.
Just like you.
We are not gods. We are born, we live, we die.
Just as humans do.
Give or take 5,000 years.
All this because Loki desires a throne.
It is my birthright.
Your birthright was to die
as a child.
Cast out onto a frozen rock.
If I had not taken you in,
you would not be here now to hate me.
If I am for the axe,
then for mercy's sake,
just swing it.
It's not that I don't love our little talks,
it's just...
I don't love them.
Frigga is the only reason
you're still alive,
and you will never see her again.
You will spend the rest of your days
in the dungeons.
And what of Thor'?
You'll make that witless oaf king while I rot in chains.
Thor must strive to undo
the damage you have done.
He will bring order to the Nine Realms
and then, yes...
He will be king.
"Can you understand me ? [ Using Telepathy .]
It appears, Magistrate, that the intelligence of the specimen is shockingly limited.
This is no surprise since his vessel was baited so easily with a simulated message.
As you can read in its thoughts, it is only now beginning to suspect that the survivors and encampment were a simple illusion we placed in their minds.
You're not speaking, yet I can hear you.
You will note the confusion as it reads our thought transmissions.
All right, then.
Telepathy.
You can read my mind.
I can read yours.
Now, unless you want my ship to consider capturing me an unfriendly act--
You now see the primitive fear-threat reaction.
The specimen is about to boast of his strength, the weaponry of his vessel and so on.
Next frustrated into a need to display physical prowess, the creature will throw himself against the transparency.
If you were in here wouldn't you test the strength of these walls too ? There's a way out of any cage, and I'll find it.
Despite its frustration, the creature appears more adaptable than our specimens from other planets.
We can soon begin the experiment.
The inhabitants of this planet must live deep underground.
Probably manufacture food and other needs down there.
Now, our tests indicate the planet's surface without considerably more vegetation or some animals, simply too barren to support life.
So we just thought we saw survivors there, Mr.
Spock.
Exactly.
An illusion, placed in our minds by this planet's inhabitants.
It was a perfect illusion.
They had us seeing just what we wanted to see-- Humans beings who survived with dignity and bravery.
Everything entirely logical, right down to the building of the camp.
The tattered clothing, everything.
Now, let's be sure we understand the danger of this.
The inhabitants of this planet can read our minds.
They can create illusions out of a person's own thoughts, memories and experiences.
Even out of a person's own desires.
The illusion's just as real and solid as this table top and just as impossible to ignore."
Analysis:It's very interesting that this is the pilot episode for the Star Trek franchise. It was depicting humans as being in a cage, an invisible force field. Furthermore, humans were the victims of telepathic illusions all for entertainment and theater.
"I studied the Sumerian civilization most of my career.
And what I found is
intriguing.
You can go into
any Sumerian exhibit
and see what I'm about to tell you.
Drawings of rockets that look like the Apollo
launching into the sky. Etchings and sculptures of men
in space suits,
and what look like
oxygen masks.
And this artwork was created in the 4th millennium BCE,
four thousand years before Christ walked the earth.
Genesis, Noah's Ark,
to name a few.
Both of these stories
existed in Sumer 6000 years before
the Bible was written.
Genesis came from the
Sumerian epic of creation.
Noah's Ark came from the Sumerian deluge. The "Alien God" legend
has its basis, its
origin in Sumerian history.
You can find everything
I described in a museum now."
Analysis: Notice the name of Enki was in the Sumerian message? I'm not sure if the transcript for the movie I found is accurate in saying that. Will need to double check that fact.
"No! No!
Oh, please, help me now!
They are digging into my shoulder!
I " "
MY WILL " "
What do you mean?
" " MY
" " WORLD
(Distorted)
Give me my baby!
" " CHILD
Give me my child!
Give it to me!
CHILD " "
" " BACK
MY " "
I AM " "
I " " SALVADOR
I AM .............. GOD
. Abbey!
Abbey!.
. You see that?.
. My God.
So, what happened
that room?
They came ... and we were ...
we were ...
They abducted us, all of us.
but in troxa back
that night.
Not remember where we took,
what they did to us.
Even under hypnosis is unclear.
His voice ... or alien voice
said he was God.
What do you believe?
I believe, is difficult, but I believe
the things I have seen,
the presence
I feel deep down that
is beyond anything
we can imagine.
He was
... hopelessness. Therefore, it can not be God. But it can pretend to be."
Analysis: An alien claiming to be god and simulating the powers of god. That is pretty much the very definition of the Gnostic demiurge.
"I've been doing hospice for seven years.
And I believe that someone comes to get you.
Something comes to get you when you pass away.
I'm not afraid of it like I was.
That day when I was with Darrell.
A lot of times I walk away from a death, and I go get in my car And I cry like a baby.
Because I can't take it with me."
"Hey, there.
Thanks for everything.
Eventually, my kidneys actually started again And I was able to to go home.
- Yeah.
- [Laughs.]
Whew.
I was more than glad to have my husband back.
I was glad to be anywhere other than the hospital.
And we talked about everything that had happened.
I was gonna make ribs tonight, actually.
Jeannie That's the girl.
Jeannie, it's the girl! It was at that moment I understood.
That's when I realized Who she was.
Jeannie, it's the girl! It was at that moment I realized that this was a girl that I'd taken care of, five years before on a 911 call that I had answered.
[Siren wailing.]
She was unconscious, not breathing.
I did everything I could to - Save her.
- [Thunder booming.]
She had passed away.
That was her.
- Really? - That was her in the room.
The girl in the hospital room was the same girl that I had taken care of four years before.
That little girl that I seen was somebody that was there to make everything better for me.
Kind of like a guardian Angel.
" 'Every nurse has a story, that is unexplainable. Something that they've witnessed, something that they've seen, something that they've felt. 'I know that I saw the Angel of Death. In front of me. I'll swear on a stack of Bibles, I'll take a lie detector, I know it, I know it exists. It's out there. We keep this stuff to ourselves. Because we're risking a lot. People aren't going to pick a hospital where, people are talking about seeing all kinds of weird things happening. Eventually everybody will see that black figure. I know it's going to happen. But it doesn't scare me like it used to. Hopefully somebody will be there again to help me through'. "
Analysis: Hospice people work with the dying every day so one should take note when they are saying there are shadowy entities that lurk around the dying.
Analysis: A whole movie made about and devoted to shadow people. They do exist. So many people have seen them.
Analysis: This seems to be a depiction of some of the astral realm, it would seem. Shows ghosts or shadow beings frequently.
Analysis: I went on a ghost tour here in Austin. The guide related how he saw a shadowy being with the face of a skull. I asked if it had a hat and he knew about the Hat Man. When I mentioned this movie, he said it was probably inspired by the Hat Man tales.
Analysis: There are a couple of scenes in Ghost where a bad person gets hauled away at death by shadow beings or reapers. I have no reason to believe that happens, at least based on NDE reports, But maybe if a person has enough guilt over the bad things they have done and feel they deserve or expect a reprisal for their actions, they could manifest or create it, until they have forgiven themselves or feel they have suffered enough to warrant moving on.
Analysis: Little grey aliens and an abduction scenario with an implant being injected.
Analysis: There is a black "smoke monster" that inhabits the island and sometimes drags away a victim. That seems similar to the gallu shadow beings and reapers.
"Are you ready?" "Who are you?"
"I am the Borg."
"That is a contradiction. The Borg
have a collective consciousness.
There are no individuals."
"I am the beginning, the end, the one who is many.
I am the Borg.
Greetings.
I am curious.
Do you control the Borg collective?
You imply a disparity where none exists.
I am the collective.
Perhaps I should rephrase the question.
I wish to understand
the organizational relationships.
Are you their leader?
"I bring order to chaos."
An interesting if cryptic response.
You are in chaos, Data.
You are the contradiction.
A machine who wishes to be human.
Since you seem to know
so much about me,
you must be aware that I am
programmed to evolve, to better myself.
We, too, are on a quest
to better ourselves,
evolving toward a state of perfection.
Forgive me, but the Borg do not evolve.
They conquer.
By assimilating other beings
into our collective,
we are bringing them closer
to perfection.
Somehow, I question your motives.
That is because
you haven't been properly
stimulated yet.
You have reactivated my emotion chip.
- Why?
- Don't be frightened.
I am not frightened.
Analysis: Perhaps the most well known depiction of a hive mind collective. The Borg. They will assimilate you. They use perfection as an excuse.
The Body:
"Are you Archons?" "What if we are?" "It was said more would follow.
If you are indeed-- We must hide them.
Quickly--the Lawgivers.
We can take care of ourselves. Landru will know.
He will come.
He's the one.
He mocked the Lawgivers.
I heard him.
No, Hacom.
It was a jest.
The others, they were here, but they scorned the festival.
I saw it.
Tamar, stand clear.
I hear and obey the voice of Landru.
You attacked the body.
You have heard the word and disobeyed.
You will be absorbed.
What do you mean, absorbed? There.
You see? Not of the body.
You will be absorbed.
The good is all.
Landru is gentle.
You will come."
Analysis: An episode from the very first year of the original Star Trek series. The episode was named Return of the Archons. It depicted inhabitants on a planet who were assimilated or absorbed into a hive mind entity known as "The Body". The whole illusion was run by a projection from a computer programmed by Landru, who had left the planet many years before. The irony is Landru told the inhabitants that some beings called the archons would arrive in the future. These inhabitants, of one mind, displayed vacant stares. The leaders, called the "lawgivers", wore dark robes and carried tube like weapons.
Analysis: Neo goes to the city of the machines. The A.I. collective entity forms a face for Neo to speak to.
"Love Connection Experience Yeah, Morty.
Come together With love, connection, and experience - It's my favorite song.
- Oh, yeah.
Oh, yeah, distress beacon! Yeah, baby! You're excited about that? The first rule of space travel, kids, is always check out distress beacons.
it's either a ship full of dead aliens and a bunch of free shit! Or it's a deadly trap, but I'm ready to roll those dice.
Seems like something terrible happened here.
Yep.
Cha-ching.
Oh, yeah, if you find a room full of eggs, don't shy away from it.
Give one of them a shake.
Those facehuggers are worth more than this ship."
Uh, what's that? This'll make the cops write it up as a looting by the korblocks.
- That's horrible.
- I hear you, man.
Cops are racist."
Oh, hey.
You're alive.
Thank god.
"Can you help us? Our planet was taken over by some kind of entity.
It absorbed the minds of our people.
We didn't notice until it was too late.
The people it takes over, they look like your friends, your family, your leaders, but they're not themselves anymore.
They're part of it."
"Then how do you know it didn't get on the ship with you? Those two dingdongs seem pretty calm about the whole thing.
Hey, no! No, wait! Stop! Called it.
Hello, Rick.
Long time no see.
Unity? - Rick? - Grandpa? Oh, boy.
Uh These are my grandkids, Summer and Morty.
Summer, Morty, this is, uh, Unity.
We sort of used to, uh date.
Quite an operation you got going here, Une.
You're a whole planet now, huh? After we broke up, I spent some time wandering through space.
- Then I found this world - Where I was better able to focus on my passion for unification.
- You mean stealing people's bodies? - Summer, rude.
Why don't you two kids go run off and play with Unity while Unity and I do some catching up.
- Ugh.
- No, wait, Rick, aren't these people gonna barf into our mouths and absorb us? You're guests here on my planet.
You're free to be yourselves.
I've never been any good at disappointing Rick.
Well, now I'm going to barf.
Come on, Morty.
Jerry, what are you what are you doing in here? I'm trying to find our weed whacker, 'cause our weeds are wack, yo.
But you can't go in the garage when Rick's not here.
- I "can't"? - Well, he doesn't like it.
What's he gonna do? Crash rent-free at his other family's house? What is that supposed to mean? Your dad gets to walk all over us because of your abandonment issues.
He's playing you, shorty.
Oh, stop affecting that stupid hip-hop dialect.
Stop shifting the cross hairs to my ironic urban patois just because your relationship with your father is to' up from the flo' up.
What the hell was that? I don't know.
Let's just leave.
That is a hatch.
Your father put a hatch in my garage.
You don't know it was him.
Anyway, we're not supposed to be in here.
Obviously, neither is whatever's gurgling down there.
"World peace achieved.
" Nice.
Little weird to publish a paper about it for yourself, but hey.
So, what's next? After I become a type-one civilization, this world will be invited into the galactic federation.
Oh, goody.
From there, I'll have access to countless planets and species.
One by one, I will unify them, I will become the universe, and I will be what the single-minded ones call the God.
I like that.
Oh, that's pretty sexy.
Hey, listen, where can we get a drink around here? Recreational substances were phased out here.
There's no need for escape from the self when your world is one.
Unity, Unity, who am I talking to? I watched you assimilate a whole police station just to get your hands on the evidence locker.
Rick, when we met, I was a young hive mind with the population of a small town.
People change Especially when I change them.
I'm sorry to disappoint you, but I've grown.
Hey, listen, I've grown, too.
I have! See, I've I've reconnected with my family, right? Hm.
Why's that, I wonder? Maybe it's part of getting old.
Maybe I just missed being with a collective.
Yes, Rick.
Yes.
Oh, yeah.
Yes.
Yes."
Analysis: The episode implies that God is a single-minded unity that assimilates planet after planet with the promise of world peace and inviting them into a galactic federation.
"Kindness Warmth Is this the warmth of a human? I was never aware of it.
What is loneliness? I was never aware of it, but now I think I know it.
What is happiness? I was never aware of it, but now I think I know it.
Are others kind to you? Why? Because I am Eva's pilot.
Because I pilot Eva, they treat me well.
That is the reason I can exist.
That is the everything to support my reason to be.
So, I must pilot Eva.
And then? Enemy! Yes, I must fight what they all call the enemy! And then? And I must win! Right, I can't lose.
As they tell me to, I must pilot Eva.
As they tell me to, I must win! Otherwise Nobody Nobody Nobody Do your best.
Do your best.
Get to work, idiot.
Do your best.
Do your best.
Good work, Shinji.
Misato, Ritsuko, Asuka, Toji, Kensuke and Father.
They all respect me.
When I pilot Eva, they all respect me.
They respect this worthless being.
Everyone says to pilot this.
I'll prove to my dad I'm worthwhile.
Do your best.
Yes, I'm doing my best.
I am doing my best! Somebody be nice to me.
I fought so hard.
I'm doing my best! Treat me well! Be nice to me! I'm nice to you.
Tell me, Shinji, do you want to become one with me? To be of one mind and body? It could be very, very nice.
Ask me anytime.
I'm ready.
Hey, Shinji-idiot, don't you want to be one with me? To be of one mind and body? It could be very, very nice.
You ought to appreciate your good fortune.
Come on.
Ikari, do you want to become one with me? To be of one mind and body? It could be very, very nice.
Ikari? Do you want to become one with me? To be of one mind and body? It could be very, very nice.
Relax and release your soul.
All investigative needles fixed.
Fixed at electromagnetic radius of zero minus three.
Ego Border pulse connection is complete."
Analysis: Another show enticing one to become one mind and one "body".
"It's a voice that's speaking directly to our brains.
'Heed me, humans, you ignorant fools who steal the symbol..."
Analysis: Another example of assimilating life forms and supposedly breaking them free from the shells of their bodies in the guise of evolution.
This is VIRM's will. Star Entity is a mass of life that could disturb the universe's peace. As such, if the klaxosaur princess were to take over the implanting process, we programmed it to explode." "Papa." "The die has been cast. This planet will explode, leaving nothing behind."
"What's going on? Who are you?"
"We have assimilated several lifeforms from all over the universe and helped them break free of the shells of their bodies. And the time has come for you humans to embrace your evolution."
"There exists a form of pleasure that is gentle and perpetual. And you will now experience it."
Analysis: Notice the collective mass is called "Star" Entity.
""It has been more than 60 million years now. We inhabited this planet as a civilization far more advanced than yours. But one day the VIRM arrived. They were a group mind with no physical bodies and they wanted us to join them." "Join them?" "They were telling us to cast aside our bodies. We refused. War broke out. During that centuries long war, we reforged ourselves into immortal weapons and evolved into what you people call the klaxosaurs. By the time we finally fought off VIRM, fighting and warfare was all that remained of our civilization. We had even lost our ability to procreate. But things did not end there. The enemy we had fought off was but VIRM's vanguard. With no innate form, they kept expanding, adding weapons of the planets they devoured to their arsenal to prepare for VIRM's inevitable return. We went underground. The weak turned themselves into energy, then the strong combined, evolving into even stronger robots."
"That is how the klaxosapiens built Star Entity, a collective mass of klaxosaurs. Only klaxosapiens can operate it. The klaxosaur princess has probably lived millions of years for that very purpose. Zero Two, you were created to operate Star Entity on behalf of the human race. I created you from her DNA."
"Even if victory was impossible, I wanted to take down as many of them as I could. But this is the end. It's all over."
Surrender yourself to me. Your body, your soul. I shall devour all that you are."
"Strelizia has entered Star Entity."
"The worst has come to pass. All the work put into Code:002 will have been in vain."
"Should the klaxosaur princess connect to Star Entity, our defeat is all but assured."
"Worry not. We've already taken measures."
"What is this? She connected with Strelizia? Doctor."
"I wasn't expecting her to link with a human. At this rate, she will devour once again."
"Tell me why and how can you be able to pilot Strelizia?"
"But, of course I can. This was originally one of our brethren." "Your brethren? What is this?"
What the...? It's a voice... that's speaking... directly to our brains..."
"Heed me, humans. You ignorant fools who steal the symbol of our bonds that courses the planet's depths."
Analysis: I think this is saying a telepathic collective called Star Entity is wanting to devour their bodies and souls, all that they are.
"The Tao that can be told is not the
eternal Tao.
The name that can be named
is not the eternal name.
The unnameable
is the eternally real.
Naming is the
origin of all particular things.
Free
from desire, you realize the mystery.
Caught in desire, you see only the
manifestations.
Yet mystery and
manifestations arise from the same
source.
This source is called darkness. Darkness within darkness. The gateway to
all understanding."
Analysis: Taoism says manifestations arise from darkness, the void.
"I am completely devoid of duality and
non-duality.
I am without pairs of
opposites, such a one am I.
I am totally devoid of being and
non-being, and the lack of it I am.
Without language, such a one am I."
Analysis: The Ribhu Gita addresses non-duality and says the transcendant self, our true nature, is devoid of both duality and non-duality. And our true nature is devoid of both being and non-being.
"In order to understand the ayin, you have to remember the Samekh, the fifteenth Hebrew letter, which has the shape of a circle and that represents the power of the ain soph, the beginning and ending of all things, that limitless nothingness at the base of everything."
Analysis: Ayin means "nothingness". According to kabbalistic teachings, before the universe was created there was only Ayin, and the first manifest Sephirah (Divine emanation), Chochmah (Wisdom), "comes into being out of Ayin.".
"The One is a sovereign
that has nothing over it. It is God and
Father of all, the invisible One that is
over all that is incorruptible, that is
pure light of which no eye can gaze. The
One is the invisible spirit. We should
not think of it as God or like a God for
it is greater than a God because it is
nothing over it and no lord above it. It
does not exist within anything inferior to it
since everything exists within it alone. It is eternal since it does not need
anything for it's absolutely complete. It never lacked anything in order to be
completed by it; rather, it is always
absolutely complete in light.
The One is
illimitable since there is nothing
before to limit it; unfathomable since
there are nothing before to fathom it;
immeasurable since there was nothing
before it to measure it; invisible since
nothing has seen it; eternal since it
exists eternally; unutterable since
nothing could comprehend it to utter it;
unnameable since there is nothing before
to give it a name.
The One is the
immeasurable light, pure, holy, immaculate. The One is unutterable and is perfect
and in corruptibility not that it is a
part of perfection or blessedness or
divinity. It is much greater. The One is
not corporeal and is not incorporeal. The
One is not large and is not small. It is
impossible to say how much is it, what
kind is it, for no one can understand it. The One is not among the things that
exist, but as much greater; not that it is
greater, rather as it is in itself. It is not a part of the eternal realms or of time, for whatever is part of a realm was
once prepared by another time was not
allotted to it since it receives nothing
from anyone. What would be received would
be on loan. The One who is first does not
need to receive anything from another. Such a One beholds itself in its light.
The One is majestic and has an immeasurable purity. The One is a realm that gives a realm; life that gives life ; a blessed one that gives blessedness; knowledge; that gives knowledge; a good one that gives goodness; mercy that gives mercy; and redemptive grace that gives grace not as if the one possesses all of this, rather it is the one gives immeasurable and incomprehensible light. What shall I tell
you about it? Its eternal realm is
incorruptible; at peace dwelling in
silence; at rest before everything. It is
the head of all realms and it sustains
them through its goodness."
Analysis: The Gnostic text of the Secret Book of John says the One is pure light and is invisible spirit and should not be thought of as God or like a god, and is at peace in silence and at rest. The One was before everything. There was nothing before it.
"In the beginning God created the heaven and the earth. And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters. And God said, 'Let there be light.' And there was light. And God saw the light that it was good and God divided the light from the darkness."
Analysis: Even the first words of the Old Testament of the Bible mentions the void and darkness existing before light. The order of creation seems to have been void and darkness, then movement, then sound, and, finally, light.
"The original scenario for inflation was that the universe began with the big bang singularity.
As the universe expanded, it was supposed somehow to get
into an inflationary state, but I thought this was unsatisfactory.
Unless one knew what came out of the initial singularity,
one could not calculate how the universe would develop.
Cosmology would not have any predicted power.
What was needed was a space-time without singularity
like in the Euclidean version of the black hole.
After the 1982 workshop in Cambridge, I spent time at the Institute of Theoretical Physics in Santa Barbara. I talked to Jim Hartle about how to apply the Euclidean approach to cosmology. According to his approach, the quantum wave function of the whole universe is given by a fine [inaudible] when some over a certain class of histories in imaginary time. Because imaginary time behaves like another direction in space, histories and imaginary time can be closed surfaces like the surface of the earth with no beginning or end. Jim and I concluded that this was the only natural choice. We formulated a no boundary proposal. The boundary condition of the universe is that it has no boundary. We had sidestepped the scientific and philosophical difficulty of time having a beginning by turning it into a direction in space. In this picture, the universe will be spontaneously created out of nothing. It will start out almost completely smooth except for the tiny departures predicted by inflation which then give rise to all of the structure in the universe we see about us."
Analysis: Stephen Hawking, one of the most respected scientific minds, explained their boundary proposal where he said the universe was spontaneously created out of nothing (a.k.a. the so-called void) which gave rise to all the structure in the universe.
Tesla: "What about the birth of the Universe? Matter is created from the original and eternal energy that we know as Light.
It shone, and there have been appear star, the planets, man, and everything on the Earth and in the Universe. Matter is an expression of infinite forms of Light because energy is older than it. There are four laws of Creation. The first is the source of all the baffling, dark plot that the mind cannot conceive, or mathematics measure. In that plot fit the whole Universe. The second law is spreading a darkness, which is the true nature of Light, from the inexplicable and it’s transformed into the Light. The third law is the necessity of the Light to become a matter of Light. The fourth law is; no beginning and no end; three previous laws always take place and the Creation is eternal."
Analysis: Tesla is perhaps the greatest scientist ever and said darkness is the "true nature of light" and is "transformed into the light".
Journalist: "A question that might be set at the beginning of this conversation. What was Electricity for you, Dear Mr. Tesla?
Tesla: Everything is Electricity. First was the light, endless source from which points out material and distribute it in all forms that represent the Universe and the Earth with all its aspects of life. Black is the true face of Light, only we do not see this. It is remarkable grace to man and other creatures. One of its particles possesses light, thermonuclear, radiation, chemical, mechanical and/an unidentified energy. It has the power to run the Earth with its orbit. It is true Archimedean lever."
Analysis: Tesla says "black (darkness) is the true face of light", but that we don't see that, and that "one of its particles possesses light".
"So if you really go the whole way and see how you feel at the prospect of vanishing... of all your efforts and all your achievements and all your attainments turning into dust. Nothingness. What is the feeling? What happens to you? That's what is going to all come to and for some reason or other we're supposed to find this depressing. Do you see, in a way, how that is saying the most real state is the state of nothing. But if somebody is going to argue that the basic reality is nothingness, where does all this come from? Obviously, from nothingness. Once again, you get how it looks behind your eyes. So, in this way, by seeing that nothingness is the fundamental reality and, you see, it's your reality, then how can anything contaminate it? "
"All the idea of your being scared and put out, worried, and so on? It's nothing. It's a dream because you're really nothing. But this is the most incredible nothing. So cheer up, you see, the essence of your mind is intrinsically pure. Pure means clear. Void. If you think of this nothingness as mere blankness and you hold on to the idea of blankness, and are kind of grisly about it, you haven't understood it. Nothingness is really like the nothingness of space which contains the whole universe. All the Sun, Moon, stars, and the mountains and rivers, and the good men and the bad men, and the animals and the insects, the whole bit. All are contained in the Void. So out of this void comes everything and you are it. What else could you be?"
Analysis: Alan saying that basic reality is nothingness, the void. And that our mind is pure, clear, void. All is contained in the void and that everything comes out of the void and that you are it.
"So, anyway, when you go to the point of the void, you understand the creation, but not the creation of matter. You get the understanding of the creation of the illusion of the world, whether you get the kind of the Hollywood aspect of the divine play of Lila, how is that show created? What kind of technology goes into it? Now the first more tangible expression of the void, the first stage of creation then, is a different state of mind and again it's very difficult to describe in words people usually complain not having words, not having language for it, but they will tell you something. And so when I studied those descriptions, when people talked about that state, it boiled down to basically three different things. One is if you are in that state, you know that you exist. There is existence. There is consciousness, awareness, knowledge and the state is blissful. There are no forms, yet you know there are no... nothing specific... nothing tangible. It's just a state of being in which you know you are. You know you are conscious and you know that you are experiencing your existence as being blissful. It's a state of overwhelming bliss.
"Now if you go into oriental scriptures, particularly into Sanskrit, you'll find the term for this. This is called sat-chit-ananda. That means to exist or existence. 'Chit' means, sometimes translated as awareness, consciousness, and so on. And 'Ananda' is bliss. So this is the supreme principle. This is the creative principle. This is out of which all this seems to come. And if you are in that state, you are experiencing it. You know that it's you. I mean, you have become that principle. So at that point you don't see it as something outside of yourself. And this is the message from the Upanishad Tat Tvam Asi 'thou art that'. The way to think about it is that as you move through an altered state of consciousness, boundaries become illusory. I can become another person. I can become an elephant. I can become, you know, something twenty years ago. I can become the dancing Shiva.
"So again if you move out of our cognicentric state where everything that you experience in an ordinary state of consciousness doesn't count, you start questioning whether you are your body-ego because it's also based on your experience that you're a body. If you experience yourself in a very convinced way as not being a body or being another body, you know that is an interesting piece of information. And once you start taking those states as significant, you start redefining who you are and if you had a few transpersonal experiences all the way to the such an under principle, you realized that your identity is not fixed. You are the body-ego. That's certainly one interesting relevant aspect of it, but you are also the such in an under principle. And you're also anything in between and around it because you can experience boundaries of various kinds. If you experience yourself as an elephant, you also have boundaries but those are boundaries of an elephant. There are all kinds of things in which you create boundaries within an infinite continuum, but they're all relative. You can move through it. You realize that they are not mandatory. They're not absolute States so your true identity then, if you take the message from non-ordinary states, is you are the totality of cosmic energy or totality of consciousness. And within that at different times on different levels, you can experience yourself locked within systems that have boundaries but those boundaries are not absolute. If they feel very real, they feel very absolute at the time when it's happening, but it's all negotiable. You are not really ultimately bound by any of them so this is the idea, you know, are all God. We're all the totality of cosmic energy because none of us have boundaries so it doesn't mean that, you know, I am the divine, you are not. That awareness has little to do with the body-ego it's like a pyramid where there are a lot of stones here and then on each higher level there are less and less stones until at the top there is just one entity then and on that level because we are also that on that level, we are all one on this level, obviously. You know, the sense of separateness has some meaning so this comes as this identification was sat-chit-ananda sort of infinite being, infinite awareness, knowledge, and infinite bliss. Then when people reach that state, then certain questions will start emerging, particularly those of us who are more inquisitive and curious than others. And that is it's obvious to you that creation somehow comes from there. It's obvious, that is, the cosmic furnace, the stuff that's throwing out the forms, increase the different levels of reality, different kinds of reality."
"Now one of these states was a state which can be called 'Void'. Some people, sophisticated people, talk about it as supracosmic and metacosmic. Void means it's emptiness, that is supraordinated to everything and also, in some sense, underlies everything. You can find in Buddhist scriptures statements like 'form is emptiness and emptiness is form'. So there's a state of mind that you can go into in a non-ordinary states of consciousness which is a state of absolute metaphysical emptiness. Nothingness. There's nothing there yet it's conscious of itself. There is a point of consciousness that's aware of that emptiness and there's paradoxically also the sense that there's nothing missing in that state. There's potential for all of existence, but none of it is concretize in any way."
"You can link it to quantum physics. This is exactly what quantum physicists come to talking about the dynamic void, talking about the probabilities. Everything ultimately being just probabilities, but nothing is really manifested until it's observed, and so on. So that is one state where you have the feeling you are... you are.... there is a sense of understanding where things come from. It's not understanding here. It's experiential understanding of the gut level this is the source of existence. It comes from nothingness."
Analysis: Stanislov saying the void underlies everything and is the potential for all existence and that the source of existence comes from nothingness.
"It comes out of inner tension that is an expression of that richness and creative potential and also creative need. The Source does not have a choice. It has to do it. It's part of its basic nature to do that. So some people say it's the inner richness.
There are people who will say it's also loneliness. As fantastic as this state is, there's just one consciousness and craving for partnership, to have something to share, to have something to relate and the creation then comes out of that need to have something different from oneself. Other people say love. This has something to do with love. It's a gesture of love. Other people emphasize more the experiment, that there is tremendous curiosity. What is possible? What happens if... what happens if there is a universe where principle is there's a spiritual entity start believing that it is a limited body and has these sort of two hands, two legs, it needs this substance called oxygen, has to eat. What happens if they're going to be two of them in some kind of polarity like male-female ... what will happen if there is something like linear time and there is evolution and at different times people will wear different costumes and so they say there is a an experimentation happening. There's research happening. There is a exploration happening. There's an extreme statement which some people made and which is actually the same as you find in the Kabbalah which is the principle creates out of boredom. As beautiful as it is, it's monotonous. Too much of the same and there is a need for change."
.
"This is the primary purpose of learning to meditate or to be in in the silence, inviting your essence to reveal itself and allowing you to live in the void. Do the Tao now. Spend at least 15 minutes today living in the void that is you. Ignore your body and your surroundings. Let go of your material identification such as your name and your age, your ethnicity, your job title, and so on. And just be in that space between, that void which is absolutely crucial to your very existence. Look out at your world from what is not and appreciate that your very usefulness as a material being is completely dependent upon this void. Work today on befriending this 'what is not'."
Analysis: Wayne Dyer is one of the most popular spiritual teachers on the planet and emphasizes the importnce of living in the void.
Analysis: The movie Tron begins with darkness (void) and then lightning.
"Do you see, Daniel?
Tell me what you see.
I see...
A monster that thinks he's god.
I'm disappointed.
Of all the things I've shown you
and you still don't understand.
No.
No, you're right, I don't.
I refuse to let
death be the end.
I defy god.
There are things much older.
Older than time and
they blessed me.
Well, congratulations.
I spent my life resisting death,
but now I understand.
I must embrace it.
I'll have my beautiful
daughter back.
I just need one final thing.
Come, join me. The others have all gathered to
witness my daughter's rebirth.
My disciples ready for
their own transformation.
You'll experience it
yourself, but first,
you have to die for me...
Like your father
and son before you.
You've done
wonderfully, my dear.
Now watch.
You will be my audience.
Watch the abyss
open itself to me.
Calvin, bless my baby.
Place my daughter
into this vessel.
Yes.
Give yourself to her."
Analysis: The void has been demonized by its association with emptiness and evil when it is, paradoxically, also everything there is in existence. But most movies and shows present the void as a dark, scary and evil "place".
"Hey, do you think Bruno
has anything stronger than DMT?
C'mon, you'll fry your brain man!
You should finish The Book of The Dead,
that will be a lot better
but wait until you die,
then you get your big trip
The book is still confusing to me.
How would you explain it?
Um, its really hard to explain...
basically, when you die, your spirit leaves your body...
...actually
at first you can see all your life,
like reflected in a magic mirror.
Then you start
floating like a ghost,
you can see anything
happening around you,
you can hear everything
but you can't communicate with the world of the living.
Then you see lights of all different colours. These lights are the doors that pull you
into other planes of existence,
but most people actually
like this world so much,
that they don't want to be taken away,
so the whole thing
turns into a bad trip,
and the only way out
is to get reincarnated.
- Is that making sense?
- Yeah, I guess so...
I dunno, whats the bad trip?
Well, you got all these nightmares...
you know, you go like, yo' crazy...
all your fears become reality and it scares the shit out of you...
It's like what's
happening to your mind, right?
At that point,
you wish you never died...
And, some new lights appear to you
they represent all these couples making love...
and then a light comes out from their bellies, and if you get closer
they give you a vision
of a possible future life and you choose a life that suits you the best
you know, end up in the womb...
and you're reincarnated,
end of story and basically you do this
forever and ever...
until you manage to break the circle,
you follow me?
So you mean, we're stuck in this world
for all of eternity?
There's nothing better out there?"
Analysis: This documentary or movie has a scene where the Tibetan Book of the Dead is explained. It neglects the very first thing and most important part -- about recognizing the clear light of the void, the luminous emptiness, as one's true nature. It does correctly mention the different color lights that are doors that pull you into other planes of existence where one is reincarnated until one can break the cycle and be liberated.
"The moment you get beyond yourself.... the moment you disconnect from your identity, you're not a male... you're not American... again you're not an engineer... you're not a dad... you're not an athlete... you're not a name... you're... you get beyond all of those things. That's the moment you begin to connect to a greater field of information. Now once you're there... once you're nobody, no one, nothing, nowhere in no time, you're pure consciousness. Now you're ready to connect to the Unified Field and when you begin to pay attention to it... when you begin to stay present with it... when you begin to surrender to it... experience it moment after moment after moment... every time you interact with it and experience it, you're laying down circuitry in your brain. Why is that important? Because the next time you do it, you have the circuits in place to perceive more of it. And if you pay attention and you unfold deeper into it, you'll experience more of it which means you'll lay down more circuits. And all of a sudden as you begin to connect to the Unified Field, you're connecting to a field of information and energy. What's the relevance of that? Well, you start experiencing more wholeness and more oneness instead of separation which is created by the hormones of stress. The more you live in stress, the more you become a materialist and you define reality with your senses because it's important to define reality with your senses when you're in survival. So the more you're living by your senses, the more you're believing you're an object in local space and time, a Naumann object in local space and time. And we have some things in common so we're kind of connected, but God forbid you look differently or I didn't know anything about you, I'd experience more separation."
"Well, the moment you get beyond all of that and you're connecting to a unifying field of inner connectedness that's governing everything material, you're going to start to feel the consciousness of everybody, of everyone, of everything, of everywhere and every time.
Analysis: Dr. Joe Dispenza explains how we need to get beyond the ego and disconeect from it and connect to the Unified Field, the zero point, the void which governs everything.
"Guinan, it is very important that
you tell me everything that you know. We think that Soran has developed
a weapon, a terrible weapon,
one that might even give him
enough power to destroy an entire...
Soran doesn't care about weapons
or power.
He just cares about getting
back to the Nexus.
What is the Nexus?
The energy ribbon that destroyed that ship
was not just some random phenomena
traveling through the universe.
It's a doorway to another place
that we call the Nexus,
and it's a place I've tried very,
very hard to forget.
What happened to you?
It was like being inside joy.
As if joy was something tangible
and you could wrap yourself up in it
like a blanket,
and never in my entire life
have I ever been as content.
And then you were beamed
away from there.
Pulled. Ripped away.
None of us wanted to go,
and I would have done anything,
anything to get back there. And once I realized that wasn't
possible,
I learned to live with that.
What about Soran?
If he's still obsessed,
he could be a very, very dangerous man.
Why would he destroy a star?
Thank you, Guinan.
If you go,
you're not gonna care about anything.
Not this ship, not Soran, not me.
Nothing.
All you'll want is to stay in the Nexus,
and you're not gonna want
to come back."
Analysis: The void is depicted as a type of nexus here where one has a blissful existence and would never want to return from. In it, one can manifest any reality they desire.
"Moooooooon-chiiiiild"
Analysis: Sebastian reads a book called The Neverending Story unaware that he is actually the main character in the story. He has to give the Childlike Empress a name or the world of Fantasia will cease to exist. He names her 'Moonchild'. All that is left of Fantasia is basically a vast empty void (the Nothing?) with one small grain of sand. From this void-like space all potential exists and he can wish anything he wants into Fantasia.
"I really can't describe it any other way.
You didn't create anything! You just copied something you found in the Antarctic.
What was the original? That's what I want to know, Doctor.
This is not just a copy.
A human will is inside it.
Are you saying somebody willed this to happen?! No, the Eva did.
Do something, damn you! You created this, didn't you?! Take responsibility for it! I am still alive.
I know that Wonder Girl is still alive! Why are you bothering me with trivial crap like that, Misato?! I can't believe it.
I couldn't do anything.
I can't believe that stupid Shinji outperformed me.
Not again! What do you mean, you're going to "salvage" Shinji? Well, theoretically, Shinji's life force still exists in there.
And you'll be respecting that life this time? Losing Shinji is out of the question now.
I don't know.
What NERV wants is Unit 01 as their tool, not Shinji.
I don't deny it.
Our assumption is that Shinji's body lost its Ego Border, and he's floating in the entry plug in quantum form.
You're saying that Shinji has shifted into a form we can't see? Yes, the LCL has chemically altered into something very similar to the sea water of primitive Earth.
You mean, like a primordial soup? All of the substances which composed Shinji are still preserved in the plug, and his soul exists there as well.
In fact, his Ego Image is giving a sort of substance to his plug suit.
In other words, this salvage operation must both reconstruct his body and fix his soul in it.
Is that possible? With the Magi's support, yes.
This is all theoretical, isn't it? You won't know what will really happen until you do it.
What is this? Where am I? In the entry plug? That's right.
But there's nobody here.
Not even myself.
What is this? What is this? What is this? I don't understand.
These people Yes, they're people I know, people who know me.
I understand now.
This is my world.
What is this? This is supposed to be my world, but this I don't understand.
An image from outside? A hostile image? That's right! The enemy! Enemy! Enemy! Enemy! Enemy! Our enemies are called Angels.
They have the names of Angels.
They are the targets of Eva and NERV.
This is our revenge for the death of Misato's father! Why do I fight? Despite all the pain and suffering? What are you, stupid? An unknown enemy is attacking, of course we have to fight them! Am I odd to try to find a reason to fight? Am I not supposed to think about it? Enemy! Enemy! Enemy! Enemy! All are my enemies! Us That which threatens us is the enemy."
Analysis: This excerpt talks about losing one's ego and shifting into a quantum form which can't be seen. A void, a primordial soup. It also mentions how angels are really our enemies. And how we are constantly programmed to fight.
Some quotes from NDEs in the Void:
"the Void is less than nothing, yet more than everything that is! The Void is absolute zero; chaos forming all possibilities. It is Absolute Consciousness... pre-creation, before the Big Bang."
"it didn't have an environment, no sense of light, no sense of sound... 'pure neutrality'...It wasn't into the light, it wasn't into the darkness"
"vast void that was both dark and light. It was silent and still, strange but peaceful"
"I noticed how everything came to be. There was nothing in the void. All of a sudden, the light was created from the void... I became everything and everyone. "
"EVERYTHING was ''known'' to me, but that there was NOTHING at all. It was like being a part of absolutely everything at once,... A glimpse into both everything and nothing"
"I entered the void-darkness-abyss. It was everything, yet nothing. It felt as if it were raw un-manifested energy... I felt in balance between the two."
" if forever were to be an instant or a thousand years was immaterial and irrelevant. I felt, 'Abide with me, here, now, for I am at peace, and we are one'."
"... no Time, and existence is purely Being...When I die, if this is what I will feel for all eternity, I await it."
"void. It was neither dark nor light...just nothingness... No thoughts. No Emotions. Within me was complete emptiness; I seemed to be completely free."
"I dared not think about anything because that would have meant that I would have manifested out of total awareness and bliss. Being in this state was beyond bliss, you want to stay there and not do anything to disturb it."
"I found myself in a black void completely at peace... no pain, no worries, no sense of self, it was fantastic... "
"highly conscious in a dark void, but I was not afraid... apparently the Buddhists call this the Bardo."
"pitch-black void, with me glowing softly within it. I felt complete relief, love, warmth, security, acceptance...I was able to surrender to this darkness without fear. "
" It amazes me that a dark space, void of people, and being all alone, was the most beautiful loving experience I could ever have... "
"It was a void, darkness but yet I felt it contained all light at the same time.. I was where I belonged, where I came from. It was perfect."
"Upon realizing the truth contained in the 'Tibetan Book of the Dead' (which I had not read before having my NDE) I adopted the doctrine of Vajrayana Buddhism, swore a bodhisattvas vow, and dedicated my life to the benefit of All. This is because the experience I had matched the description of the passing through the bardo of death described in the 'Tibetan Book of the Dead'."
"Everything seemed to be coming or existing from the same complete source that I seemed to be a part of now. "
"completion. It was perfecting the harmony in which I was part of now. It was as if my being had become a vacuum, opening up, allowing everything that ever was, or was to ever be, inside... I was complete; I was what I believe was the highest existence of peace that could ever be, for my mind was silent and I was simply being, and nothing more. I was a part of everything that ever was and with that I had no expectations nor thought, I was existing within everything and had no form or shape, just a complete perfect state of being."
"Calm, peaceful knowing. I was happier there in the void than I'd ever been on this planet. There was assurance, wonder, and almost a bliss. "
"I didn't exist, actually. I was aware that I existed only as a thought.. it was neither black nor light; it was perhaps a void... I was not afraid; everything was peaceful beyond understanding."
"Darkness is just a word to describe the “void” (of possibility, lack of limitation, complete wholeness)....“natural wholeness” or “sky-like essence"
"it was neutral. It felt like I was there a very long time: or, in a timeless type of way. It felt like I'd always been here and would always be here... it seemed I was in there (seemed I was dead) for forever. It's like I could have been in that void for eons and eons and eons. "
"All I could see was darkness with a void of light, so it was like black and white, except the white was strangely illuminated."
"darkness that wasn't darkness, a void that wasn't a void but was everything and everywhere all at once... most amazing, profound, deep experience"
"I felt unity with everyone and everything... it was the most beautiful thing that could have ever happened to me - the happiest day of my entire existence... I felt were pure joy, ecstasy and bliss "
"The darkness was so heavy it was like tar, like a void, complete lack of creativity; the Great Nothing in Never Ending Story, a space of indifference."
"a void, or place that was neither light nor dark, of no dimension, or infinite dimension and form....no-dimension."
"Keen understanding that I was "in" what the Buddhist call The Void. A no place where there is no such thing as time."
"... in that space between a physical body that had already been left behind in another dimension and a void, which I perceived as a black empty space... now free from the illusion, returned to where I have always belonged: to the huge Ocean of Luminous Consciousness whom we call God."
White light NDE: "I asked if God was the light, and the answer was: 'No, God is not the light. The light is what happens when God breathes.' "
Analysis: These are exemplary cases of near death experiences in the void if one is aware enough not to go to the light. The void is a misnomer. The so-called void is non-duality, beyond space and time. It is the quantum field. It is zero-point. Paradoxically, the so-called void is nothing yet everything simultaneously. It is infinite potential energy.
"We've lost a lot of the ancient traditions and knowledge, but one of the ones that I found that resonated with me -- and I'm going to share this very quickly -- was a Buddhist trend, the Buddhist approach. And I'm not a Buddhist, but I really appreciate the idea of how they handle death and their concept of the Bardos. And how your thoughts create your reality after death. And that resonated with me because I know it was true. So I did some study -- quite a bit of study -- and it's clear to me that the Buddhists had a very clear way of handling death that we have lost."
"When someone dies in Tibetan Buddhism, a monk or several monks
will be next to the person dying and
they will chant for days and days next
to the person that is about to make this
great transition of consciousness that
we call death. They will chant, 'Go to the
clear light of the void. Go to the clear
light of the void. Go to the clear light
of the void.' They are instructing this
person on their journey of consciousness
to go beyond all form-based realities. Think of this for a moment. Nowhere do
we teach this in our culture we talk
about surrounding yourself with love and
going to the light, but they have a very
enlightened approach to this I find. 'Go
beyond, go to the clear light of the void' which means 'go beyond all form based
realities, go beyond the Bardos, go
beyond the astral -- what today we commonly
refer to in metaphysical literature as
the astral plane -- and its various
millions of consensus realities that
exist. They instruct their loved ones to bypass all of the form-based realities that we take for granted as our as
heaven or home."
"Is it possible that we ask too little of ourselves? Is it possible we've lost some primary skills that are so important to our entire evolutionary process? And I think that's exactly what has happened. We have the ability to do so much more than just provide comfort for our loved ones and provide a loving environment. That's all positive, but I think we can take it to another level through an enlightened approach to the whole concept of death because it's there's no end I know from having 41 years of out-of-body experiences that there is no such thing as death. It's just a continuation. We take it all with us -- our entire state of consciousness.
"And as I said at this panel just a moment ago, if we believe that we're spiritual beings, and almost all of us do, and if we believe that we shape and mold our reality, as most of us feel we do, then why in the world don't we or don't we have the ability to shape and mold the non-physical thought responsive universe that we enter into at the moment of our death? Of course we do. This is what the Buddhists have been talking about for 1400 years, that The Tibetan Book of the Dead is all... it's focused on this concept, that the Bardos or these non-physical consensus realities are thought responsive and it's up to us to empower ourselves to take command of our state of consciousness and our reality, not only in this life but in the afterlife as well. We are not the victims at death. We are the proactive creator of our reality, but this is only as powerful as you internalize within yourself. If you feel at the moment of death that you are a victim and you must just follow whatever belief system that you've identified with, then that's truly what you are. But we're so much more than that. We have so much more capability, if we exercise it."
Analysis: Out of body experiencer William Buhlman conducted a survey of 15,000 out of body experiencers. He has come to the same conclusion that the Tibetan Buddhists did, that we manifest reality with our intention and can go beyond form and consenses realities by going to the clear light of the void. I agree wholeheartedly. "
"We should not have any problems realizing that we’re dead, and when we do realize it, we know the drill—get out through the Grid! The Tunnel of Light does have a magnetic pull, but it’s not more than the soul can handle if she doesn’t want to go that route. Usually, souls who are ignorant don’t want to resist the pull. They are confused and don’t know what to do, so anything is better than nothing, and usually, the tunnel doesn’t show up immediately. When it comes to meeting “dead relatives and friends,” as well as feeling this intense love coming out of the tunnel, we simply need to use self-discipline and not pay attention to it. We sometimes hear from our visitors that they are uncertain whether they can resist such intense love or meeting dead relatives, who probably in nine times out of ten are not relatives but thought forms, by the way. To those who express this kind of doubt, they need to use common sense. Is it worth being trapped here again just because they couldn’t resist the distractions? What good would that do?
Also, people need to understand that once they’ve gone through the tunnel, there is probably no escape. And even if there was, would we take the risk? To be blunt, those who are thinking they might not be able to resist have still not made up their minds about whether they want to exit or not—even if they think they have. It’s crucial that we make up our minds 100% while we’re still incarnated here, or the chances of succeeding are much slimmer. If we still aren’t sure whether we’ve gotten rid of our attachments to this world when we die, we can very easily be tricked by the “Trickster god” (En.ki) and his minions in the astral. We know for a fact that’s there are many thousands of people by now, who have learned about the Grid and how to escape, but we also understand that among them, perhaps only a handful will make it. Why? Because they haven’t completely made up their minds and are still affected by their reactive emotions."
Analysis: Wes Penre is another researcher similar to myself. He has a ton of great information. He says we can avoid the magnetic pull of the tunnel of light and escape through holes in the grid, but that we need to have completely made up our minds first and have the necessary "ferocity of intention" to do so.
"More than a few people have probably, once or twice in their life wanted something so much that they won't let anything come between themselves and their goal. People around them might object, tell them they're crazy, or strongly suggest they change their mind, but they won't listen because they know what they want, and they’re going to get it, even if they need to go through hell and high water for it. And sure enough, they get it. It can be a small thing or something big, it doesn't matter. In such a case, they used the ferocity of intention--for them, no failure was possible in their mind. This kind of pure intention does not include words, fear, and what-ifs. It just IS. It doesn't come from a mind/brain space, it comes from the heart/core of the being herself—the true soul. It KNOWS that there will be nothing that can stop her. No words needed, no thoughts needed...it's a force, a "knowingness" that doesn't see failure or distractions as an option. It's like a laser beam inside. It's FELT, not THOUGHT."
"We all need to work on coming to this point because when we do, nothing in the entire
Universe can stop us.
Not even 500 gods standing in our way can do anything, if you get the point.
We’ve reached that state when we can FEEL our intention in this manner; we just KNOW
it.
We know when we 'got it'.
We all understand where fear comes from, we all know where strong emotions come from...doubt,
grief, abandonment anxiety, and all the rest of it.
We all have these emotions because we're currently still living in the Patrix system.
We will still have all those reactive emotions to a larger or a lesser degree when we die--until
we exit through the Grid.
The question is, are you, who read this, strong enough to override these emotions and create
this ferocity of intention?
This includes not paying attention to anything, including loved ones. Essentially, it boils down to only one thing—to get out through the Grid.
It's not even a thought--it's just a doingness/force without emotions, thoughts, additives, distractions,
or subtractions.
It's an incredible force that can penetrate anything.
I'm not saying a person CAN'T go through the Grid without having such a strong intention,
but it's much more likely they get tricked.
FOCUS, and just do it. That is YOU.
The rest; the obstacles and barriers; is something you create, and it's of the System.
Fear of the unknown is what creates a lot of our own obstacles that we place in front
of ourselves. "What if this happens?"
"For me, this means that I accept no failure in my intention. This means that whatever happens, I'm out of here - even if that means I no longer exist. Coming to the point in my intentions when I had to face the possibility that I am going to fling myself out into the unknown with all my might meant coming to terms with accepting my own non-existence and being okay with that. I want out of here no matter what. When I came to that point, I no longer cared about the "what ifs". By formulating our intention while we are still here, to me, means working through all of these things. It doesn't require words. While we are here in these physical bodies, we tend to want to use words for everything, but it's not necessary. When you develop your intention, you already know that your intention includes everything that is required for your intention to be successful. We don't have to write it out or speak it, word for word, for it to happen. We've already worked it out. So, my intention to leave already includes no deception, no manipulation, no obstacle, etc. I don't have to remember to say or think all these things when my time comes to leave. I've already put all those things into a non-verbal "package" which represents my intention. I believe Robert Monroe calls this a "rote". It is a package of information, which is non-verbal, that is conveyed at all once without the need to string it out in linear fashion with the use of words strung together in sentences. We can practice doing this here. For example, “I am protected” is an intention. I don't have to specifically state all the things I am protected from. In my heart, I already know all the things I wish to be protected from. I don't have to list them. My core being knows what I mean. I don't have to tell myself. This would be my rote of intention."
Analysis: Wes Penre is another researcher similar to myself. He has a ton of great information. He says we can avoid the magnetic pull of the tunnel of light and escape through holes in the grid, but that we need to have completely made up our minds first and have the necessary "ferocity of intention" to do so.
Will you help me? Can you help me?
-
You don't need to be helped any longer,You've always had the power
to go back to Kansas."
"I have?
Why didn't you tell her before?"
"Because she wouldn't have believed me,
She had to learn it for herself,What have you learned, Dorothy?"
"I think that it wasn't enough just to want
to see Uncle Henry and Auntie Em,
And it's that if I ever go looking
for my heart's desire again...
...l won't look any further
than my own backyard...
...because if it isn't there...
...l never really lost it to begin with,
Is that right?"
"That's all it is!" "But that's so easy!
I should have thought of it for you,
-I should have felt it in my heart.
-No. She had to find it out for herself."
"Now those magic slippers
will take you home in two seconds!" "Toto, too?" "Toto, too." "Now?"
"Whenever you wish," " Oh, dear, that's too wonderful to be true!
It's going to be so hard to say goodbye,
I love you all, too,
Goodbye, Tin Man,
Don't cry.
You'll rust so dreadfully,
Here. Here's your oilcan.
Goodbye,"
"Now I know I've got a heart
'cause it's breaking,"
"Goodbye, Lion,
You know, I know it isn't right...
...but I'm gonna miss the way
you used to holler for help...
...before you found your courage,"
"I would never have found it
if it hadn't been for you."
"I think I'll miss you most of all."
"Are you ready now?
"Yes,
Say goodbye, Toto,
Yes, I'm ready now,"
"Then close your eyes and tap your heels
together three times,
And think to yourself:
' There's no place like home,
There's no place like home,'
There's no place like home,
There's no place like home,
There's no place like home,
There's no place like home,
There's no place like home,
There's no place like home,
There's no place like home,
"Wake up, honey,"
"There's no place like home,
There's no place like home,
There's no place....
"Dorothy! Dorothy, dear,
It's Aunt Em, darling,"
"Auntie Em, it's you!" "Hello, there! Anybody home?
I just dropped by because I heard
the little girl got caught in the big....
Well, she seems all right now!"
"She got quite a bump on the head,
We thought for a minute she'd leave us,"
"But I did leave you, Uncle Henry,
That's just the trouble,
And I tried to get back for days and days,
There, there, lie quiet now,
You just had a bad dream..."
Analysis: In The Wizard of Oz, Dorothy is told she always had the power within her and she is able to return home by seeing through the illusion of the Wizard and having the focused intention, aided by a mantra of "there's no place like home".
"If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn't, and contrariwise, what it is, it wouldn't be. And what it wouldn't be, it would. You see?"
"Of all the silly nonsense. This is the stupidest tea party I've ever been to in all my life. Well, I've had enough nonsense! I'm going home. Straight home. That rabbit. Who cares where he's going anyway? Why, if it hadn't been for him, I..."
Analysis: It is only once Alice has had enough of the silly, stupid nonsense that she sets a pure intention to go home.
"Forward, backward, inward, outward. Here we go again. No one ever loses and no one can ever win. Backward, forward, outward, inward bottom to the top. Off with her head! Just a moment! You can't leave a tea party without having a cup of tea, you know - But I can't stop now - Ah, but we insist. You must join us in a cup of tea. Off with her head!"
"Mr Caterpillar, what will I do?"
"Who are you?"
"There she goes.
Don't let her get away!
Off with her head!
Oh! Still locked, you know
But the Queen!"
"I simply must get out!"
- "But you are outside."
"What?" "See for yourself." "Why... Why, that's me!
- I'm asleep!" "Don't let her get away!
- Off with her head!"
-
"Alice, wake up. Please wake up, Alice!
- Alice! Please wake up, Alice! "
Analysis: No one ever loses or ever wins. Alice asks the Caterpillar (a creature known for it's transformation into a butterfly) what to do. The Caterpillar asks her, "Who are you?". It is only once we really know what our true nature is, who we truly are, that we can return home. She realizes that she has been asleep during the whole journey and must wake up.
"That's impossible!" "Know my opinion of that word, Mr. Phelps."
"The only way to achieve the impossible is to be convinced that it is possible."
"In the gardens of memory.
In the palace of dreams.
That is where you and I shall meet."
"But a dream is not reality!" "But who's to say which is which?"
"You did it, Alice! An impossible thing!" "Not as impossible as saying goodbye to my friends.
Goodbye Hatter.
Goodbye Alice!"
Analysis: We are meeting right now where dreams become reality. The key to manifesting the ideal reality just may to believe what we would believe is not possible. We think an all-positive reality is impossible.... but is it really impossible? What if whatever we imagine to be true manifests?
"Take a look and you'll see into your imagination. We'll begin with a spin, travelling in the world of my creation. What we'll see will defy explanation. If you want to view paradise, simply look around and view it. Anything you want to, do it. Wanna change the world? There's nothing to it. There is no life I know to compare with pure imagination. Living there you'll be free, if you truly wish to be."
Analysis: One of the theme songs of Willy Wonka is the song Pure Imagination. In fact, the song plays as the final credits roll. It illustrates how the Demiurge can bring us into a world of his creation. But at the same time it tells us the secret to how to exit. By using pure imagination and pure intention to manifest your own reality.... that is, if one wants to even take a form and experience one.
"... we're getting
in two hundred, three hundred, four
hundred, five hundred standard deviations
outside of normal. The amount of energy
in the brain during that moment is not
coming from some threat in the outer
environment. It's coming from the energy,
the very life force, that's stored in the
body. And it's a
choice. Now when that happens the pineal
gland then begins to release very
powerful chemicals that are going to
take that frequency the brain is processing and turn
it into very profound visual imagery. Melatonin, the night time
neurotransmitter, gets an upgrade. Now you go lucid. Now your brain becomes more electric just the same chemical
found in an electric eel. Your brain all
of a sudden moves into stasis. It
releases benzodiazepines just a sister
molecule which is valium. The analytical
mind is sedated and now the autonomic
nervous system -- you see this on our brain
scans -- is on fire..."
"So you mean the mental,
the brain, is just functioning in
different ways?"
"No those thoughts are gone. You're gone. You're too much in the experience. So then when that happens... I
mean, we we look at light the moment our
brain perceives light, it sends a signal
right to the pineal gland and the brain
starts making serotonin. Serotonin's the
daytime neurotransmitter that
kind of gets us up. We process beta
brainwave patterns. We're aware of our
body in space and time. When night comes
along, the inhibition of light takes
serotonin, turns it into melatonin. Melatonin's kind of a night time neurotransmitter. So what I'm saying is
that the wavelength of visible light
causes us to function in this
three-dimensional reality. So then what
happens when the pineal gland is
activated... your eyes are closed and all
of a sudden it starts picking up
frequencies that are faster than the
speed of light wavelengths faster than the
speed of light. Well, Einstein said E =
mc-squared. The ceiling of everything in
this three-dimensional reality is the
speed of light. Anything that travels
faster than the speed of light, matter
turns into energy so now you're going
quantum. So what happens then when the
pineal gland starts picking up
frequencies that are faster than the
wavelength of light, now we're in the
quantum. Now that frequency's carrying
information and if the pineal gland, the research shows, is a transducer, it's
going to take that frequency that's
carrying information and turn it into a
profound visual experience. And when it's
visual like that the hallucinogenic
chemicals that's created... now, you're not
just dreaming. Melatonin makes you dream. Now you're really dreaming. Melatonin
gets the upgrade and you go lucid. Now those
chemicals fit in the same receptor sites
and now you're in the dimension because
that's where all of your awareness is
and this world literally disappears. Now
what's the importance of that? Experience enriches the brain. Experience produces
an emotion and we've seen people when
they hook up to this have rashes that
they've had their entire life disappear. Tumors go away..."
Analysis: Dr. Joe says "the wavelength of visible light causes us to function in this three-dimensional reality". He says we need to go quantum with frequencies faster than light.
"... Become aware that you're aware in this infinite, vast space. And as nobody, no one in nothing in nowhere and in no time as pure consciousness. Become aware in this infinite void....
"
Analysis: Dr. Joe has many meditations. This one is a guided meditation to take one to the infinite void. When one is able to go beyond the ego, one is able to connect to our true self which is the Infinite Void, the Unified Field. Once there, miraculous healings can take place and one can feel bliss and free.
"Episode 14 Weaving a Story Mountain Heavy are the mountains, but that changes over time.
Sky Blue sky.
What your eyes can't see.
What your eyes can see.
Sun There is only one. Water Comforting.
Commander Ikari? Flower So many alike.
So many useless.
Sky Red, red sky.
Red is the color.
Red is the color I hate.
Water flowing.
Blood The smell of blood.
A woman who never bleeds.
From the red earth comes man, from the soil.
Born of man and woman is Man.
Town A human creation.
Eva A human creation as well.
What is a human? A creation of God? Is it a human creation? The things I possess are my life and soul.
I am a vessel for my heart.
Entry Plug, the throne for a soul.
Who is this? This is me.
Who am I? What am I? What am I? What am I? What am I? I am myself.
This, that which is, is myself. That which is formed is me.
This is the me that can be seen, yet feels as if this is not myself.
A strange feeling.
I feel as if my body is melting.
I can no longer see myself.
My shape is fading. I feel the presence of someone who is not me.
Who is there, beyond me here? Ikari? I know this person.
She is Captain Katsuragi.
Doctor Akagi Others Classmates The pilot of Unit 02.
Commander Ikari? Who are you? Who are you? Who are you? So, how does it feel to be piloting Unit 01 for the first time? It smells like Ikari.
First compatibility test Subject: Rei Ayanami Her synch ratio is almost the same as with Unit 00.
Unit 00 and 01's personal data patterns are also almost identical.
That's what makes this synch experiment possible."
Analysis: An interesting anime that delves into the nature of our reality and who we really are.
"I see, this is another possibility. Another possible world. This current Self is the same way, it's not my true Self. I can be any way I wish to be. I see, I can exist without being an Eva pilot as well! If you consider that, perhaps this world isn't so bad. Still, even though the reality itself might not be bad, I could still hate myself. It's your mind which takes reality and separates it into what's bad and hateful. It is only the mind which separates reality from truth. Your view of reality changes your perception of its nature. It is all, literally, a matter of perspective. There are as many truths as there are people. But there's only one truth that is your truth. That's the one that's formed by whatever narrow point of view you choose to view it from. It's a perception that protects you from the twisted truth. That's true, and one can have a perspective that is far too small. But a person can only see things from the perspective they choose. One must learn to judge all things via the perceived truths that one receives from others. For example, sunny days make you feel good. Rainy days make you feel gloomy. If you are told this is so, that is what you will believe to be so. But you can have fun on a rainy day as well. Your truth can be changed simply by the way you accept it. That's how fragile the truth for a human is. A person's truth is so simple that most ignore it to concentrate on what they think are deeper truths. You, for example, are simply unused to what it is to be liked. You've never learned how to r of how others feel about you, so you avoid it. But don't others hate me? What are you, stupid? It's all in your imagination! But I hate myself. One who truly hates himself cannot love. He cannot place his trust in another. I'm a coward. I'm cowardly, sneaky and weak. Now that you know yourself, you can take care of yourself. I hate myself. But I could love myself. Maybe my life could have a greater value. That's right! I am no more or less than myself! I am me! I want to be myself! I want to continue existing in this world! I am worth living here! Congratulations!"
Analysis: The protagonist in this anime struggles over who their true self really is and whether they should take form. They conclude they want to continue existing in the world. They realize that reality is a perception of the mind which they have control over with their imagination.
"Intriguingly, stories from The Tibetan Book of the Dead seem to match the modern descriptions of those pronounced clinically dead on the operating table. So-called near death experiences.
'I think the similarity is spine-tingling. Almost everyone tallks about this blinding light. Often it's called the white light. In The Tibetan Book of the Dead, they talk about the white light. It's very clear. It's very alluring.' The text of the book describes the light with precision:
'O, nobly born. That which is called death has now come. Now you are experiencing the radiance of the CLEAR LIGHT of pure reality.'
'It's very seductive and the fascinating thing about near death stories is that they want to go toward the light. And when the doctor's bringing them back to consciousness in the ER room, they feel a reluctance to leave,"
Analysis: Even the documentaries that are made are misleading when it comes to depicting the clear light as the white light that is seen in NDEs. Francesca Fremantle who helped translate The Tibetan Book of the Dead wrote in her book Luminous Emptiness: Understanding the Tibetan Book of the Dead: "The luminosity experienced in meditation is called the path luminosity, simile luminosity, or child luminosity. The true luminosity of our awakened nature is called the basic luminosity or mother luminosity; it dawns at the moment of death, and if it is recognized, the mother and child meet and become one in liberation. Luminosity is often translated as "clear light," which is a literal rendering of the Tibetan rather than the Sanskrit. Trungpa Rinpoche did not like that term, although he did sometimes use it in his talks, which form the basis of his books, because it is so well known. He felt it had become inextricably associated with such notions as the light at the end of the tunnel in near-death experiences, and that it gave too much of an impression of ordinary, visual light, whereas what is meant is an extremely subtle concept that he thought would be conveyed better by "luminosity." The two terms luminosity and clarity are frequently not distinguished and are translated by the same word in English, so that we find "clear light," "luminosity," or "clarity" for both. They are certainly very close, since clarity here is not just clear and transparent, but also bright and luminous: the illuminating potential of the mind. In the Tibetan Book of the Dead, we used only luminosity, but on looking at the text very carefully with this in mind, it is evident that it does distinguish between them, and so it now seems best to do so in the revised passages of translation that follow in part 2. Luminosity is the ever-present background of Liberation through Hearing, out of which the visions of the peaceful and wrathful deities appear. In fact, it is at the heart of the experience of bardo. As Trungpa Rinpoche said, it "comes up as subtle gaps of all kinds" in all six realms of existence. It seems frightening because it offers nothing to grasp at or hang on to; "clear light is the sense of desolation of complete open space."... " If we can let go into it and merge with it so there is no longer any sense of perceiver and perceived, "when clear light ceases to become an experience, then that itself is space."
" 'This is the bardo of dying. It is important now to recognize your own nature. Do not resist this. Do not be afraid. O, son of noble family, the time of death has arrived. Now let your compassion be limitless as space. Let your mind be at peace. Rest in this: the vast, empty luminosity of mind itself. '
The Tibetan Book of the Dead describes the collapse of the body's constituent elements. Earth collapses into water. Water collapses into fire. Fire collapses into air. And air dissolves into consciousness. Then there is experience of piercing luminosity. Pure white light. The clear radiance arises from the direct experience of one's own basic nature. Now there is no darkness. No separation. No direction and no shape, only brilliant light. This boundless, sparkling radiance is mind, free from the shadows of birth and death. Free from boundaries of any kind. Listen. Now all-pervasive light engulfs you completely. All of space is dissolved into pure light. This radiance is the mind of all the Buddhas. All the awakened ones. To recognize this is all that is necessary."
" 'Teacher, what happens to him if he doesn't recongize his own nature?' 'Well, there were definite indications that he did NOT recognize it. So it is as if he has fallen into a dreamless sleep.' "
Analysis: See my Analysis for the preceding clip. The documentary, in my opinion, seems to confuse the white light with the clear light. They do mention a "clear radiance" and a "pure light" that envelops you. But a light that envelops you is not the same thing as seeing an external white light and choosing to go to it.
"But also you will see a diffuse white light. Avoid it. If you follow the allure of the soft white light, you will find yourself ensnared in the temporary pleasures of being born as a god, living in lordly ignorance of the passage of time yet subject to unexpected death."
Analysis: Here they do mention a diffuse white light that one should avoid, a soft white light. And that one will be ensnared and reborn again.
"Listen to what I am saying, Bruce. Death is now come and you are departing from this world, but you are not the only one as death comes to all people on earth. Be willing to release any connections with the life you have been living and release the people with whom you have associated. Whatever fear or terror that might come to you during the experiencing of the reality of your mind, keep these thoughts in your consciousness and go forward. Recognize that any mental image pictures which occur are of your own creation. Maintain that recognition and you will achieve liberation."
Analysis: This is good advice as far as releasing connections with people and overcoming fear. The recognition that any and all imagery are just projection and creations of our own mind.
The Ground of Being:
"The Ground of Being is one, but it contains two parts: awareness and unawareness; all-knowing and unknowing; in Tibetan, rigpa and marigpa; in Sanskrit, Vidya and Avidya. So this Ground of Being is just the same thing as our own mind. It contains every possible possibility of existence within it. And it is always one. It goes on to say, "within it there are not even the names of samsara and nirvana do not exist. There is no distinction between samsara and nirvana. No distinction between confusion and awakening. There is simply this one Ground of Being. And from it everything arises as a display like fireworks against the dark sky One could say like the Northern Lights against the sky. And this is simply things as they are.... what is. And this is experienced because this state of spaciousness and emptiness which is the Ground of Being is inseparable from what is sometimes called Luminosity, sometimes called knowing. It's a quality of knowing. The quality of knowing goes together with the quality of the appearance of whatever can be known. So, in fact, it's the same as the Heart Sutra: 'form is emptiness and emptiness is also form'. You cannot have emptiness that does not manifest as form. And you could not have any form if it's essence were not emptiness. So the emptiness here is this Ground of Being, yet the space, the living space, the dynamic space which is continuously, spontaneously manifesting as all possible appearance, including us."
Analysis: Francesca explains the ground of being, also known as the ground luminosity. Pure awareness.
And it also contains the whole of time: past, present and future in one moment. And we can't call that moment the present because the present is something that ... what is the present? okay, it was there a second ago and now it's gone. You can never ever catch the present moment. So it's called Nowness which goes beyond past, present and future. The ever-moving moment of the present, the past which we think has happened, the future which we imagine will happen is all simultaneously in one Nowness. And I'm sure you all know that it's possible to experience this bindu of all space and all time. It's possible in meditation. It's equally possible just for it to appear spontaneously at any moment. And I think it's particularly made possible in the presence of great art, but that's not necessary. It can just happen when you're walking down the street. Some people think they need to go out into the countryside to experience this kind of thing, but no. It could happen in a crowded tube train. It can happen when you're cooking, washing up, anything, whateve. But the more one practices meditation, the more opportunity there is for these spontaneous experiences to arise.
So this space is called the Ground of Being. I'm talking about it as an experience that we all can have and which is really the purpose of meditation."
"So the display or the play means there is someone experiencing it. There is a subject and as soon as anything appears or whatever, there is subject and object. But without ego. Without any kind of possessiveness involved. Without making a division into what is me and what is not me. What is inside, what is outside. They call it nondual duality. Dualism which is at the same time is nondual, which is very hard for us to get our minds around. But yet we do have these experiences as well in everyday life. And again, it can happen just suddenly. Suddenly you look at something... look at a blue sky and you're absolutely one with it. You listen to a piece of music and you're completely one with it. Everyone has had these experiences. It can happen with someone you love very much. You suddenly become completely at one with that person. And it is beyond thought. And we all recognize at those moments that it's beyond our normal everyday experience. And, in fact, we couldn't live in that experience continuously . It would be impossible to go about one's daily life. You know, going to work, doing everything around the house, eating, cooking, catching the tube, and so on. We have to live as normal and dualistic beings most of the time. And at the same time we can recognize that this nondual experience -- this experience of total oneness with the universe around us, with other people, with everything that exists --is part of our nature and never goes away. So we're living on many different levels at the same time. And I think one of the great benefits of meditation is to help us keep in touch with that nondual aspect of our being which is the awakened aspect.
So the Vision of Samatabhadra text goes on to say that what it means to be a Buddha, to be Samantabhadra, is to never move from the awareness of that ground of being whereas central beings have somehow moved away from that awareness and have entered an illusion or a dream or a play of being in one of the six realms, in our case as human beings. And have sort of gradually become totally convinced that that is what they are, what we are. And so, have lost touch with the Ground of Being which is always our basic nature in which we never fully move away from. In fact, what is unique about Dzogchen is that it really emphasizes this basic Buddha-nature which we are and which we never leave."
Analysis: Francesca also talks about this life being a play.
"... why we find ourself in this situation, one version of how it happened. It's as if there was this one awareness, knowingness, which is the way the Buddha-nature knows and experiences everything that arises. It's as though some little section of that suddenly became aware of all this vast display happening all around it and it became frightened. And it became aware of itself as something separate and from that fundamental fear, the long journey towards the development of all the kleshas -- greed, hatred, desire and so on -- developed. And this developed into taking form in one of the six realms whereas the fundamental Buddha-awareness simply experiences everything that happens and immediately lets it go. That's the trick: to experience and to immediately, let go."
Analysis: Francesca explains how we need to let fear and attachments go.
“Sir, now the basic luminosity is shining before you; recognize it, and rest in the practice.” And one should show all others like this:
“O child of noble family, (name), listen. Now the pure luminosity of the dharmatā is shining before you; recognize it. O child of noble family, at this moment your state of mind is by nature pure emptiness, it does not possess any nature whatever, neither substance nor quality such as color, but it is pure emptiness; this is the dharmatā, the female buddha Samantabhadrī. But this state of mind is not just blank emptiness, it is unobstructed, sparkling, pure and vibrant; this mind is the male buddha Samantabhadra. These two, your mind whose nature is emptiness without any substance whatever, and your mind which is vibrant and luminous, are inseparable: this is the dharmakāya of the buddha. This mind of yours is inseparable luminosity and emptiness in the form of a great mass of light, it has no birth or death, therefore it is the buddha of Immortal Light. To recognize this is all that is necessary. When you recognize this pure nature of your mind as the buddha, looking into your own mind is resting in the buddha-mind.”
This should be repeated three or seven times, clearly and precisely. Firstly, it will remind him of what he has previously been shown by his guru; secondly, he will recognize his own naked mind as the luminosity; and thirdly, having recognized himself, he will become inseparably united with the dharmakāya and certainly attain liberation. "
Analysis: This is the all-imortant core text of the Tibetan Book of the Dead, in my opinion. It speaks of the necessity of recognizing the clear light which has no color and is pure emptiness.
“O child of noble family, when your body and mind separate, the dharmatā will appear, pure and clear yet hard to discern, luminous and brilliant, with terrifying brightness, shimmering like a mirage on a plain in spring. Do not be afraid of it, do not be bewildered. This is the natural radiance of your own dharmatā, therefore recognize it. “A great roar of thunder will come from within the light, the natural sound of dharmatā, like a thousand thunderclaps simultaneously. This is the natural sound of your own dharmatā, so do not be afraid or bewildered. You have
what is called a mental body of unconscious tendencies, you have no physical body of flesh and blood, so whatever sounds, colors and rays of light occur, they cannot hurt you and you cannot die. It is enough simply to recognize them as your projections. Know this to be the bardo state.
“O child of noble family, if you do not recognize them in this way as your projections, whatever meditation practice you have done during your life, if you have not met with this teaching, the colored lights will frighten you, the sounds will bewilder you and the rays of light will terrify you. If you do not understand this essential point of the teaching you will not recognize the sounds, lights and rays, and so you will wander in samsāra.
“O child of noble family, after being unconscious for four and a half days you will move on, and awakening from your faint you will wonder what has happened to you, so recognize it as the bardo state. At that time, samsāra is reversed, and everything you see appears as lights and images. “The whole of space will shine with a blue light, and Blessed Vairocana will appear before you from the central Realm, All-pervading
Circle. His body is white in color, he sits on a lion throne, holding an eightspoked wheel in his hand and embracing his consort the Queen of Vajra Space. The blue light of the skandha of consciousness in its basic purity, the wisdom of the dharmadhātu, luminous, clear, sharp and brilliant, will come towards you from the heart of Vairocana and his consort, and pierce you so that your eyes cannot bear it. At the same time, together with it, the soft white light of the gods will also come towards you and pierce you. At that time, under the influence of bad karma, you will be terrified and escape from the wisdom of the dharmadhātu with its bright blue light, but you will feel an emotion of pleasure towards the soft white light of the gods. At that moment do not be frightened or bewildered by the luminous, brilliant, very sharp and clear blue light of supreme wisdom, for it is the light-ray of the buddha, which is called the wisdom of the dharmadhātu. Be drawn to it with faith and devotion, and supplicate it, thinking, ‘It is the light-ray of Blessed Vairocana’s compassion, I take refuge in it.’ It is Blessed Vairocana coming to invite you in the dangerous pathway of the bardo; it is the light-ray of Vairocana’s compassion.
“Do not take pleasure in the soft white light of the gods, do not be attracted to it or yearn for it. If you are attracted to it you will wander in the realm of the gods and circle among the six kinds of existence. It is an obstacle blocking the path of liberation, so do not look at it..."
Analysis: Just a reminder not to take pleasure in the soft white light.