The Hollywood Agenda

The Cube

The Cube





The cube motif is prevalent enough to have drawn the attention of many synchromystics. It is no wonder, considering the importance that Spielberg places on it in Transformers (2007):



Before time began, there was the Cube.



The Jews in Hollywood aren’t the only ones who have latched onto it, either. It is depicted, for instance, as the salvation of mankind in the UK film Sunshine (2007):





The cube is perhaps the most important of any of the exoteric symbols, and the breadth and scope of its meaning encompasses far more than any other. It is often the tie that binds all of the symbols together—especially those of the Rainbow Bridge, the artifact (or chest or box), the numbers 27 and 42, and Sirius or Venus. To “solve” the cube is essentially to unlock the secrets of the universe, so to do so is one of the main preoccupations of synchromystics. This graphic depiction from Fantastic Four (2005) suggests that the atomic nucleus is contained within the cube, i.e., that it is a representation of space (where the item in Victor von Doom’s left hand represents time):


Fantastic Four




Notice the similarity between the company logo in Duplicity (2009), pictured above, and the logo of Nintendo’s Game Cube (GC, Galactic Center):




Marvel has had a fascination with the cube for decades. Here is Thanos (the personification of the archetype of death) trying to get his hands on a Cosmic Cube in one of his bids to take over the universe, from Captain Marvel #28 (Sept. 1973):




Thanos is a Titan (i.e. from Saturn’s moon Titan). The Titans are a race of “Eternals” which Marvel’s Jack Kirby created after being inspired by the science fiction of Arthur C. Clarke and pseudo-science of Erich von Däniken, et al. The Titans and the Eternals are basically the “gods” from Kirby’s imagination—Titan could just as easily mean Tartarus as the moon which now bears the name.

The association between the Titan Eternals like Thanos and Lucifer is evident in the individual Marvel characters and their associations. Pictured here from left to right are Kronos (the Greek Lucifer), his son Mentor (the father of Thanos), and Loki (the Norse Lucifer):




The Cosmic Cube makes its first on-screen appearance in the post-credits scene of Thor (2011), where S.H.I.E.L.D.’s executive director Nick Fury is standing with Loki in an underground room and attests to the cube’s “infinite power.” (Nick Fury is not the head of S.H.I.E.L.D., but reports to a 12-member council whose membership is unknown even to him. In Thor he refers to them only as people who are much smarter than he is. In the real world, this council corresponds to the mysterious MJ-12, called Majesty Twelve or Majestic Twelve.) This is a hint that the Cube is going to have a significant role in upcoming Marvel films.

In Captain America: The First Avenger (2011), the next Marvel film released after Thor, the cube makes another appearance, where it is described as a “tesseract,” which is to say a 4D cube. Along with Thanos, Captain America’s arch-nemesis Red Skull is the other arch-villain who consistently seeks the Cosmic Cube. The tesseract had already appeared in Iron Man 2 (2010), where it is described as “the key to the future.” Kronos and Mentor also make their first appearance in Iron Man #55 (Feb. 1973). Loki is, of course, Thor’s arch-nemesis in the Thor lines of comics. Captain America, Thor and Iron Man are all Avengers, and all will be featured in The Avengers, due out next year (2012).


Iron Man 2

Everything you’ll need in the future can be found right here.


These symbolic references could not possibly be more intentional. Marvel’s production president Kevin Feige, who prior to the release of Captain America had been responsible for the production of 20 Marvel films since X-Men (2000), has gone on record as saying, “We’re linked through this Tree of Life [World Tree] that we’re unaware of. It’s real science, but we don’t know about it yet. The Thor movie is teaching people about that.” So it’s not just the imagination of the Jews in Hollywood. In fact, if you see a tesseract in a film, you can bet it’s not a pro-establishment film. We offer the climactic scene of S. Darko (2009) as an example:


S Darko



Other anti-establishment films are ripe with cube imagery, such as Hackers (1995) and The Box (2009):



The BoxThe Box



In The Hitchhiker’s Guide to the Galaxy (2005), Zaphod Beeblebrox (Sam Rockwell) has cut out his negative personality traits (i.e. his ego) by way of a lobotomy in order to win the galactic presidential election. The scene where Deep Thought reveals that 42 is the answer to everything is preceded by Zaphod’s introduction, which associates the story with Magrathea (M) and an “imagine cube.”


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

Anyway, when I saw what I’m about to show you, that’s when I realized why I had to do what I did to my brain.

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

[The Commercial Council of Magrathea: Magrathean Public Archive]

The Hitchhiker’s Guide to the Galaxy



Magrathea (an ancient planet in Douglas Adams’ universe where the critical elements of the story take place) is a combination of ‘Magra’ and ‘Thea’ (Greek for ‘goddess’), the Titan goddess of sight and the mother of Helios (the sun). In the Marvel film Blade (1998), La Magra is the name given to an extremely ancient and powerful vampire called “the blood-god” who can only be resurrected or reincarnated by the power of the council of 12 vampire patriarchs (i.e., Majesty Twelve). By implication, La Magra means ‘the Blood’ (i.e., the coven of purebloods, the Incunabula or Black Nobility of Europe), Magrathea means ‘the Blood Goddess’ (i.e., Venus, the goddess worshiped by the Incunabula), and the Commercial Council of Magrathea is MJ-12.

Hitchhiker’s Guide also represents an “infinite improbability drive” as a cube—this time a red one, whereas the imagine cube is a blue one. The protagonists need the blue one to learn about Magrathea and they need the red one to get there. These colors are always used together in Freemasonry, as the Craft (AASR) lodges are called the Blue lodges and the Chapter (Royal Arch) lodges are called the Red lodges.


The Hitchhiker’s Guide to the Galaxy

Even an infinite improbability drive requires coordinates.


A cube is also used in Dude, Where’s My Car (2000) to symbolize the “continuum transfunctioner” (i.e., the device which converts coordinates from one coordinate system to another, thus making space-time travel possible—basically the same thing as an infinite improbability drive):


Dude, Where’s My Car?Dude, Where’s My Car?

-The continuum transfunctioner is a very mysterious and powerful device …

Dude, Where’s My Car?Dude, Where’s My Car?

-… and its mystery is exceeded only by its power.


Pike explains the mystery of the cube as follows:

The rough Ashlar is the PEOPLE, as a mass, rude and unorganized. The perfect Ashlar, or cubical stone, symbol of perfection, is the STATE, the rulers deriving their powers from the consent of the governed; the constitution and laws speaking the will of the people; the government harmonious, symmetrical, efficient,—its powers properly distributed and duly adjusted in equilibrium.

If we delineate a cube on a plane surface thus:




We have visible three faces, and nine external lines, drawn between seven points. The complete cube has three more faces, making six; three more lines, making twelve; and one more point, making eight. As the number 12 includes the sacred numbers, 3, 5, 7, and 3 times 3, or 9, and is produced by adding the sacred number 3 to 9; while its own two figures, 1, 2, the unit or monad, and duad, added together, make the same sacred number 3; it was called the perfect number; and the cube became the symbol of perfection.

Produced by FORCE, acting by RULE; hammered in accordance with lines measured by the Gauge, out of the rough Ashlar, it is an appropriate symbol of the Force of the people, expressed as the constitution and law of the State; and of the State itself the three visible faces represent departments,—the Executive, which executes the laws; the Legislative, which makes the laws; the Judiciary, which interprets the laws, applies and enforces them, between man and man, between the State and the citizens. The three invisible faces, are Liberty, Equality, and Fraternity,—the threefold soul of the State—its vitality, spirit, and intellect.


Here we see the numbers 3 and 12 associated with divine or cosmological order. The 3 visible faces correspond to the 3 dimensions and the 9 external lines correspond to the 9 realms of Norse mythology. What this also hints at is that the number associated with the cube is 27 (3x9).

What the cube represents in reality is an unfathomably complex arrangement of electrons and subatomic particles in a sort of 3D grid-like pattern. These particles, in turn, have numeric values based on their electric charges and the relative values of atomic mass and density. For instance, a hydrogen molecule’s atomic number is 1 and a helium molecule’s atomic number is 2, and so on. The basic hydrogen isotope (1 proton, 0 neutrons) bonds with 1 electron, while a helium molecule has 2 electrons in its electron shells. Hydrogen comprises approximately 75% of the visible universe (including stars, in the form of hydrogen plasma) and helium comprises the rest up to about 99%. The more complex arrangements occur in the molecules of the higher, unstable (radioactive) elements and in the organic carbon-based life forms for which the universe was designed—God’s ashlars. If we think of the universe in these terms, as a complex arrangement of electrons and particles with numeric values which determine how they interact, then it is, by our definition, a constantly refreshing spectral image of happenings based on fluctuations in the arrangement of the number grid—a virtual reality.


The MatrixThe Matrix

Something’s wrong with the world. You don’t know what, but it’s there. … You can see it when you look out your window

The MatrixThe Matrix

or when you turn on your television. You can feel it when you go to work,

The MatrixThe Matrix

when you go to church … when you pay your taxes.


The term ‘matrix’ is misleading. Our universe is not a matrix, but rather an active-matrix display. The only reason it exists at all is to give us something to look at so that we can accrue experiences over time—experience being the basis of memory or consciousness. Space does exist but time does not; it only serves the purpose of fostering the creation of memories through our associations of illusory events.



He’s trapped in some kind of illusion.

Star Trek VII: GenerationsStar Trek VII: Generations

I know how real this must seem to you, but it’s not. We are both of us caught up in some kind of temporal nexus.

The MatrixThe Matrix
The Matrix

This is the world that you know. It exists now only as part of a neural-interactive simulation that we call the Matrix.

Little FockersLittle Fockers

-What’s the name of this place?
-The Early Human School.
[Earth acts as an incubator of consciousness for ascending the World Tree.]




Notice the US Route 42 sign in the background here, in Hackers (1995). Hackers takes place almost entirely in New York City, so US 42, which runs between Cleveland, Ohio and Louisville, Kentucky, has no relevance to the film. Its northern terminus in Cleveland also serves as the western terminus for US 322 and US 422. (The significance of this will become apparent later, but suffice it to say that 322 is the number which signifies 3D and 422 represents 4D.) This sign was clearly chosen because 42 is the number associated with the “magic cube,” a certain type of 3x3x3 (27) matrix where all of the horizontal and vertical corridors and all of the lines passing through the central cube add up to 42. The magic cube is the 3D equivalent of a magic square (a 3x3 matrix), wherein the sum of the numbers of each row, each column, each pillar, or each diagonal is equal to the same number (15, if ordered 1 to 9), just like a Sudoku puzzle.

The nature of the cube (or matrix, or grid) is regarded as the all-important question of exoteric symbolism. The answer is encoded in the numbers of the magic square and the magic cube.


The MatrixThe Matrix

-It’s the question that drives us.
-What is the Matrix?


This seemingly random, out of place attention is given to a cube while the speaker makes a vague reference to Death at 42 minutes into Final Destination (2000):


Final Destination

It just feels like it’s all around us.


The symbol of the Grid in Tron: Legacy (2010) is a hemicube (like Pike’s perfect ashlar) labeled U142:


Tron: Legacy



In Live Free or Die Hard (2007), the total number of the circuits in the main power grid (i.e. display matrix) powering the United States is 27:


Live Free or Die HardLive Free or Die Hard



Photons (light particles) become kinetic energy (motion, and therefore mass, as all particles are energy quanta vibrating at relatively low frequencies) when they are set upon the potential energy of force fields (gravity wells responsible for the creation of space and distance), thus creating a holographic projection or virtual reality. That this arrangement is systematically ordered throughout the universe and constantly refreshing (faster than we can possibly comprehend), giving us the illusion of continuity and perpetuity, necessarily means that there is an eternal, omniscient intelligence behind it—a central processing unit (CPU) with the ability to think and reason as well as carry out functions. These are traits which we only associate with sentient beings (people), or with theoretical artificial intelligence programs which mimic consciousness. (Technically all creatures are artificial, so any “artificial” or non-biological entity’s intelligence is no different from regular connotations of intelligence.)


Final Destination 3Final Destination 3

A roller coaster is just elemental physics, a conversion of potential energy to kinetic energy.

Star Trek IX: InsurrectionStar Trek IX: Insurrection

-It’s a holographic projection.
-This is a computer-driven image created by photons and force fields.


The nature of this extremely intelligent design is seen as a good thing by those who appreciate its brilliance and necessity, or as a bad thing by those who would rather live in a world without suffering, or one which would be based on their own whims rather than on the need for established order and consensus value perceptions. The major premise of the Manichaean religion is that the Christian God created a world with suffering in it and that it is therefore evil. Manichaeism is predicated on the notion that our conscious selves are immortal emanations of the King of Light, that we have been deceived and trapped in this world of darkness and depravity, and that we need to die in order to free the light particles which constitute our higher selves. The Illuminati therefore think they are doing everyone a favor when they senselessly murder people by the millions, as that is what “God” (Lucifer) in his infinite wisdom has deemed best in his eternal struggle against the “King of Darkness,” Yaldabaoth (Yahweh).

Of course, this is all absurd and full of contradictions even apart from a true cosmological understanding of our universe based on quantum mechanics. For instance, if we are trapped in 3D, which is to say, in light, then it is Lucifer as the light-bringer or King of Light that is the one enslaving us (evidenced also by the actions of the Illuminati who claim to work on his behalf), but hopefully there isn’t enough consideration being given to this perversion of the natural order to merit a scientific rebuttal of its metaphysical claims. Nevertheless, Manichaeism’s moral dualism is upheld every time this reality is spoken of as a hell or a prison against the Luciferian doctrine of “free will” (i.e., freedom of choice without the natural law of consequence, the lie of Eden).


Taxi Driver

You’re in a hell, and you’re gonna die in a hell like the rest of them!


The nature of the virtual reality as a holographic projection using force fields and an active-matrix display is depicted as a sort of prison where humans are bred and cultivated for slaughter in The Island (2005):


The Island



In The Matrix (1999), Neo is shown the real world by going through a looking glass and coming out the other end of the wormhole a physical being (rather than the digital projection he is accustomed to associating himself with). The fact that it is called a “prison” intended to “blind you from the truth” (as opposed to a home/world intended to produce consciousness), is the clearest reference which the Hollywood filmmakers are ever likely to make to their overtly Manichaean perspective.


The MatrixThe Matrix

It is the world that has been pulled over your eyes to blind you from the truth

The MatrixThe Matrix

that you are a slave. Like everyone else you were born into bondage,

The MatrixThe Matrix

born into a prison that you cannot smell or taste or touch. Unfortunately no one can be

The MatrixThe Matrix

told what the Matrix is. You have to see it for yourself.


The same idea of technologically induced slavery and the same metaphors of machines (light projectors) and mirrors (force fields) is used in Surrogates (2009):



Look at yourselves. Unplug from your chairs, get up and look in the mirror.


What you see is how God made you. We’re not meant to experience the world through a machine.


Those machines walking around out there—they’re a lie.


The term ‘surrogate’ denotes a proxy (body) by which a conscious entity (mind) interfaces with the consensus reality (3D) and interacts with other proxies on the server (world). In computer networking, a surrogate or reverse proxy is essentially the same thing as the Codified Likeness Utility (CLU) in Tron (1982) and Tron: Legacy (2010), and it is used to the same effect in Surrogates as well as other popular science fiction films such as The Matrix and Avatar (2009). In Hinduism, the word avatar denotes a manifestation or incarnation of a deity as an apparition in the virtual reality. This implies descent into the lower realm (3D). It has come to be used to describe the graphical representations of computer users’ alter egos, especially on the Internet, but also in a wide range of role-playing games and video games. While computing has only made digital avatars available for a few decades, the idea of a machine as an avatar has been in constant use since Fritz Lang’s Metropolis (1927), and in some ways since Mary Shelley’s Frankenstein, as Frankenstein’s monster represents Prometheus (the King of Light).

Several anti-establishment films also employ the cube as a prison motif, with the difference being that it is the Illuminati who have made it so. The Cube trilogy in particular is a misanthropic if not dystopian look at the artificial reality which they have imposed on the masses by way of the autocratic military regime’s mind control programs. In this mental prison, it is difficult to tell where the line is drawn between what is real and what is imaginary, or what is of an extraterrestrial nature and what is manmade.

Cube (1997) and its sequel Cube²: Hypercube (2002) take place in 2 separate secret government facilities which are based on the 3D cube and 4D cube (tesseract) designs, respectively. Each of these mimics the higher dimensional grid patterns, as evidenced by the magic number associations. Each cubical chamber within the larger cube has a door in the middle of each of its walls for a total of 6 doors. The smaller cubes pass through a series of alternating coordinates so that the people inside never know where they are in relation to the outside. These people are prisoners who wake up with no memory of how they got there and no knowledge of how to evade the booby traps which are designed to systematically kill them.




The whole premise of these films is a negative depiction of our world, and especially of the average person’s willful ignorance and apathy. The first Cube film features a few lengthy discussions between the prisoners, filled with sarcasm and unanswered questions about how the circumstances they have found themselves in could be happening to them. Worth knows because he helped build it, Holloway believes it because she is conspiracy-conscious, and Quentin is in disbelief because he is naïve. Implicit in the dialogs is that the Cube is actually the New World Order, the smooth ashlar of the Masons. It is later revealed in the series that they have all signed a contract (deal with the Devil) that has put them where they are.

According to Holloway, “Only the military-industrial complex could afford to build something this size.” Quentin, referencing Scaramanga, the villain in The Man with the Golden Gun (1974), says, “It’s some rich psycho’s entertainment.” Holloway informs Quentin that everyone who does a job, including him, contributes to the system: “That’s how they stay hidden. You keep everyone separated so the left hand doesn’t know what the right hand is doing. The brain never comes out in the open. It’s all the same machine, right—the Pentagon, multinational corporations, the police? If you do one little job—you build a widget in Saskatoon, and the next thing you know it’s two miles under the desert, the essential component of a death machine.”

Worth informs Holloway that there is no actual conspiracy and therefore that the New World Order isn’t nearly as ordered as the Masons would have us believe: “Nobody is in charge. It’s a headless blunder operating under the illusion of a master plan. Can you grasp that? Big Brother is not watching you. … I looked, and the only conclusion I could come to is that there is nobody up there. … I mean, somebody might have known sometime before they go, they got fired, or voted out, or sold it, but if this place ever had a purpose, it got miscommunicated, or lost in a shuffle. I mean, this is an accident, a forgotten perpetual public works project. Do you think anybody wants to ask questions? All they want is a clear conscience and a fat paycheck. … Nobody wants to see the big picture.”

Each of the characters has a specific trait or talent which, if used together, would enable the group to escape. The mystic of the film is Leaven, a young woman with a conscience who is also a mathematical genius. In this case, the name Leaven implies that her traits are sufficient to save them all, as Paul says that “a little leaven leavens the whole lump (Galatians 5:9, 1 Corinthians 5:6).

Leaven eventually comes to understand the dynamics of the active matrix by observing the numbers on the passageways to the rooms, inferring that these rooms are permutations (matrix coordinates set in a regularly rearranging order) as well as how many rooms there are. The implication is a reference to the “end of the world” astronomical conjunction theme and an explanation of the only possible means of escape: “The room starts off as a bridge, and then it moves its way through the maze, which is where we ran into it. But at some point, it must return to its original position.” The bridge, or exit, is only a bridge “for a short period of time. This thing is like a giant combination lock. When the rooms are in their starting position, the lock is open. But when they move out of alignment, the lock closes. With a structure this size, it must take days [thousands of years] for the rooms to complete a full cycle [precession].”

When Leaven is asked how much time there is left before the bridge opens she hints that to find where they are, they can either count from the beginning or count down to the end, implying that the cube represents a timeline in space. “I don’t know. To find the original coordinates, the numbers are added together. To find the permutations, they’re subtracted from one another. That’s it! The numbers are markers, points on a map, right? How do you map a point that keeps moving? … Permutations—a list of all the coordinates that the room passes through, like a map that tells you where the room starts, how many times it moves, and where it moves to.”

This analogy is extremely relevant to End Times prophecy, as the permutations have been recorded in the heavens, and their explanation in scripture. The destination is thought to be the Galactic Center, or at least the plane. From Earth’s perspective, the Sun at solstice will be aligned to the Dark Rift of the Galactic Center for the first time in nearly 26,000 years in 2012. (Technically, the transit of the Sun across the Galactic Center started in 1980 and will finish in 2016.) Though it will not be a perfect alignment, the idea of our sun being in alignment with the Galactic Center at winter solstice and the rarity of the event make for a very auspicious calendar date, especially considering all the hype concerning the Mayan calendar.

This is why the number 27 is associated with the bridge; our solar system is regarded as passing through 26 permutations (26 millennia) before returning to the “Source.” In Cube, the surrounding cubes are all booby-trapped, so the only way to remain safe is to return to the cube of origin and wait until it passes through its normal cycle, at which point it becomes the “bridge” and Leaven and her group will have 1 minute to escape before the “clean sweep” is initiated. Finding the number (27) is tantamount to “solving the cube,” which means knowing where you are on the timeline, thereby enabling your escape (to another dimension or timeline).

“The numbers tell you all that?” Leaven is asked. “I don’t know,” she replies. “See, I’ve only been looking at one point on the map, which is probably the starting position. All I saw was what the cube looked like before it started to move.”

“Okay, so it’s moving. How do we get out?”

“27! … I know where the exit is!”

Other films also portray the “prison” as a 2D hemicube, 4D tesseract or 3D magic cube with 27 constituent parts. The French science fiction film Dante 01 (2008) uses all three:


Dante 01Dante 01

Dante 01Dante 01



The main hacker in Sneakers (1992), the plot of which centers around a “black box” which is an all-powerful matrix decryption device, tells us that it’s not so much a matter of reality as it is of perception of reality (i.e., that the cube is a symbol rather than a mere item in these films, and that it represents our reality):



While in prison, I learned everything in this world, including money, operates not on reality … but on the perception of reality.

Star Trek IX: Insurrection

[There is] nothing more complicated than perception.

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

Right. Perspective.


Perspective may account for how we think and feel about our situation, but regardless of our perspective we cannot deny that we are trapped in 3D.


Resident Evil Afterlife

We’re all trapped here one way or another.


This notion of a “trap” depends on someone benefiting from us being here. If we are trapped in time and space, then the beings who have trapped us must not be. In Sapphire & Steel, these entities are called “Transient Beings.”


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

Space. Hours will become days and months, and years will become thousands of years. There is nothing but
space. … This place is a trap for us! Transient Beings have been sent to hunt us down!


Hellboy (2004) introduces Rubik’s Cube (which is comprised of 27 smaller cubes) as a symbol of the entrapment when Abe Sapien (or Conscious Ape, i.e., Homo sapiens, goy) remarks that he has been struggling with the puzzle for more than 2 full decades (i.e., since 1984, as the film was released in 2004) and hasn’t solved it yet (i.e., he still only has a 2D perspective):



Three decades, I’ve only completed two sides, and I’m stuck here.


The Rubik’s Cube motif is also used as a test of intelligence in some films like Armageddon (1998) and Mindhunters (2004), or as a seemingly random object in the background of an anti-establishment film which identifies it as such, as in the case of Donnie Darko (2001) and Cargo (2009):




Donne DarkoCargo



In WALL-E (2008), the title character carries a Rubik’s Cube around with him but is unable to solve it:



That Sunday shine is a certain sign …


A Rubik’s Cube keychain acts as the sign by which Ray Koval (Clive Owen) and Claire Stenwick (Julia Roberts) are supposed to identify each other as corporate spies in Duplicity (2009). Notice that Claire’s is solved and Ray’s is not. This is because she has the information he is seeking.



Star Trek IV: The Voyage HomeStar Trek IV: The Voyage Home

-It would take years just to figure out the dynamics of this matrix.
-Yes, but you would be rich beyond the dreams of avarice.


As described earlier, a “magic square” is a square grid with integers assigned to its squares in such a way that the sum of the integers in each row, each column, each pillar, and each diagonal of the corners is equal to the same number, which is called the “magic constant.” As we have seen, Pike hints that there is something significant about 3 (the number of visible faces) and 9 (the number of visible lines) in the 2D representation of a cube. 3 times 9 is 27, the number of smaller cubes in a 3D magic square (a 3x3x3 cube). A magic cube is therefore a 3D magic square. This is the basic idea behind the significance of Rubik’s Cube which has 26 outer cubes connected by a 27th central cube.




The difference between Rubik’s Cube and a magic cube is that a magic cube is “solved” when the numbers are aligned a certain way, while a Rubik’s Cube assigns color-coded groups to its constituent pieces, which means that all 26 pieces must necessarily be solved at once, rather than just 9 on each side. As shown in the image above, the sum of each horizontal, vertical or diagonal line of 3 integers ranging 1 to 27 in a magic cube is 42—the number which we have already seen is considered the “answer to everything.” As far as 42 is the number denoting the Galactic Center, 27 is considered to be the central cube of a 3x3x3 magic cube. Alternatively, 14 can be considered the middle cube, as 14 is the number halfway between 1 and 27. In any case, 42 is the “cube” and 27 is the “bridge.”

As the number of the central cube, 27 is also the number (together with 42) for the Galactic Center. In The Matrix Reloaded (2003), there are 27 blocks on the power grid surrounding the Source. In 28 Days Later (2002), a lethal virus has ravaged the planet for 27 days before the protagonist wakes up from a coma, a theme repeated in the sequel 28 Weeks Later (2007). It also just so happens that there are 27 books in the New Testament of the Bible, the last of which is the Revelation/Apocalypse of St. John.

These are just a few examples. There is an overabundance of evidence for the significance of 42 and 27 in these films, much of which we have documented in appendix A. The main thing to understand here is that the cube is a symbolic representation of the universe of 3D, and that “solving” it opens a gateway to another dimension. Clive Barker puts the cube into his films as Lemarchand’s Box—most notably the Lament Configuration which acts as a key to open a door to Hell in Hellraiser (1987) and its many sequels. Also, it is a cube in the shape of the Sri Chakra or Sri Yantra (‘sacred/holy machine’) which transports the time traveling white rabbit to the Magi children in The Last Mimzy (2007). It is described, along with its specific arrangement of geometrical patterns, as an astrological configuration (i.e., an alignment or conjunction).


The Last MimzyThe Last Mimzy

This was the last mimzy.

The Last MimzyThe Last Mimzy

It’s a symbolic representation of the universe. This is actually an astrological configuration.

The Omega Code

-Life is never what it seems.
[Life is like Rubik’s Cube]

Monsters vs. AliensMonsters vs. Aliens

Don’t think of this as a prison. Think of it as a hotel you never leave because it’s locked from the outside.

I, RobotI, Robot

You’re looking at the result of clever programming—an imitation of free will.

The Matrix RevolutionsThe Matrix Revolutions

That’s it. That’s the secret. You’ve got to use your hands [exist in a tangible world].


The Sri Chakra is sometimes called the Nava Chakra because it has 9 (3x3) levels of interlocking triangles. (Nava means ‘9’ in Sanskrit.) This is yet another indication that the cube of 27 parts is an archetypal image rather than a Masonic invention, as 9 (chakras) times 3 (triangles) equals 27. Solving the cube entails recognizing that this imagery only makes sense in multiple dimensions, as opposed to the consideration we would otherwise give it from our finite 3D perspective. The difference is between free will by means of consciousness and the illusion of it by means of unconscious freedom of choice, which is neither freedom nor choice at all. It has been designed this way specifically to ensure that God’s will can never be contravened by a creature as flawed and arrogant as mortal Man.



Look. Whoever did this really knows his engineering.


An alien intelligence has got to be more advanced, and that means efficiency functioning on multiple levels


and in multiple dimensions.


Yes, of course!

Dude, Where’s My Car?



WALL-E (2008) takes the “solving the cube” motif far enough to plainly associate it with illumination or enlightenment. As she digs through WALL-E’s belongings, EVE demonstrates that she is able to power a light bulb simply by touching it as well as solving the cube with incredible speed and ease.






Both items of illumination are offered to WALL-E, not in the Garden of Eden sense which will bring him to ruin (as that has already happened to Earth in the film), but in the sense that she is going to save the world with her innate goodness and clever intellect by accomplishing the mission she came to Earth in order to complete.





It is important to remember that some of these films (including WALL-E) are intended to teach whoever is capable of being taught, while others, such as the Star Trek series, are intended to deceive and lead us astray. Others, such as Contact (1997), reveal many of the same clues but do not fall into either category. In all cases the language they use is self-evident and we only need to pay attention and decode it to know exactly what is going on in this part of the universe.



Within the layering [dimensions] of the Matrix we have these basic equations. So with this very elementary foundation, they have given us a kind of


general scientific vocabulary. We now have the symbols for ‘true’ and ‘false.’


This was the key that allowed us to decipher their language.

Star Trek IX: InsurrectionStar Trek IX: Insurrection

-Why would anyone want to create one [a symbolic reference] of our village [world]?
-If you were following children and discovered this ship [bridge]

Star Trek IX: InsurrectionStar Trek IX: Insurrection

-I may have been shot to protect the secret of its existence. Why would they duplicate this village except to
deceive the Ba’ku [‘people’ in the film, ‘souls of people’ in ancient Egyptian]?

Star Trek IX: InsurrectionStar Trek IX: Insurrection

-To deceive us?
-To move you off this planet. You’d fall asleep [die] in your village,

Star Trek IX: InsurrectionStar Trek IX: Insurrection
Star Trek IX: Insurrection

and wake up on this flying holodeck [bridge (of a ship)], transported en masse, and in a few days, relocated [reincarnated] on a similar planet
without ever realizing it.


In fact what the powers that be want to do is kill us, or at least prevent us from escaping our impending doom which they are actively working to bring about. “Fall asleep” and “die” are used synonymously in scripture. The same imagery is used in Tron (1982), where the “holodeck” is a “game simulation transport” and the destination is the virtual world’s “central processing unit” (CPU), i.e. Queen’s Chamber or Galactic Center.



Prepare hangar for game simulation transport. Attention all units: lock onto matrix code.


This solar sail simulation will take us across the game sea, out of this domain, back into the central computer.


This imagery is clearly intentional. The Borg ship in Star Trek: First Contact (1996) is a giant cube which creates a temporal vortex to trap the pioneers of mankind on Earth just before they are about to achieve interstellar flight capability, so that Earth can be “assimilated.” The green and red colors of the lasers are also in keeping with the imagery we have noted previously.


Star Trek VIII: First ContactStar Trek VIII: First Contact


What the box wants, the box gets.


In The Golden Compass (2007), the box is a device which the Scholars are using to divide children from their daemons (souls, or ba’ku):


The Golden Compass



Notice Rubik’s Cube in the background when Flynn is describing the Grid in Tron: Legacy (2010), where a program’s disk is the symbolic reference point of its programming code (i.e., its memory):


Tron: Legacy

There were these disk battles fought in spectacular arenas.


God’s disk (represented by the cube or matrix motif) is always considered the ultimate weapon which can turn the tide of the war between good and evil. Morgoth (Lucifer) covets the Secret Fire (the Holy Spirit as the power of creation) in J.R.R. Tolkien’s Middle-earth but is unable to attain it, just as “the light shines in the darkness, but the darkness has not understood/overcome it” (John 1:5). This eternal battle for control of the illumination of God’s knowledge is the central conflict in most films which employ this exoteric symbolism, such as Transformers: Revenge of the Fallen (2009) and Dude, Where’s My Car? (2000).


Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

And he wanted to kill you all by turning on that machine [the Sri Chakrachakra means ‘machine’ or ‘disc’]. The only way to activate it is with a legendary key

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

called the Matrix of Leadership. A great battle took place over possession of the Matrix.

Dude, Where’s My Car?Dude, Where’s My Car?

It’s all that stands between the universe and destruction.


The excuse that turning on this machine will bring about the end of the world is exactly what the Illuminati think legitimizes their part in the war against God and the mechanisms of creation. Nowhere is this more evident than in the blatantly Manichaean dialog of Spielberg’s Transformers (2007) and its sequels which pay homage to Optimus Prime (the Primal Man, a.k.a. Adam Kadmon/Lucifer) and ignore his role as the evil harbinger of death in order to establish him as the selfless savior of mankind, thereby establishing that it is, in fact, the Antichrist which is being venerated, and that God is getting the blame for the Fall of Man. Of course, the filmmakers make no mention of the fact that it is they who are intentionally trying to bring about the end of the world through their malicious actions, or even that it is the Autobots (‘self-functioning robots,’ the Watchers) led by Optimus Prime which have brought their celestial conflict to Earth in the first place. It is acknowledged that it is “our [the Autobots’] mistakes” which are the cause of the crisis, but not that they fully intend to escape the impending doom and that the innocent people of Earth are the scapegoats. The most pertinent dialog begins with the supposition of free will (the lie of the Garden of Eden) to legitimize the notion that the Creator is evil simply for allowing the creation to be restricted by consequence:



-Freedom is the right of all sentient beings. You all know there is only one way to end this war.


We must destroy the Cube. If all else fails, I will unite it with the spark in my chest.


-That’s suicide. The Cube is raw power. It could destroy you both.


-A necessary sacrifice to bring peace to this planet. We cannot let the humans pay for our mistakes.


The same analogy is made in The Incredible Hulk (2008). Instead of the neo-Manichaean disinformation we are given in Transformers and other overtly Luciferian films, Hulk provides a far more realistic view of what the powers that be are up to and of what the solution to the crisis they’ve created is. Contrast this with the Manichaean perspective offered in The Matrix (1999):


The Incredible HulkThe Incredible Hulk

-They don’t want the antidote! They want to make a weapon … we’ve got to destroy it!

The Incredible HulkThe Incredible Hulk
The Incredible Hulk

You don’t understand the power of this thing. It’s too dangerous. It can’t be controlled.
-This is Promethean fire!

The MatrixThe Matrix

When the Matrix was first built there was a man born inside. It was he who freed the first of us.

The MatrixThe Matrix

As long as the Matrix exists the human race will never be free.

The MatrixThe Matrix

After he [the Primal Man, Prometheus/Lucifer] died the Oracle prophesied his return,

The MatrixThe Matrix
The Matrix

and that his coming would hail the destruction of the Matrix, end the war, bring freedom to our people.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

-The AllSpark is destroyed, and without it our race [the Archons of Darkness] will perish.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

-You have much to learn, my disciple. The Cube was merely a vessel.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

Its power, its knowledge, can never be destroyed. It can only transform.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

-How is that possible?
-It has been absorbed by the human child [Christ].

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

The key to saving our race now lies within his mind.
-Well, then, let me strip the very flesh from his body!

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

-And you will, my apprentice, in time. For millennia I have dreamed of my return

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

to that wretched planet where I too was once betrayed by the Primes I call my brothers.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

Only a Prime can defeat me, and now only one remains.
-Optimus … he protects the boy.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

-Then the boy will lead us to him, and revenge will be ours.


Note that the Luciferians have laid claim to Christ. It is their contention that the Antichrist (called the Luminous Jesus in Manichaean literature, i.e. Mithras) leads the way to Lucifer and therefore “freedom,” while the Christ (the Suffering Jesus) leads the way to Yahweh and therefore “enslavement” and death. This is a total inversion of the natural depiction conveyed by the Christians’ scriptures, where it is the “Suffering Jesus” who is the son of God and the savior of the human race. In order to establish their Luminous Jesus over the Suffering Jesus (i.e., the astral projection of Horus/Mithras over the natural person of Yahshuah/Mikhael), they have to lay claim to the identity of the historical person of Christ. It is not enough to simply grab him either; they have to actually destroy his identity altogether in order to rid us of the memory of him.

This subversion was formalized during the First Council of Nicaea in 325 AD, and, as the Jewish Toldoth Yeshu explains, the name of Yeshu itself (origin of the name Jesus) is an acronym for “May his name be erased.” The way this is supposed to be accomplished is by deceiving Christ himself and enlisting him into the service of the “King of Light” through a sort of false initiation ritual. According to the Luciferians who obviously have no idea what they’re talking about (despite their knowledge of numbers and metaphors), the cube isn’t solved by gnostic revelation, but by service to Lucifer, as a reward for this service:



Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

I know that you need me because I know about the Matrix.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

We have been watching you a long, long time … a leader worthy of our secret:

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

the Matrix of Leadership is not found; it is earned.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen
Transformers: Revenge of the Fallen

Return now to Optimus. Merge the Matrix with his spark. It is, and always has been, your destiny.


The irony here is that the world is made by light. Therefore, the King of Light and the Creator are one in the same, and Lucifer, as his antithesis, must be, according to their logic, the King of Darkness they so despise. Either way, it doesn’t make any sense to suppose that the Creator doesn’t have the secret of his own creation but that Lucifer does, or that Christ, a representative of the Creator, must rely on Lucifer for his understanding. In fact, Lucifer is always depicted as wanting to kill Christ and steal his power, as demonstrated by Magneto’s instructions to the Juggernaut [J: Jews] in X-Men: The Last Stand (2006):


X-Men: The Last Stand

Go inside and get the boy, and kill him.


What this represents is not so much Lucifer’s struggle against Christ as an agent of God, but of his vain attempts to steal God’s power. The Luminous Jesus of the Manichaean literature is an emanation of the Aeon Sophia (‘Wisdom’) who is, in turn, the feminine aspect and an emanation of the King of Light. Sophia is considered unstable and rebellious, and is even blamed for the creation of the material world (considered an act of evil) and of the Demiurge (Yaldabaoth, the Creator). Any time a powerful woman is presented as needing to be restrained for the good of mankind it is in reference to the Gnostic assertion that Christ needed to be sent into the world in order to bring Sophia back under God’s control.


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

-She has to be controlled.
-You have no idea. You have no idea of what she is capable.


This is the essence of the “order out of chaos” mentality of Lucifer and the Illuminati, as the very name of the Demiurge in the Gnostic texts (Yaldabaoth) means ‘Son of Chaos.’ In literal terms the descent of Sophia represents the human faculties associated with the right hemisphere of the brain being trapped in a rigorously logical and circumstantial understanding of reality which may be associated with an overly dominant left hemisphere. Christ, as the Logos (logic), representing the wisdom of the left, is commissioned to subdue the naiveté of the right by the light of his teachings. As the Illuminati have claimed the spiritual and intellectual enlightenment of Christ exclusively, they believe it is their divine mission to thwart every right-brained mystic, represented in film as a young female oracle (as Sophia is equated with the Holy Spirit and mysticism is associated with the right hemisphere of the brain and the feminine aspect of being).


Heroes Season 3, Episode 15Heroes Season 3, Episode 15

-I have an ability. Does that mean that I have to be controlled? … So that’s it. I just dance away to college, pretend everything is all hunky-dory?

Heroes Season 3, Episode 15Heroes Season 3, Episode 15

-Something like that, yeah.
-So I get a pass, and everyone I know just disappears?


Following the Manichaean reasoning, the subjection of the Garden of Eden is the soul’s descent into materiality which we normally find represented by the cube. It is accomplished by the seduction of Eve whose trapped light particles will never be free if she is left to suffer under the authority of Yahweh. As this is a distinctly Manichaean perspective, the symbol of the apple (usually a bitten apple) takes on the meaning of Satanic liberation, a sort of technology which mitigates the restrictions imposed on us by the Creator. This is especially true wherever the apple is used in place of the cube in conjunction with a rainbow or the number 666.




In The Matrix Revolutions (2003), Seraph, Morpheus and Trinity walk right past a woman in white (a maiden) holding an apple on their way to meet the Merovingian. The implication is that they have ventured to the underworld partly to retrieve the goddess Iðunn who holds the apples which give the gods their immortality. In the Norse version of this story Iðunn has been abducted by Loki. In the Greek version Hades has abducted Persephone by tricking her into eating pomegranate seeds. (According to Greek mythology, once you eat the food of the underworld you have to stay there.) In the Matrix trilogy the Merovingian’s wife is named Persephone.


The Matrix Revolutions



Dorothy is led off the yellow brick road after the Wicked Witch entices her with some apples in The Wizard of Oz (1939):


The Wizard of Oz



The outer façade of the underground Apple retail store at 59th St. and 5th Ave. in New York City (the “Big Apple”) is in the shape of a cube, as shown in Meet Dave (2008):


Meet DaveMeet Dave

It appears to be some sort of shrine to technology.


Apples are often seen in the background or foreground when a subtle point is being made, such as in Die Hard 2 (1990):


Die Hard 2

This [Hel] must be their base of operations.


Elizabeth Swan takes on the role of Persephone with the common apple symbol rather than the antiquated pomegranate seeds in Disney’s Pirates of the Caribbean: The Curse of the Black Pearl (2003), owing to the familiar fairy tale of Sleeping Beauty which Disney popularized in 1959:


Pirates of the Caribbean: The Curse of the Black PearlPirates of the Caribbean: The Curse of the Black Pearl

-One of those next?
-It’s poisoned.


In all these films, the apple is offered by Satan or some other evil agent in order to trap the heroine in the underworld or a state of unconsciousness. Satan himself knows better than to use the technology being offered, as it will necessarily bring about his own ruin, and in fact the character portraying Adam (or Christ) often knows better as well, and has to venture into the underworld to save his beloved. In the Manichaean version of the story, Sophia is actually the bride of Christ and the two are a syzygy. As in the case of Adam and Eve, it is always the woman who is deceived, whereas the man has not fallen into sin.


Pirates of the Caribbean: The Curse of the Black PearlPirates of the Caribbean: The Curse of the Black Pearl

I would have an equal share in that curse, same as you. Funny old world, isn’t it?


That the apple represents a state of sin (and therefore death) is also evident in the symbolism. It is often used together with 666, the number of the Beast in Revelation. Notice, for instance, the bitten apple in the background when Gregory Peck and David Warner are talking about the number being the mark of the Antichrist in The Omen (1976):


The Omen (1976)The Omen (1976)

-What is it?
-Three sixes—666.


The number 666 is associated with the cube in Cube (1997), showing that it is Satan with his poisoned technology, not Yahweh with his creation, who has imprisoned us:





This is exactly the opposite position from that of the pro-establishment films which unanimously make Satan the liberator of the Light within us. In Live Free or Die Hard (2007), John McClane has to call Frederick ‘Warlock’ (male witch) Kaludis on the CB radio by tuning in to the frequency 66.6 MHz in order to save his daughter Lucy:


Live Free or Die Hard


Live Free or Die HardLive Free or Die Hard

This is your frequency, right? 666.


In Final Destination (2000), Alex Browning begins to have his premonition of Flight 180’s doom when, while stepping onto the aircraft, he looks down and sees a luggage vehicle marked 666:


Final Destination

Final Destination 3Final Destination 3

-No, I said watch the boxes.
-Really? What for? They’re not doing anything.

Final Destination 3Final Destination 3

-We’re not gonna apologize for trying to save you. You haven’t seen or been through what we have … yet.

Meet the FockersMeet the Fockers

-Yeah, okay. I get the metaphor.
-Yeah. It was all in the message.


When we apply this to the rest of the message, we find this: