The Hollywood Agenda

The Bridge

The Bridge


Fantastic Four: Rise of the Silver Surfer

Did you follow the shiny man [Lucifer] to Lollipop Land or the Rainbow Junction?


By now it should be apparent that the prevalence of motifs from ancient European mythologies is due to the fact that the people using them actually regard them as speaking to our subconscious, as they have been derived from the unus mundus. That is to say that while the symbols may not necessarily be metaphysically accurate in their portrayal of an actual cosmological model, they are universally regarded as imbuing consciousness in such a way as to fashion an accurate mental picture for us. The symbol of the cube is the most prevalent and most important of these symbols, but it has little significance when removed from the context of the Manichaean and Masonic literature. It does us no good to be told that we are living in a prison if we are not also shown a way out of that prison. That way out, taken from the cosmological model of Norse mythology, is Bifröst, the rainbow bridge which connects Asgard (Heaven) to Midgard (Earth).

Just as the Sri Chakra depicts 9 levels of interlocking triangles from which we might infer a magic square, so too does the Norse cosmology depict 9 worlds which are connected by Yggdrasil (the World Tree). 3 is the most sacred number of the Norse system, as everything is generally reduced to 3. As Asgard is actually a realm within Middenheim (the Middle Realm), rather than the home (Vanaheim) of the original gods (the Vanir), the Norse cosmology accounts for 3 realms in the heavens, 3 in the underworld, and 3 in Middenheim, which is where Mannheim (the Realm of Men) is. In the Norse system, the universe exists in delicate balance between the extreme poles of fire (Muspelheim) and ice (Niflheim), with Asgard in the middle. Travel between these 9 realms is only possible by traversing the World Tree, or by traveling through the middle of the magic square by taking Bifröst to Asgard.

We have included this description not just because the Rainbow Bridge motif is used so frequently in exoteric symbolism, but also because it is the only ancient cosmological system which accurately depicts each of the different sentient races surrounding Earth as they co-exist in multiple dimensions and on different timelines. This is especially true of the writings of J.R.R. Tolkien, who based his popular ideas on the Norse system and expounded on it with the inclusion of his esoteric understanding of ancient scripture. Though intended as fiction, the cosmology drawn from Tolkien’s The Lord of the Rings and The Silmarillion may be taken as the most detailed and accurate symbolic ideation of the universe as we know it to date.




In Tolkien’s universe the Quendi or elven races are comprised of the Amanyar (those of Amar, the Blessed Lands) and the Umanyar (those not of Amar), called the Calaquendi (Elves of the Light) and Moriquendi (Elves of the Darkness), respectively. The Calaquendi are comprised of the Vanyar (the fairest and noblest, as well as the first of the elves to migrate to Aman), the Noldor (the racially diverse dark-haired elves of the second group to migrate) and some of the Teleri (the gray elves). The Moriquendi are comprised of the Avari (the ‘Unwilling,’ i.e. those who were called to Amar but refused to go), the Sindar (Telerin gray elves) and the Nandor (Telerin wood-elves). The terms ‘Light’ and ‘Darkness’ refer to the Trees of Valinor (cf. the Tree of Life and the Tree of Knowledge of Good and Evil) and correspond with those who have seen the light of the two trees and those who have not, respectively. The trees themselves represent day and night—one became the sun; the other the moon.

The influence of the Bible and of Norse mythology on every part of Tolkien’s cosmology is self-evident. His trolls are the Norse giants; his Balrogs (Hebrew: ‘lord of wrath’) are the fire giants of Muspelheim. Names given to the Creator include Eru (‘the One’) and Ilúvatar (‘All-Father,’ Odin’s primary historical title), a name which, as a combination of Ilu and avatar, signifies the embodiment of light. Eru has created the universe by means of the “Music of the Ainur” (Logos) and the “Secret Fire” (Holy Spirit). As the first and most powerful of the Ainur (Gods/Elohim), the antagonist Morgoth (or Melkor) clearly represents Lucifer (or Molekh), while Sauron represents Satan. Morgoth has been deposed and cast into the Outer Dark (the “outer darkness” of the Bible) where he awaits his return to Arda (Earth) at the end of the world.

Similarly, the elves’ journey to Amar is analogous to people’s willingness or unwillingness to be righteous and thereby enter the Kingdom of Heaven. The Vanyar (Vanir) represent the Nordic races and the Noldor represent the other descendants of the tribes of Israel, as salvation is offered “first to the Yahudite, then to the Greek” (Romans 1:16). Orcs are elves who have been captured and corrupted by Morgoth, while the Avari are in a constant struggle against them because they did not heed the call.

Tolkien’s basic cosmological model for each of the Three Ages may be divided into 9 realms corresponding to the Nine Worlds of Norse mythology and to our 9-squared cosmic cube. Dividing them this way shows that his intent was to portray the West as more blessed than the East the further one goes, and the North as more powerful and spiritual or ineffable (whether good or bad) than the South.





Here is another diagram depicting the worlds discussed by Tolkien with the Norse names in parentheses, the free peoples who inhabit the corresponding realms in blue, the evil creatures in red and the main antagonists in green. The blue lines show which type of creature each of the spirits/aeons has manifested as (or which creatures became which creatures in the case of the dark elves being turned into the orcs), while the green lines show which creatures were created by the Valar, including Morgoth who is one of the Valar. Although he never stated so explicitly, Tolkien also hinted that the goblins are a race of orcs created by Sauron (i.e., that the grey aliens have been genetically engineered by Satan from the DNA of the fallen humans captured and corrupted by Lucifer).




In Tolkien’s legendarium the dwarves and the orcs are both industrious, but the orcs are most notorious for destroying the great forests of Middle-earth. Thus their home of Mordor corresponds to Nidavell in the Norse underworld, which is also the home of the dwarves, where the evil serpent Níðhöggr (Nidhogg) gnaws at the root of the World Tree in its attempt to destroy it. The rock giants and rime giants of Norse mythology are also regarded as dwelling in a region colder and somewhat closer to Hel than Midgard, so it is also often the case that heroes like Thor have to venture into Jotunheim to stop them from menacing the gods of Asgard and the men of Midgard. Even Loki is one of the giants, and Hel is his daughter. Like Níðhöggr, she lives under one of the roots of the World Tree.


Hellboy II: The Golden ArmyHellboy II: The Golden Army

So now we know where to begin. Trolls dwell under bridges.


The bridge motif represents the gateway between worlds, but it is a place in space. As travel between the worlds is a matter of time travel as well, the time also matters. Travel depends on coordinates in both space and time. The real-life bridges which are used most often to signify passage to the netherworld are the Brooklyn Bridge in New York City and the Golden Gate Bridge in San Francisco Bay. As seen in Hellboy II: The Golden Army (2008) and The Fourth Kind (2009), the time is usually set to 3:30 or 3:33 a.m. (For more instances and information about the time, see appendix A.)


Hellboy II: The Golden Army

The Fourth KindThe Fourth Kind



The main conflict of the monomyth often begins when 2 kids access the unus mundus and are given specific instructions for the creation of a cosmic bridge in order to lead the masses out of their unconsciousness. In other words, they are told how to become conscious by merging the divided powers of the left and right hemispheres of the brain, amounting to ascendancy from the physical to the astral realms. Normally this happens by way of the children’s dreams, but sometimes the instructions come from a future revelation.


The Last MimzyThe Last Mimzy

-I dreamed about a bridge.
-What kind of bridge?
-I don’t know what kind.

The Last MimzyThe Last Mimzy

I dreamed that they were gonna build a really big one across the whole universe.


As the number signifying ascendant existence, 42 is closely associated with the bridge. Rainbows are created when light is refracted by water droplets at an angle of 42°. Water, as we will see, is the gateway element. So the symbolic usages of 27 and 42 are fundamentally as inseparable from each other as water and light are from the rainbow, or as the motifs of the cube and the bridge are. Here we see Benji Dunn (Simon Pegg) telling Ethan Hunt (Tom Cruise) to cross a bridge at “41b,” implying he is at the angle of incidence, going to the destination at 42 (refraction), in Mission: Impossible III (2006):


Mission Impossible IIIMission Impossible III

Okay, there’s a bridge. Get to it, cross it. Yeah, that’s good. That’s good. Keep going. Keep going.

The Matrix

-Do you still want … [to know the truth about the Matrix?]
-Then go to the Adams Street Bridge.

Little Fockers

The Social Network

It’s the bridge.


In Resident Evil: Apocalypse (2004) the bridge leading out of Raccoon City (Jerusalem) is called Ravens Gate (the raven is the symbol of Odin):


Resident Evil Apocalypse



Rainbows are often used to symbolize descent into the underworld, as in the case of A Boy and His Dog (1975):


A Boy and His Dog



Dorothy must cross a bridge first to meet the wizard on the other side, then again to step into the world of Oz in The Wizard of Oz (1939), in the first scene of any motion picture to be set in Technicolor:


The Wizard of OzThe Wizard of Oz

Knocked UpKnocked Up

Tastes like a rainbow.


-You got those Crayola books?
-Yeah, Technicolor rainbow.


Devil book: the UNIX Bible … Dragon book: compiler design.


Many films present the rainbows in the background at opportune times, such as when the hero is about to complete his task, or has just accomplished it. This is especially true of films portraying time travel, interstellar flight or descent into Hel. Such films include Hot Tub Time Machine (2010), Meet Dave (2008), The Ninth Gate (1999), Donnie Darko (2001), Independence Day (1996), Tron (1982) and E.T.: The Extra-Terrestrial (1982), where E.T. follows a trail of Skittles, the marketing motto of which is “Taste the Rainbow”:


Hot Tub Time MachineMeet Dave


The Ninth GateDonne Darko

Independence DayIndependence Day


E.T.: The Extra-TerrestrialE.T.: The Extra-Terrestrial



The first instance of the protagonist’s stopping of time in Clockstoppers (2002) focuses on a rainbow over a pool of water (trans-dimensional gateway, the primordial matter of creation):





DreamWorks’ Megamind (2010) features rainbows throughout the film, including one scene where the antihero explains that he has learned how to reduce any living creature into a cosmic cube and then return it to its prior state by adding water:



I learned how to dehydrate animate objects and rehydrate them at will.





Water passages usually mark the end of the hero’s journey into the underworld. The peril is portrayed as having been avoided once the hero crosses the bridge or swims through a body of water and crosses a threshold, a rainbow or a bridge in the process. This water passage may be a bridge of ice or snow, a manmade bridge over a river, or even the bridge of a ship. Rainbows are generally only used in place of bridges where there are no manmade structures and the climate doesn’t allow for ice or snow. In all cases the path of escape is represented by water and the destination is represented by the threshold (the light of the rainbow or the crossing of the bridge).


Mission Impossible IIIMission Impossible III

Indiana Jones and the Kingdom of the Crystal Skull

The Golden Compass

On Her Majesty’s Secret ServiceOn Her Majesty’s Secret Service



Resident Evil: Afterlife (2010) portrays Alice on the bridge of the Arcadia (the Ark) with the Elect emerging from the cargo hold just after she defeats the antagonist representing Satan:


Resident Evil AfterlifeResident Evil Afterlife


We’ll cross that bridge when we come to it.

The Man With the Golden Gun

The bridge is that way!


The key to understanding what the bridge signifies is encoded in the numbers. The Illuminati believe that knowledge of the numbers and their meanings is tantamount to power over the symbols and their applications. That is, they think they can keep us away from the “bridge” simply by ensuring that no one has the correct password while maintaining access to it themselves. We can find the building on our own, but access to the “Source” is through a door which no one can enter without the right key, and this door is protected by a grid powered by 27 blocks of electric circuits. Put simply, the Illuminati have blocked access to the Source, and a major showdown takes place on the perilous bridge.


The Matrix ReloadedThe Matrix Reloaded

Inside this building, there is a level where no elevator can go, but another connection must first be made.


Notice the association between 42 and 27 subliminally implanted by the numbers on the uniforms of the officers on the ship’s bridge in Meet Dave (2008):


Meet DaveMeet Dave

-It [the orb] is a small spherical device, 2.7 inches in diameter.
-And how can it be yours if it came from outer space?


-There is a bridge. Come on. … We have to get across.
-Without my permission, no one crosses.

Indiana Jones and the Temple of DoomIndiana Jones and the Temple of Doom

-Head for the bridge. Go!
-Oh, God.


Have no fear. This bridge has lasted a thousand years [since the Crusades].

The Fifth Element

Nobody move! I’m taking over the ship!

Pirates of the Caribbean: The Curse of the Black Pearl

Everyone stay calm. We are taking over the ship.


Any mystic should be able to infer that the bridge in question is in the old city of Jerusalem. The rebuilding of the Temple of Solomon is the stated objective of the Masons and of the warrior-monks (the Templars) who preceded them ideologically. The Temple was originally designed to replace the Tabernacle built to house the Ark of the Covenant which was under the protection of the prophets of Shiloh. According to the Bible, David was forbidden from building a temple to house the Ark. His son Solomon, however, was a wicked apostate who worshiped Lucifer. The Masonic tradition, which venerates Solomon, claims that he enlisted the help of Hiram Abiff (the legendary founder of the Masonic sect) to construct the Temple because Hiram was also commissioned to build an identical temple dedicated to Lucifer in Tyre. 1 Kings 10:14 informs us that the revenues which Solomon accrued were 666 talents of gold annually, and the number is repeated in Ezra 2:13 when the Second Temple was being built by the Babylonian Jews. The Temple Mount was carefully chosen because of its supernatural properties, and the Temple itself is essentially the Jews’ means of restricting access to the Well of Souls, the temporal vortex which we associate with the Well of Fate or with Mímir’s Well, depending on the context.


X-Men: The Last Stand

Target the bridge.

Die Hard: With A VengeanceDie Hard: With A Vengeance

Not on the bridge! Close the bridge.

Mission Impossible IIMission Impossible II

-Clear the bridge for me!
-Hunt’s heading for the bridge.

The Ninth GateThe Ninth Gate

This one could be interpreted as a warning. “Venture too far,” it seems to say, “and danger will descend on you from above.


Richard Kelly warns of us being kidnapped on the bridge of ice (shaped similarly to the one in the above drawing) in The Box (2009), should we stray from our innate sense of morality and succumb to worldly control mechanisms:


The Box



A James Bond lookalike is murdered after stopping to peer at a dragon statue situated at the end of a bridge at the beginning of From Russia with Love (1963):


From Russia With Love



The real 007 nearly meets his doom at a roadblock but escapes by boat, with an implicit reference to 27, in Live and Let Die (1973):


Live and Let DieLive and Let Die

-Relax. We’ve got a roadblock waiting for them at Miller’s Bridge.
-Unit 26 at Miller’s Bridge: we’re just about all set here.


Tigress (Angelina Jolie) and her comrades battle Tai Lung (Ian McShane) on a bridge to defend the Valley of Peace in Kung Fu Panda (2008):


Kung Fu Panda



The final showdown in Tron: Legacy (2010) happens when Clu2 blocks access to the Well of Souls on a bridge:


Tron: LegacyTron: Legacy



In The Matrix Revolutions (2003), Zion (the Temple Mount) is finally opened to the Mjolnir (a ship which is called “the Hammer” in the film), which is the name of Thor’s hammer and an iconic symbol of the Norse religion, when Captain Mifune’s armored personnel unit destroys the locking mechanism on the gate to Zion, thus allowing the Mjolnir to clear the bridge of Zion’s enemies:


The Matrix Revolutions

The bridge is clear.


What all this signifies is the malicious intent of the neo-Manichaean Illuminati to profane the sacred Temple Mount by rebuilding the Temple of Solomon and reinstitutiing the holokaustos in veneration of Lucifer. By controlling access to the Temple Mount and initiating Earth’s self-destruct sequence, they intend to make the masses of humanity their scapegoats. It is not intended that anyone except whomever they select will be spared this fate. The rest of us are supposed to bow down and die, and anyone who gets too close is supposed to be thwarted.


Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

Sometimes you get to the end of the rainbow and the leprechauns went and booby-trapped it!


However, the protocols for keeping us out do not work on everyone. No one can prevent his own death, but anyone who can cross the bridge (and the bridge is death) into the astral realm can cheat death. To do this, one must build a bridge, which is to say, use the “magic” of the Magi. This is the basic premise behind the subliminal instructions implanted (intentionally) in the story of the Deathly Hallows in Harry Potter and the Deathly Hallows: Part 1 (2010).


Harry Potter and the Deathly Hallows Part 1Harry Potter and the Deathly Hallows Part 1

In time, the brothers reached a river too treacherous to pass, but being learned in the magical arts,

Harry Potter and the Deathly Hallows Part 1Harry Potter and the Deathly Hallows Part 1

the 3 brothers simply waved their wands and made a bridge. Before they could cross, however,

Harry Potter and the Deathly Hallows Part 1Harry Potter and the Deathly Hallows Part 1

they found their path blocked by a hooded figure. It was Death, and he felt cheated.


Death is seen as a means of interstellar (or inter-dimensional) travel. The “Bridge of Death” motif can be seen in many films if we take the “threshold” instances to be references to death. ‘Threshold’ is, after all, not a common term for a doorway, and sometimes the word is used when there is no threshold at all.



Death is but a path to life, a passage to the stars … to the universe.


I’m now going to carry you across the threshold.

The Mummy

Come, come! Step over the threshold.


Dying is easy and everyone must die at some point. What isn’t so easy is returning from the underworld with the boon that was originally sought. This is what separates the hero from the common man. Even if he is able to walk right into Hel, he still has to fight his way out.


Pirates of the Caribbean: At World’s EndPirates of the Caribbean: At World’s End

It’s not getting to the land of the dead that’s the problem; it’s getting back.


The battle takes place on the bridge, and the bridge is booby-trapped to make sure that the hero can’t escape. In some films like I Am Legend (2007) and Resident Evil: Apocalypse (2004), a quarantine is set on a city and the citizens of the city who try to flee are massacred by the government. At other times the massacre takes place at the hands of some other force such as the alien invaders in Spielberg’s War of the Worlds (2005). (In War of the Worlds it is the Hudson Ferry rather than an actual bridge.) Most often the bridge is demolished with explosive charges.


The Living Daylights

I Am Legend

The Mummy ReturnsThe Mummy Returns



The Last Mimzy (2007) provides much information about what the New Agers in Hollywood expect regarding the bridge to the future. Notice the boy’s name and the rainbow on the girl’s shirt:


The Last MimzyThe Last Mimzy

Noah, it’s us; we’re building the bridge.


Contact (1997) does too, but without the use of metaphors and cryptic language:



It is our belief that the message contains instructions for building something, some kind of machine … some kind of transport.


This transport, as described in Bill & Ted’s Excellent Adventure (1989), is a machine which creates a trans-dimensional rift and travels through a time tunnel:


Bill and Ted’s Excellent AdventureBill and Ted’s Excellent Adventure

These are the circuits of history. They’ll take us to any point in time we wish.


The same imagery of a phone booth is used in the BBC television program Doctor Who which ran from 1963 to 1989 and was relaunched in 2005. The breadth and scope of the esoteric symbolism employed in Doctor Who is far too vast to begin to cover here, but we can turn our focus to the short-lived British television program Sapphire & Steel which deals more specifically with the bridge as means of time travel than of individual and complex storylines. As extraterrestrials, the title characters have special powers which enable them to see what others do not and which help them in their investigations. The bridge, it is explained, crosses Time, the integrity of which they have apparently been sent to Earth to protect.


Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

-Why the footbridge?
-You said it was a half-way point, a point between.
-For anything that wants to cross Time, yes.
-Well, we’re crossing Time [inflaming Kronos], aren’t we?


The physics which Hollywood presents to establish the possibility of time travel are only theoretical and should not be taken seriously in place of real science. Historically speaking, the modern theory of physics which has displaced the old system of classical mechanics espoused by men like Newton and Galileo was developed by Germans and other people of Germanic descent. Quantum physics emerged from the “matrix mechanics” of Werner Heisenberg, a German, Max Born, a German from Silesia which was then part of Prussia, and Pascual Jordan, a German of such infamous political affiliations that he and Born both have yet to be recognized for their part in it, despite Heisenberg’s protestations. Max Planck, generally regarded as the founder of the quantum theory, was German. Erwin Schrödinger was half-English and half-Austrian. Heisenberg’s mentor Niels Bohr was Danish, though his mother was Jewish.

These were the most notable of the quantum physicists of the early 20th century, those who were chiefly responsible for the “Copenhagen interpretation” of the quantum theory. On the Jewish side were Wolfgang Pauli from Austria, Edward Teller from Hungary, Albert Einstein from Germany, J. Robert Oppenheimer from the United States, and Isidor Isaac Rabi from Austria. Each of these men played an integral role in the development of weapons of mass destruction, which, at the time, were intended to be used against the nation of Germany, but as “local realists” (i.e. naturalists, atheists), the “lunatic physicists” and “Babel-builders” (as Tolkien called them) contributed virtually nothing to the advancement of modern science apart from their papers pertaining to mathematics.

The ultimate conclusions of the Deutsche Physik (‘German Physics’) were proven empirically and have therefore never been in dispute since the early 1970s. Nevertheless, the Jewish establishment has used politically motivated charges to appeal to the emotional sentiments of the mob in its bid to claim intellectual superiority over the Germans and steal credit for their progress. We read from Wikipedia’s blatantly pro-Jewish article on Werner Heisenberg, for instance, that “As applied in the university environment, political factors took priority over the historically applied concept of scholarly ability.” The implication is that Heisenberg was marginalized by his fellow Germans for supporting the Jewish mathematicians and their theories concerning “local realism,” and that he was therefore a victim of “anti-Semitism” as they allegedly were. However, this completely ignores the well-established fact, which every physicist of the present era knows beyond any shadow of a doubt, that the local realists were wrong and that the German scientists were right, though this does nothing to change people’s minds about whether or not the Jews should have been supported in their quest to build weapons of mass destruction against the scholarly activities of the academic establishment.

The result of this conspiracy is that the scientific establishment has adopted a truth-based paradigm from its observations of particles and their interactions, while Hollywood has adopted an overtly pro-Einstein (and therefore inherently false) interpretation of quantum mechanics based on the pseudo-scientific ideas of men like Stephen Hawking and Carl Sagan. It is not sufficient to say that the Copenhagen interpretation is correct, as it is incomplete, but for Spielberg to consult former American physicist (now full time Hollywood consultant) Kip Thorne for the making of a “scientifically accurate” film about time travel is patently absurd. Thorne was consulted by his friend Carl Sagan concerning the plausibility of the time travel element in the manuscript for Contact (1997), ultimately giving his approval to something which the masses of uneducated moviegoers now perceive is the cutting edge of academic opinion but which, strictly speaking, is impossible.

Kip Thorne was a doctoral student at Princeton University under John Archibald Wheeler who, incidentally, collaborated with Einstein and also took part in Oppenheimer’s Manhattan Project. Wheeler was the man who invented the science fiction terms ‘black hole’ and ‘wormhole.’ His other doctoral students included Hugh Everett who was ostracized by the scientific community on account of his alleged stupidity and failure to grasp the simplest principles of quantum mechanics, perhaps owing to his interest in pseudo-scientific pulp fiction like Dianetics (Scientology). Although he pursued a career in weapons development instead of academia, Everett was known for his many-worlds interpretation of quantum physics which he developed with his mentor John Wheeler.

The many-worlds interpretation is the only one taken seriously by Hollywood. It is based on the notion that the EPR paradox (named for the Jews Albert Einstein, Boris Podolsky and Nathan Rosen) invalidates the Copenhagen interpretation of Niels Bohr and the Deutsche Physik. The contestation of Einstein, Podolsky and Rosen was that the Copenhagen interpretation could not be correct because it assumed what Einstein was to call “spooky action at a distance” concerning the communication between particles which determines their interactions. Writing to Einstein in defense of the quantum theory, Erwin Schrödinger devised a clever thought experiment to address the objections to the Copenhagen interpretation raised by the Jews.

The result of Schrödinger’s famous thought experiment is the necessity of simultaneous realities which are distinct from each other, based on the happening or non-happening of certain events. This essentially amounts to separate timelines being broken off from one original timeline based on divergences in the outcomes of random events pertaining to quantum entanglement (Einstein’s “spooky action,” what we call “synchronicity”) which are known to happen on both the macrocosmic and sub-atomic levels. Schrödinger never intended to suggest that such divergences and the parallel worlds that would ensue from them are real, but the many-worlds interpretation of the Jews in Hollywood blindly assumes it. According to them, this reality is just one of many like it (and many more that are unlike it), and a new one comes into existence every time a different decision is made, which is ad infinitum on the sub-atomic levels.

The problem with all of the quantum mechanics interpretations (other than that they are all based on a paradigm of scientific materialism) is that they suppose differences in “quantum decisions.” The temporal paradoxes pertaining to time travel into the past can only be resolved by assuming that the time traveler has entered a separate reality. For instance, the grandfather paradox (if you go back in time and kill your grandfather, you will not be born, therefore you cannot go back in time and kill your grandfather) is resolved if you understand that killing your grandfather doesn’t make you disappear; it makes some other “you” disappear. This is the major supposition of the physicists behind the military time travel program in the anti-establishment film Source Code (2011), which the filmmakers themselves have obviously rejected.

The truth is that the paradox is not a paradox at all because one can’t change the past. This begs the question of whether the past is the past because you have interfered (including whether you have protected the timeline from interference), or whether you are a pawn in some giant cosmic joke. The difference is between free choice (the illusion of free will) and free will (the ability to create which only becomes a reality with the ability to time travel, because without time travel nothing can come into existence). Schrödinger’s thought experiment necessitates distinct realities because the cat in the experiment is both alive and dead, simultaneously. What needs to be considered is that whether it is alive or dead, it is completely unaware of its death. The living cat has experienced a reality where it was not killed, while the dead cat has not experienced a reality where it was killed. Each reality is based on the two possible outcomes of a self-destruct mechanism, so the one exists as a continuation of the events leading up to it, while the other ceases to exist. Schrödinger’s views have been fully corroborated by scientific experiments, so it is only a matter of time before the people clinging to Einstein’s paradigm accept the implausibility of local realism or die off while the new generation does.

Schrödinger’s thought experiment rightly foretells the near future of Earth. Timelines are not created by quantum decisions, but rather by changes to the timeline which can only be effected by the interference of time travelers from the future whose own past includes the changes (effectively meaning there have been none). Thus there are not an infinite number of realities as Wheeler and Everett supposed, but only as many as have been deliberately or accidentally created by time travelers creating temporal paradoxes. As a matter of fact, the time travelers themselves are only acting in order to ensure that no such interference takes place, except where it is absolutely necessary in order to preserve the timeline (to save the cat from the death trap, so to speak).

So in Hollywood there is the intentional use of the bridge motif to depict the pseudo-scientific idea of a temporal vortex based on whatever Kip Thorn decides is plausible, and then there is the usually unintentional use from the unconscious appeal to archetypes which we can discern from paying attention to entanglement (i.e. synchromysticism). In either case the temporal vortex takes the shape of a toroid and is normally (though not always) represented by a refraction of the full light spectrum, or the colors of the rainbow.



Donne DarkoDonne Darko

A wormhole with an Einstein-Rosen bridge, which is theoretically a wormhole in space controlled by man.

Race to Witch MountainRace to Witch Mountain

Wormholes, that’s it! Interstellar travel is possible using wormholes as a shortcut through space.


I believe that the Machine opened up a wormhole—a tunnel through space-time also known as an Einstein-Rosen bridge.

E.T.: The Extra-Terrestrial

Star Trek: The Motion PictureStar Trek: The Motion Picture



The toroid shape represents the movement of a Möbius strip, signified by the World Serpent Jörmungandr of Norse mythology or the Ouroboros in alchemy. A Möbius strip is a plane with two sides and one face. The shape is caused by the force of gravity centered around the supermassive black hole at the center of the galaxy.

We might imagine a road with two sides and a car traveling on it in one direction. By the time it makes a full circuit, it is on the side opposite where it started. The beginning is also the end in terms of location; it has gone in a loop but must complete another full circuit before it can be said to be in the same place and the same time. To escape the timeloop altogether, it doesn’t suffice to just cross the threshold (i.e., you can’t just go to the end because you’ll just be back at the beginning). The only way off the timeloop is to continue along the timeline, which is to say, to keep moving in the same direction on the same plane until the other timeline diverges from it. If, in the process, events on that timeline prohibit you from surviving to the end (i.e. if the end of the world happens), then you will not experience a loop, but rather a finite timeline segment.

Given the extremely long duration of the timeline in comparison with an individual lifespan, no one will ever experience events on both sides of the Möbius strip unless they have already gained immortality. To such a person, it will still seem like a timeline because of the change in perspective and the continuity of events preceding it. Ultimately what this means is that time travel in forward direction is constant for all creatures experiencing life, and that it is impossible for anyone to travel backward without creating a rift in the timeloop in order to enter the astral plane which sets them somewhere on the other side of it, but when they return it will still be the same reality.

The Möbius shape is used to represent the space between 3D and 4D, where 3D is understood to be the world which we live in and 4D is the astral world which lies beyond the threshold and can only be crossed by getting off the present timeline. 4D is materiality (contrary to popular belief which supposes that 3D is, even though 3D is light and therefore virtuality). In order for the world of 5D (pure thought) to materialize (become matter), it has to cross into the physical realms (3D and 4D), but for 4D to become 3D it needs to pass through the astral plane (travel backward). So in order to cross from 3D to 4D (travel forward), it is also necessary to pass through the astral plane.

At the very end of the world, Earth’s timeline will diverge into separate timelines, one of which will end in destruction, one of which will close the circuit to go back to the beginning, and the other of which will continue as if nothing had happened. None of the groups of people experiencing these different realities will have any awareness of the others.

“But Abraham said, ‘Child, remember that you in your lifetime [timeline] received your good things, and Lazarus in like manner bad things; but now he is comforted here [Heaven], and you are in anguish [Hell]. And besides all this, between us and you a great chasm [the Astral] has been fixed, in order that those who would pass from here to you may not be able, and none may cross from there to us.’” Luke 16:25-26




Then God said to Noah and to his sons with him, “Behold, I establish my covenant with you and your offspring after you, and with every living creature that is with you, the birds, the livestock, and every beast of the earth with you, as many as came out of the ark; it is for every beast of the earth. I establish my covenant with you, that never again shall all flesh be cut off by the waters of the flood, and never again shall there be a flood to destroy the earth.” And God said, “This is the sign of the covenant that I make between me and you and every living creature that is with you, for all future generations: I have set my bow in the cloud, and it shall be a sign of the covenant between me and the earth. When I bring clouds over the earth and the bow is seen in the clouds, I will remember my covenant that is between me and you and every living creature of all flesh. And the waters shall never again become a flood to destroy all flesh. When the bow is in the clouds, I will see it and remember the everlasting covenant between God and every living creature of all flesh that is on the earth.” God said to Noah, “This is the sign of the covenant that I have established between me and all flesh that is on the earth.” Genesis 9:8-17


X-Men: The Last StandX-Men: The Last Stand

Charles [God] always wanted to build bridges.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

-There is a corridor, and that corridor is time. It surrounds all things, and it passes through all things.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

You can’t see it; only sometimes, and it’s dangerous.
-This corridor—can you enter it?

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

-No, not in the way you imagine. You cannot enter into time, but sometimes time can try to enter into the
present, break in, burst through and take things—take people.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

The corridor is very strong. It has to be. But sometimes in some places it becomes weakened, like fabric—worn
fabric—and when there is pressure put upon that fabric, time reaches in and takes out what it wants.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

-The corridor—have you ever seen it, seen inside it?
-Not properly. I did catch a glimpse once, on a ship.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

-A ship [ark]?
-Mmm [yes], in the middle of the sea. Anyway, it was a simple operation. We fixed it. It was like looking
through frosted glass. All the images were blurred or broken.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

It’s very, very big, and it’s very, very dangerous. There are things—creatures, if you like—from the very
beginnings of time and the very end of time.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

-And these creatures have access to the corridor. They’re forever moving along it, searching, looking, trying to
find a way in. They’re always searching, always looking.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

-For the hole in the fabric?
-Yes, but they must never be allowed in—never, ever. Tonight we stopped them, held them, took the trigger
away from them—the final ingredient.

Sapphire and Steele (TV Series)Sapphire and Steele (TV Series)

-What’s in that corridor can take time backwards or forwards or sideways or any way, if it’s allowed to.
Stopping it whenever it happens is our job.

The Hitchhiker’s Guide to the GalaxyThe Hitchhiker’s Guide to the Galaxy

Did it work? Are we there?


We will allow the reader to infer what he will from the epilogue of this book, but first we must finish telling the story. As the symbols continue to become more abstract and the implications more profound, it will be necessary to keep the left eye open.


[Out of a Rainbow]

[1948 (Israel)]