The Hollywood Agenda

Preface


 

For several years, I had wanted to write a book on exoteric symbolism, with a primary focus on the major motion picture industry. It had to be an e-book, of course, as any competent explanation of the nature of symbolism necessarily requires the use of many images for demonstration, while the explanations themselves need to be simple if they are to be helpful and practicable. As the interpretations of these symbols are also controversial, and really only make sense in the context of the messages being encoded (rather than in the individual stories which are used to convey the messages), I determined that showing many examples to convey an overall idea was the best way to approach it, rather than focusing on a few stories and expounding on them in great length. The former way, which is the Pragmatist way, will produce a better overall understanding, while the latter will produce a more in-depth knowledge of the subjects being referenced.

The present book is the culmination of many years of research; its aim is to show what the messages are more than what the individual symbols used to convey these messages are. What prompted me to write it was a series of dreams (visions, if you will) which I had one night during the summer of 2009, which began to enhance my understanding of the metaphysical laws of the universe. Some of the dreams contained images from films which, at that time, I had not seen. These images and the themes of the dreams prompted me to try to uncover which films had been represented and what the symbols stood for, so that I could interpret the dreams and make the appropriate analogies to real-life events. I realized, however, that such a feat would be impossible without an understanding of metaphysical laws far surpassing conventional science. Comprehending the matter of time travel in particular (a major theme of the dreams) proved difficult enough that I wasn’t going to put much effort into it without first having the keys of knowledge to unlock its mysteries. My task was therefore put off in favor of the other work which I was then doing.

A year later Sapphire was describing the key symbols to me, and what her understanding of them was. I instantly realized that in our minds we were covering the same topics from two different but intrinsically linked perspectives. She had the keys that I needed to explain the rest of the symbols and how they all fit into the bigger picture, with enough clarity that we could begin a massive research project and relate our findings to others. In short, I now knew exactly what symbols to look for, apart from merely being able to describe what the meanings of the symbols that I saw in front of me were. Together with the hazy overall picture of what was revealed in my dreams, as well as by other special revelation (particularly the eschatological revelations of the holy scriptures), it was clear that we had a blueprint for mapping out the future of mankind, and all we needed to do was collect it and decode it. When we finally decided to go ahead with the research and writing, Sapphire and I decided that I should write it so as to maintain consistency in the style and format of the text. Our different circumstances enabled me to focus more on collecting the data we needed for our presentation, while she was able to leverage her time to focus more on the interpretive side and the pieces that were missing.

We have invested a lot of time into this project, and especially into reviewing films which have literally no entertainment value for us at all, specifically so that the sheer preponderance of data being presented would make it impossible for anyone to argue that what we are showing is only present in a few films which we’ve picked out, and that it is therefore all a big series of “coincidences.” We have used as many films as we consider reasonable for the most stringent proofs, in order to demonstrate that the symbols and themes are encoded in most (though not all) of the major Hollywood productions. The films annotated in the bibliography are the ones we’ve cited in the book, all of which were reviewed since the project began, even if we had already seen them, but many more were reviewed besides these. Our focus has been on the better known ones, but we have not limited ourselves to those, so that we could show examples from each of the different genres. Several foreign language films have been reviewed as well, though the symbolism discussed in this book is really only prevalent in the more mainstream foreign films (i.e. the ones which are well known enough to be released in America).

I believe we have achieved our aims to the satisfaction of the target audience, however large or small it may be. That neither of us owns or has owned a television, nor is ever in the presence of one, should be sufficient to dispel the idea that we may have watched the movies and then come to understand or guess at what is contained in them. We attest that this knowledge was imparted mystically, prior to our having done the research to corroborate our understanding and convey it to others. I was initially reliant on Sapphire’s explanations of individual symbols, but to me the symbols are irrelevant in comparison with the whole message, which I had already had in mind. This book would not have been possible had we not had this understanding already, because then we wouldn’t have even known what to look for. We believe, furthermore, that anyone who has the same understanding will see the same things we see and have the same interpretations.

So this is why we are calling it a synchromystical guide to exoteric symbolism. The symbols are exoteric, meaning that they are intended to be commonly seen by the masses of humanity but only understood by a few. We have not paid attention to uncommon or otherwise esoteric symbols, as those are more or less irrelevant to the story which we are attempting to convey. The synchromystical element is explained well enough in the introduction, but for now it is appropriate to denote the meaning of ‘synchromysticism,’ as it is a relatively new word used by only a small number of people. It is simply a combination of the root ‘mysticism,’ which denotes the experience of divine illumination or gnostic acquisition of spiritual truths, and ‘synchro-,’ from ‘synchronicity,’ a word used by Carl Jung to denote a meaningful and mystical connection, as it is perceived by an observer, between two or more apparently unrelated events.

As for the book’s format, given the length of the main body, we thought it best to keep the space to a minimum. So instead of elaborating on individual concepts, we have tied them all together and provided as little frame of reference as we thought necessary. Virtually all of the films used are English-language productions. As all of the screenshots from the films are with English subtitles, we have included all of the captions to aid in foreign-language translations, as well as making the captions more consistent and readable. The English captions underneath the screenshots should therefore match the subtitles identically, but we have only used subtitles from other independent sources, so wherever there are discrepancies, our text should be considered the more accurate of the two in terms of both grammar and what is actually said in the films.

That being said, in many places we have cut out things which are circumstantial and specific to the individual films in order to keep everything consistent as part of the greater context of the book. This applies almost exclusively to names of characters. To have included everything verbatim would have detracted from the story and made it confusing. In all other cases where the subtitles and the captions don’t match, we have inserted our own comments into the captions to act as an interpretive guide by providing the larger context. In these cases the inserted comments are in brackets and color coded according to interpretive bias. Red represents what we are calling a pro-Hollywood or pro-establishment Jewish/Satanic bias, green represents a pro-establishment Kabbalah/Luciferian bias, and blue represents our own synchromystical interpretation, as well as being used to denote references from scripture. The reasoning behind this color scheme and the delineation of the separate biases is too complex to explain in any detail here, but it will become apparent later on. In any case, we have been as true to the contexts, the meanings and the intentions of the filmmakers as possible, given our synchromystical parameters.

We would also like to point out that this book constitutes a spoiler, not just for the films depicted, but for the whole film industry in its entirety. After reading this book, you will likely never watch movies the same way you did before, if you indeed watched them at all. That’s exactly the point of it. So if you enjoy sitting in front of your television as a means of recreation and don’t want to understand what it is you’re being indoctrinated with, then this book is certainly not for you. If, on the other hand, you do want to know, then you will not find the answers anywhere else. If the answers were already available, we wouldn’t have taken the time and gone through the trouble of writing this book.

Finally, a few words need to be said about the historical background of the ideological conflict between apostolic Christianity and neo-Gnostic Manichaeism. History (especially the history of religious or otherwise ideological conflict) is emotionally charged and politically motivated, in such a way that everyone’s views on it are always wrong. To get a view of the whole picture, it does not suffice to trade in one paradigm for another. Only a holistic understanding which transcends individual perspectives and their transitional stages can possibly suffice. As we are all finite creatures experiencing life subjectively, it is simply not possible for any human being to acquire the whole view. Only God can categorically be defined as omniscient. What we need, then, is the mind of God, which cannot be gotten, but only bestowed by God himself to whomever he chooses. This happens by way of direct, experiential knowledge, which we call gnosis.

The gnostic state is one of epiphany or momentary divine revelation characterized by profound clarity. Like other mystical states of consciousness, it is difficult to put gnostic revelation into words for other people, especially due to the fact that it is does not happen at the level of the ego or even by way of symbolism, and is therefore followed by near-instantaneous memory loss. The individual gnostic must therefore make an attempt to put his experience into words (or pictures) while he is still in the gnostic state, otherwise the information and its accompanying clarity will be lost. The quickest and easiest way to do this is by the formulation of a symbolic code. Symbolic religion therefore derives from the adaptation of mystical states of consciousness into some sort of “mystery” rites designed to perpetuate and expound on them, and by the exegesis of their meanings.

In the ancient world this was a common practice by gnostics, and is ultimately the source of divine insight for both the prophetic revelations and the apostolic epistles of the Bible. While they were making the source accessible with their influence, the authors of the New Testament also realized the inherent problem with giving the mob a means of accessing the mind of God. Each of them wrote at least one passage warning his readers against the abuse and misuse of this divine power. Simon Magus in particular, who is named in Acts 8:9-24 as a sorcerer who bewitched all of Samaria, as well as the father of all heresies by Justin Martyr, is actually Goethe’s inspiration for his Faust, himself an inspiration for many stories we see portrayed in film and in print today.

So influential were the anti-Christ gnostics of their own day that the greatest of them, Marcion, practically established the church in Rome. Although he was later excommunicated, his influence was permanent. Marcion’s policy regarding scripture was to throw out whatever he didn’t agree with, and heavily revise the rest to fit his paradigm, or else just write his own. Other gnostics followed his lead, and the whole premise of Gnosticism degraded to the retelling of fantastical Jewish fairy tales, and it was eventually lost entirely. Those who maintained some semblance of it into the Byzantine era were the neo-Platonists, who most people would not consider Christians at all.

As Christianity spread throughout the Roman Empire, it incorporated more and more converts who were not at all serious about a faith-based lifestyle but were following a new religious fad. Christians gravitated toward a more moderate view from the extreme dichotomy which gnostic revelation affords, and toward a lifestyle too mundane to even consider spirituality of any kind. As a result, the gnostic sects became more and more polemically opposed to the Christian religion, even supposing themselves to be the true Christian religion, though John the Evangelist refers to them as antichrist. Even the educated Christians came to know virtually nothing of these opposing sects, and to comprehend even less, as keeping account of all of the individual heresies became tedious and counterproductive to their own agenda. (It was said that each “heretic” basically had his own heresy, and this is not far from the truth.) Neither the so-called Christians nor the so-called Gnostics maintained the true religion of Christ, therefore, and it was only a matter of time before one would get the upper hand and obliterate the other.

It was the gnostic religion of Manichaeism (the only one which in its own time was actually referred to as “Gnostic”) which ultimately emerged victorious. The Christian emperor Licinius made official a previous proclamation of the tolerance of Christianity by the emperor Galerius, in what is known as the Edict of Milan. Galerius is known for his persecution of Christians rather than his tolerance and even support of them, on account of Constantine’s efforts to stain his reputation with public relations propaganda which ignores the fact that it is anti-Christian Mithraism which is being spoken of as Christianity in this context. Contrary to the victors’ version of the history, Galerius was always the one who was himself a Christian and defended the other Christians under persecution. Unlike Constantine, Galerius did not persecute his opposition either, because Christianity does not allow for that.

Credit for the Edict of Milan is generally given to Constantine, but Constantine was a pagan who had sought a political alliance with Licinius so that he could make war on his rivals, one by one, in order to gain total control of the whole empire, while Licinius simply wished to protect the Christians under his rule from persecution. Constantine and Licinius each called themselves Christians, knowing full well that they were venerating two very different “Christs,” and that their alliance would not last long after Constantine captured Rome, which he eventually did. After the conquest, Constantine made sacrifices to the old Roman gods in obeisance to the state religion which had previously existed for a millennium without hindrance, and which was particularly important to the Mithras cult of the legions. (Mithras is the Persian Apollo, worshiped by Constantine as Sol Invicto, the ‘Invincible Sun.’ The Mithras cult was established in the legions during their wars with Hannibal Barca.) By honoring the ancient customs, Constantine was able to sway the Roman Senate and keep the larger portion of the legions at his back, and therefore invade the Eastern Empire and defeat Licinius. He murdered Licinius and his family in cold blood (including his own sister who was Licinius’ wife, as well as their son, Constantine’s own nephew), simply because they were all Christians, and all other potential rivals, including the majority of the Christians under Licinius’ command.

Immediately after Licinius’ defeat and the elimination of the Christians in positions of power, Constantine convened the Council of Nicaea to formally declare that apostolic Christianity was anathema, now finally outlawed once and for all after having been protected by Galerius and Licinius. Those few Christians who were invited to the convention and had the courage to attend were bullied and forced to convert to Mithraism. Some did, others did so only to save their lives, and a few were executed or exiled—most notably Arius, whose Biblical view on the Holy Trinity (which Constantine himself espoused, though he outlawed it for political reasons) is now known as Arianism, in contrast with the Roman Catholic view called Athanasianism. Most of the Christians simply stayed away, having known for decades that Constantine was a ruthless butcher of Christians, and they were given indirect warnings for the remainder of Constantine’s life through his edicts and subversive propaganda outlets.

After the Council of Nicaea, Constantine built a new capital at Byzantium, where he was crowned with the diadem of Apollo. This act was intended to keep a close watch over the Eastern Empire and ensure that there wouldn’t be any religiously-motivated rebellions. (Ironically, it also led to the loss of the Western Empire for his successors.) Constantine then went on to murder everyone else in his own family who had espoused apostolic Christianity and refused to convert, including his wife and his firstborn son, to make sure that apostolic Christianity would never displace the ancient pagan religion of Rome. He has since been proclaimed a saint by the Roman Catholic Church and is even regarded as its founder, though that title properly belongs to Augustus, the first emperor, or else Numa Pompilius, Rome’s second king.

Within a few decades of Constantine’s death the ideological conflict between the Christians and the Roman Manichaeans was rekindled by the efforts of Augustine of Hippo and Ambrose of Milan to obliterate Christianity once and for all. As a Christian and a supporter of the persecuted Arian Christians in the East, Constantine’s successor Constantine II made efforts to rid the Roman state of its pagan sacrificial rites and of all types of Jewish witchcraft and miscegenation. When he died the throne fell to the emperor Julian who, as a pagan, promptly attempted to reinstitute them, and even made an attempt to rebuild the Temple of Solomon, the failure of which the Christian writers attributed to divine intervention.

Around this time (c. 382) Jerome, who, by definition as an Arian, was a heretic by Roman Catholic standards (but like Augustine is now regarded as a saint and a “doctor of the Church”), wrote a tract for posterity against the Athanasians whom he refers to as Luciferiani (‘Luciferians’), in reference to his late nemesis, a bishop of Cagliari named Lucifer. Along with being a strong proponent of the Athanasian doctrines which defined Roman Mithraism half a century before Augustine, Lucifer issued the call to convene the Council of Milan far from Christian lands, and had been exiled during the reign of Constantine II until Julian’s accession. Augustine and Ambrose weren’t able to argue against Jerome or the other Christians with their longwinded apologetics, but Ambrose was very influential in Rome, and Augustine was particularly knowledgeable about Mithraism apart from its pseudo-Christian form, having been a Manichaean for many years before being consecrated as a clergyman. Between the two of them, they established a written record for the Luciferian doctrines which the Church could appeal to for the formulation of its “tradition” in opposition to what the Christians regarded as holy scripture (i.e. the Bible, and the New Testament in particular, which was avidly read by the Greek Christians in their native language and translated by Jerome into Latin).

The Mithras cult was firmly established by the time Augustine finished his De Civitate Dei in support of Roman paganism, and the world has since forgotten that there ever even was a Christian religion, which it now summarily groups with the other gnostic sects of its time, believing them all to be the same, more or less, and inconsequential to the modern world. Those individuals who have some comprehension of what was going on back then are those who have a better idea of what is going on now, but they have also failed to recognize that the Manichaean religion they espouse is none other than the Roman institution which has preserved it intact to the present day. They tend to think that they are somehow opposed to the Roman Catholic Church and its many offshoots, while the adepts, the Princes of Masonry, know full well that it is the Vatican they serve, as the Church has always been (since at least the time of Christ and of Caesar Augustus) the source and head of the anti-Christ religion and global government. If there is in actuality any feud between mainstream Christianity and the Roman Mithras cult, it is rooted entirely in ignorance and deception. The College of Cardinals certainly does not see any difference whatsoever, and the Pope still officially claims Constantine’s title of pontifex maximus for himself, complete with all the old Babylonian vestments and Mithraic rituals and beliefs of the pre-Christian era. As a result, the phony conflict between Catholics and Protestants, or between “Christians” and Illuminati or Masonic crypto-Jews, has spilled over into the Hegelian propaganda people see when they turn on their televisions or open a book.

With a proper understanding of the neo-Gnostic Luciferian belief system (especially as it pertains to mainstream Christianity and the New Age Movement), as some of the historical background has just helped convey, one may have the necessary tools for reinterpreting the false data which is regularly disseminated on behalf (knowingly or not) of the establishment, and see the truth of the matter. We strongly encourage people not to fall for the mistaken idea that the enlightenment which the Luciferians offer is a valid one and that it will produce anything but mental slavery and death. They really are not any wiser or happier than the people who serve them. To prove this point, you can find pictures of many Hollywood stars who have been beaten into submission, and who are the victims of highly traumatic mental and emotional breakdowns.

For further study on the issues raised in this book, but not covered in any detail, we recommend the following videos on YouTube. For a discussion of the neo-Gnostic Manichaean element of the Hollywood agenda, as well as a more in-depth look at V for Vendetta, The Matrix, Dark City, Stigmata, Pleasantville, Eyes Wide Shut, Minority Report, Vanilla Sky, Battlefield Earth, and The Truman Show—all of which, with the exception of the first two—we have not reviewed—see Hollywood’s War On God. (X-Men is also covered in this documentary, but the factual and analytical details are both in error, and we have more than made up for this honest mistake in the present book.) For a discussion of the role which the films play in our daily lives, in terms of the negative and subversive influence, and for an exposition of how many of the screen actors have admitted to selling their souls to Satan, see Hollywood Unmasked. We also recommend two companion exposés to Hollywood Unmasked, namely Hollywood Actors Exposed and Music Industry Exposed. Hollywood MK Deception covers the mind control programming of the Hollywood industry as it pertains to Project Monarch. The Industry Exposed also makes many connections between the music industry and what we are calling the Hollywood agenda. If you find these documentaries informative or intriguing, you may also want to watch Unholy Hollywood and Dark Stars (Illuminati in Hollywood).

Paul R. Miller, 28 Apr 2011

 
 
 
Sapphire's Foreword

In order to understand the basic ideas and perspectives behind the compilation of this book, it will probably help to become acquainted with the phenomenon of synchromysticism, as well as some background information regarding the “monomyth” of Joseph Campbell. As synchronicity and mysticism are both matters of personal experience and personal values which do not necessarily relate well to everyone, I will share some of my experiences and the method which I personally used in my researches. I believe this will prove beneficial to any of you new to synchromysticism.

My interest in synchromysticism began when I learned that my parents had named me after a character on television who is an extraterrestrial from another dimension tasked with investigating irregularities in Earth’s timeline. I asked them why they had done so, and my father replied that it was because he wanted me to be like her. I didn’t take that “synchronicity” very seriously back then, but it has always been in the back of my mind since childhood, resonating deeply with me. A more definite interest began to develop when later on, while watching some films, I sometimes had a sensation come over me, which told me that some of them seemed to be “speaking” to us, or reaching out to a certain group of people, as if there were some form of higher intelligence trying to get our attention and give us a message via the reality around us. One particular scene from the film Knowing that had this effect on me still stands out in my mind: “[The ‘whisper people’] sent a message ahead of them, to prepare the way. … He’s saying only the chosen must go, those who heard the call.”

By 2009 I had a concrete interest in synchromysticism and was actively researching and logging any synchronicities I came across. I had made some notes at this time on the symbol of the cube and its relation with the numbers 27 and 42, but again I pushed this to the back of my mind and didn’t place much importance on it. It became a passion in September of 2010 when I saw an article on synchromysticismforum.com about a Rubik’s Cube that had been solved after 26 years, having been bought in the year I was born. It immediately reminded me of the notes I had made on the cube a year earlier, when I was 26 years old. After returning to those previous ideas, I realized that this symbol was the “key” Paul and I needed to unlock many of the other symbols found in this book and the story that they tell. I had found a way to read them and put them together with the other hidden messages that films and other media contain. I shared my notes on the cube symbol with Paul and he agreed with my interpretations. We then began our research for this book when we realized that we could merge our two perspectives.

After all this I prayed to be able to unlock more of the symbols and see the bigger picture. That prayer was answered. Over the course of a few nights I started to sense a set of archetypes that together seemed to be telling a story. This enabled me to then see that many of the archetypal images (symbols and motifs) that are found in world mythologies and popular culture were representing the aforementioned archetypes/meanings. Since that time, even after much logical reflection upon the initial intuitively perceived data, the list I made of the set of elements (archetypes and their images) that I believe comprise the key components of the message has remained the same, as has my essential understanding of the message itself, though study and comparison of the symbols have helped to clarify it greatly.

This message I was seeing turned out to be the story of the “hero’s journey,” humanity’s search for reconnection with the unus mundus as presented by Joseph Campbell. It also matches very closely the same things that Paul had intuited quite independently and had wanted to write about. Moreover, it also happened that the same symbols and motifs that I was piecing together as elements of this story were in the films that we have reviewed. I had unlocked these symbols and compiled my ideas before seeing them used together in the films, and Paul had also come to the same conclusions and pieced together the elements of the monomyth completely independently, without having ever heard of Joseph Campbell or his work. This attests to the fact that what we are exposing here in this book is real and not the product of the authors’ imaginations, nor the filmmakers’ for that matter.

The symbols are not just human insertions or interpretations but can be bona fide synchronicities. That is, the personal impact on the viewer can be so significant that it cannot possibly come from anywhere but by the design of a higher intelligence. This can be confirmed by anyone who is able to enter a mystical state of mind. To give a straightforward example, you might see a reference to Benjamin Franklin, and then be aware of the fact that he is being spoken of in different films, and then go on to see more references to him in several consecutive films that you watch, while normally you wouldn’t ever see any references to Benjamin Franklin because they’re not in most movies. Considering how statistically improbable it is that this should happen over and over, it might seem like God is trying to tell you something each time a new idea stands out like this. When this happens not just for one symbol or reference (and it did, for both of us, in the case of Ben Franklin), but for several … well, you get the picture.

Owing to the fact that each symbol represents one piece of the overall picture, the writing took much longer than we had hoped, because the more films we watched, the more pieces we had. Our greatest dilemma was in determining where to cut ourselves off from research and just tell the story without having every piece to the puzzle fully explained. As it happens to be the same story that Hollywood is telling with its films over and over, Paul and I felt that the best way to relate it would be through numerous demonstrations of symbolism accompanied by our own verbal explanations.

One of the most important things that I’d like to point out to the reader is that all of the films we’ve reviewed (275 are cited in this book) are internally consistent within themselves. That is, the symbols have the same (or very similar) meanings across all of the films, which necessarily means that either the filmmakers or God himself are responsible for this language of metaphors. Furthermore, as each film contains pieces of the story which fit together like pieces of a puzzle, yet not all of the film studios are in collusion, it cannot be the filmmakers. It would be unreasonable to suppose that so many independent film studios have collaborated in this way, over such a long period of time, so as that each has something different to contribute to the whole, when there is so little understanding and so little originality behind their production, unless their parameters were defined by a higher intelligence. The message, I believe, is therefore more than just intentional on the part of the filmmakers, but crosses the line into the territory of mysticism.

Without being able to understand how this language of metaphors works, we obviously won’t be able to understand its meaning either. Consider that we commonly use idioms in verbal speech, and we do not have a hard time understanding their metaphorical meanings. For instance, the sentence ‘I have a heavy heart’ is easily understood to mean that the person speaking is upset, not that his heart weighs a lot, which probably won’t even occur to us if we hear it spoken. Our innate difficulty in decoding symbolic messages stems from the fact that our natural inclination is to overlook that symbols use an idiomatic language just like our everyday speech does. In effect, we take picture symbols literally when we shouldn’t (i.e. we mistake the messenger for the message).

If we can train ourselves to comprehend the meanings of symbols the way we already comprehend the meanings of idioms, then we can learn to speak God’s language. It is not an exaggeration to say that a whole new dimension will open up to you once you start viewing the world in this way. The unus mundus is speaking to us all the time, but few have ears to hear it or eyes to see it. It speaks in the language of metaphors and symbols, and makes heavy use of analogy (verbal, pictorial and conceptual). It requires a shift in thinking for one to be able to perceive it. It does not, and cannot effectively speak in words alone, as the essence of its instruction cannot be fully captured by words and logic, for the whole is truly more than the sum of its parts. To quote Wikipedia’s article on “Joseph Campbell”:

This great story relates to humanity’s search for the same basic, unknown force from which everything came, within which everything currently exists, and into which everything will return. This elemental force is ultimately “unknowable” because it exists before words and knowledge. As this basic truth cannot be expressed in plain words, spiritual rituals and stories refer to it through the use of metaphors.

 

The sum of these parts is what Campbell refers to as the “monomyth.” The outline of this book “coincidentally” and completely unintentionally happens to have been organized by Paul at the very start of its creation with the same structure that Campbell gives to the “monomyth,” prior to my having brought it to his attention. In The Hero with a Thousand Faces, Campbell summarized the monomyth in the following way:

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

 

Structurally, these five categories form the backbone of the story: 1) the call to adventure, 2) the road of trials, 3) the goal/boon, 4) the return to the ordinary world, and 5) the application of the boon. The “call to adventure” stage corresponds with chapter 2 of this book, the “road of trials” corresponds with chapters 3 and 4, the “goal/boon” corresponds with chapter 5, the “return to the ordinary world” corresponds with chapter 6, and the “application of the boon” corresponds with chapter 7, this book’s final chapter.

Many of you reading this book may already be experiencing such synchronicities as have been written about here, and see what Paul and I do. If not, then it is my hope that you will after reading this book, as God is certainly the best teacher who has the most to teach. To that end, if you can suspend your disbelief long enough to see that there are indeed hidden messages from a higher intelligence embedded in these films, and elsewhere, then you will see that it is all “real.” If you truly have faith—when you are in this state of mind—you will feel like Odin in possession of the head of Mímir reciting secret knowledge and counsel to you. You will be in communication with the unus mundus, the underlying reality which connects everything. That is the true goal of this book. We do not merely wish to expose what is going on to you; we hope that you come to see and intuit things for yourself. We wish for you to experience the story that is being told, and not just understand it with your mind, so that the real significance of it will hit home and its benefits become actualized. The goal of the story is ultimately to enable you to reconnect you to your true essence, the spirit of the universe, and become the possessor of a much deepened consciousness.

I’d like to urge you, the reader with a serious interest in the topics presented in this book, to study the symbols and the contexts in which they appear and to watch some of these films and any others on your own, and to come to your own conclusions, and to not take everything we say for granted necessarily. For as was previously mentioned, there is no substitute for connecting to the source of knowledge yourself, and for receiving personal instruction. Doing this may turn out to be invaluable.

In closing, we would like to inform the reader that there is more work to come on the subjects contained in this book. This is really just the beginning. Our ultimate goal is to expose the more esoteric side of the motion picture media, and also that which cannot be put into film due to time restrictions, but which is prevalent in television series such as The X-Files and Doctor Who. Beginning in September of 2011, we will be providing a more in-depth look at some specific scenes in films, some of the more mystical and personal aspects of the meanings of the symbols, and another large collection of pictures and screenshots with commentary to complement this one. These will be available at www.wellofurd.com and its corresponding Facebook page. We hope to see all you mystics there soon, and on the Liber Mundus forum.

Sapphire S. Thorpe, 15 Aug 2011