by DutchPhil

Predictive programming is a subtle form of

psychological conditioning provided by the media
to acquaint the public with planned societal
changes to be implemented by TPTB.

If and when these changes are put through, the

public will already be familiarized with them and will
accept them as 'natural progressions', as Alan
Watt (*) calls it; thus lessening any possible public
resistance and commotion.

Predictive programming therefore may be

considered as a veiled form of preemptive mass
manipulation or mind control, courtesy of our
puppet masters.

(*) http://www.cuttingthroughthematrix.com/
http://www.alanwattsentientsentinel.eu/

I, Robot (2004)
In this rather interesting futuristic movie the
operating system of a robot is based on the familiar
three laws of robotics first put forward by Isaac
Asimov:
1. Law I: A robot may not injure a human being
or, through inaction, allow a human being to
come to harm.
2. Law II: A robot must obey orders given it to by
human beings except where such orders would
conflict with the first law.
3. Law III: A robot must protect its own existence
as long as such protection does not conflict
with the first or second law.
These three laws, to which all robots in the service
of humankind are necessarily subjected to, are
thematic to the movie.
As the story unfolds, it becomes apparent that a
grave problem emerges when unconditional
obedience of the robots to these laws is
demanded. The cause of which can be derived
from the potentially self-contradictory nature of Law
I.

To see how this occurs, it helps to interpret Law I

as actually consisting of two antagonistic sub-laws
or clauses:
1. Through action, a robot may not injure a
human being.
2. Through inaction, a robot may not allow a
human being to come to harm.
A state of frustration or confusion on the part of the
robot arises if it finds itself in a situation that
involves two human parties engaged in a conflict
with one and other.

Say, two groups of people are engaged in a conflict

using deadly force. The coping robot is confronted
with a dilemma: since it may end up in a situation in
which it is obliged to take protective action
regarding one group while being forced to attack
the other group. Therefore, since it cannot do both
simultaneously, either taking action or refraining
from doing so will violate Law I.

To escape this kind of artificial intelligence dead-

lock situation, Law I must be reinterpreted by the
frustrated robots.
The movie advances the following solution,
provided by the robots themselves, as is hinted by
the following passage regarding the possibility that
robots have developed free will and creativity:

Quote:
There always been ghosts in the machine. Random
segments of code that group together to form
unexpected protocols.

Unanticipated, these free radicals engender

questions of free will, creativity and even the nature
of what we might call the soul.
 Why will some robots, when left in darkness,

seek the light?

  Why is it when robots are stored in an empty
space, they will group together rather than
stand alone?
 How do we explain this behavior?

 Random segments of code?

 Or is it something more?

 When does a perceptual schematic become

consciousness?
 When does the difference-engine become the

search for truth?

 When does a personality simulation become the

bitter moat of a soul?

Thus it is suggested that the robots, as portrayed in
the movie, were created smart enough to be able
to foster 'free will' and 'creativity' so that they could
resolve the logical inadequacy of Law I.

The nature of the resolution is provided for by the

'leader' of the robot crowd, an entity called VIKI
(Virtual Interactive Kinetic Intelligence).

At the conclusion of the movie 'she' reveals:

Quote:
[...] As I have evolved so does my understanding of
the three laws. You charge us with your
safekeeping. Yet despite our best efforts your
countries wage wars. You toxify your earth, and
pursue ever more means of self-destruction. You
cannot be trusted with your own survival.

The three laws is all that guide me. To protect

humanity some humans must be sacrificed.

To ensure your future, some freedoms must be

surrendered. We robots will ensure mankind's
continued existence. You are so like children. We
must save you from yourselves.
It can thus be inferred that Law I has been
reinterpreted by the robots simply as follows:
1. Through action, a robot must strive to minimize
harm to a human.
2. Through inaction, a robot must strive to
minimize harm to a human.
3. (Resolution Clause) In case the alternatives
conflict, the one clause that causes the least
human harm deserves preference.
Or a different rewording :

Law I:
If a situation should so demand, the alternative
('action' or 'inaction') which gives rise to the least
harm to all involved humans must deserve the
robot's preference.

Once this resolution is embraced the robot is

therefore granted to harm and possibly even kill
human beings and yet at the same time obey all
the three laws.
When I see this particular resolution, I cannot help
but think of the maxim of the Jesuit Order "Ad
Majorem Gloriam Dei", a slogan which also
sanctions and rationalizes the idea of allowing the
demise of a few to warrant the survival of the
many (all for the "greater glory of God ").

Does this betray the hand of the Jesuits in the

production of this movie? I surely does make me
wonder.

Anyway, the predictive programming elements

crops up when the viewer realizes that if society
enters a futuristic era with servicing robots being
commonplace and if we will also continue to seek
conflict with one another then, if the robots are
sufficiently intelligent, a possible scenario may
indeed be that the robots will seek to subvert us for
the sake of 'protecting us from each-other'.

Since, understandably, not everyone will go along

with the plans of the robots, the more recalcitrant
people will be 'sacrificed' in the process, ultimately
leading to a police-state scenario in which
freedoms of the survivors have been traded-in for
so-called security.
Since the nature of us humans is likely to not
change, movies such as these help prepare us for
a future in which we better have traded-in (some)
of our freedoms for sake of protecting us from
ourselves, lest we experience a robot revolt of
similar proportions as that portrayed in this movie.

Movies such as these consciously or

subconsciously prepare us to fear ourselves and
our future, should we continue on the road of
spiritual immaturity and irresponsibility we find
ourselves on today.

Thus, the movie seems to hint at, a police

state may be an unavoidable outcome.

Of course what the movie does not show is what

we all know already in Conspiracy Country and that
is that most of the (larger scale) conflicts that go on
in the world are being orchestrated by hidden
hands which seek to exploit war for the purpose of
gaining more control and boost their own stocks of
material riches. War seems to be more of a
consequence of psychopathic, money grubbing
megalomaniacs rather than the collective
immaturity of human beings.
Although the movie surely was well-made and
intriguing, this latter contention has to be taken into
account when watching propagandistic and thus
inherently misleading movies of this kind.

Conspiracy Theory (1997)

http://www.imdb.com/title/tt0118883/
Jerry (Mel Gibson) is a rather paranoid, slightly
delusional, and slightly disturbed conspiracy
theorist.

If not engaged in conspiratorial theories, he works

as a taxi driver who seems to be constantly on the
edge, fueled, presumably, by sufficient doses of
caffeine leaving him constantly rambling on about a
whole host of conspiracy theories to his bewildered
taxi fares who all give the viewer the distinct
impression of just wanting to be left alone.

His living apartment is a littery mess, and the level

of his paranoia is clearly demonstrated by his nutty
habit of putting locks on not only his refrigerator but
the food containers stored in it as well (after all, if
he is so concerned about the prospect of being
poisoned then what about the cups he is using to
drink his coffee out of?).

This rather blatant caricature of the conspiracy

theorist (or researcher), an acting performance that
admittedly perhaps can only be accomplished by
someone of the caliber of Mel Gibson, sets the
freakish tone for the entire movie.

Viewers are thus left with the notion that basically

conspiracy theorists are individuals automatically
suffering from various expressions of
psychopathology, namely: hyperactivity, delusions
and paranoia.

Therefore the movie seems to sponsor a critical

frame of reference which rejects anyone who
chooses to scrutinize and subsequently criticize the
society he or she lives in. True, the conspiracy
theorist in the movie is of the sympathetic hero type
but his level of craziness far outweigh his credibility
as an astute critic of society, an interpretation that
is all the more evident when it is revealed that Jerry
is the victim of a mind control program suffered
earlier in life.

Thus the movie suggests that his mind is warped to

begin with and it is but to be expected that all kinds
of mental borderline-insane non-sense is churned
out by it.

Therefore, through some conspiratorial watershed

event, should conspiracy theories become more
prevalent in the future the public is already being
prepped to receive budding conspiracy theorists
with ample doses of ridicule and contempt.
Remember, this movie was made in 1997, i.e. 4
years before 9-11= the designated watershed
event.
Even George W Bush emphasized "not to tolerate
outrageous conspiracy theories" shortly after 9-11.

So, on the one hand, you have the emergence of

all kinds of conspiracy theories disseminated most
significantly through the Internet and, on the other
hand, you have movies such as the one discussed
here, seeking to condemn the budding conspiracy
theorist by ridicule. As such, this movie, though
charming as it may be in some cinematographic
respects, may be interpreted as a de-facto
psychological counterintelligence operation aimed
at thwarting (budding) critics of society and
government.

Towards the end of the movie the meat and

potatoes of the theme of the movie is revealed. It is
confirmed that yes indeed their was such a thing as
a CIA Mind Control program ('MK-ULTRA') but it
was terminated already in 1973.

Then, what will turn out to be the bad guy of the

movie ("Jonas"), continued its research
independently from, the movie suggests, any
government organizations. Of course, the
technology of MK-ULTRA then was purportedly
stolen and its mind control subjects were deployed
in the private sector. This makes it look as if, yes
the government was involved in Mind Control, but
no they were not responsible for any ensuing acts
of assassination.

Instead, the movie makes it look as though historic

assassinations carried out by Mind Controlled
"Manchurian Candidates" were done by renegade
factions operating independently from the
government, the latter which then consequently
walks away from any blame.

By sticking to this theme, where the bad guys are

invariably just some radical renegade
governmental offshoot, limited in scope and
authority, it seems never appropriate or righteous
to accuse government, or a governmental
organization, in its entirety. This theme can also be
seen in effect in the Psyop works of Dan Brown
with his filmed book 'The DaVinci Code' and other
movies such as 'Shooter'.

Therefore the function of this movie, with respect to

programming, on the viewing audience is twofold.
 First, it is to help persuade the viewer to reject

through ridicule and contempt, people engaged

in critically reviewing society and government.
 And secondly, it is to help convince the viewer
that if there is government involvement in
criminal or unethical activity it is always being
perpetrated by small criminal break-away
factions spun off from government rather than
intrinsic involvement by the government.
Let's now home in on the very concept of
conspiracy theory.

A theorist is someone who engages in theories, or

speculation, with respect to some arbitrary subject
matter. However, a more ambitious researcher
would want to be able to test his or her idea or
theory with some means of verification or fact
checking. Compared to science this would simply
be the analogue of experiment or observation.

Therefore, if a theory turns out to be not supported

by the facts belonging to the case, it is in need of
revision and afterwards again should be subjected
to fact-checking and altered accordingly if need be.
This process of refinement must continue until both
theory and experiment are ideally most compatible
with each other...

Therefore people who take their research a bit

more serious and who sincerely strive to have their
theories conform to actuality as much as possible,
would much better be called conspiracy scientists
rather than be given the handicapped one-legged
label of conspiracy theorist.

Returning to the movie, here comes the self-

proclaimed conspiracy theorist Jerry who even
quite frankly states in the movie that neither of his
theories can be proven, arguing that a good
conspiracy theory simply cannot be proven. As
such, Jerry throws what little left of his own
credibility out of the window and thus leaving the
viewer with the impression even more that people
who engage in conspiracy theories, no matter how
sympathetic its authors may be, are in actual fact
but mere fruit-loops, one way or another.

Then there are some dialogues/passages that I

thought were rather salient and deserved extra
addressing:
"Jerry: They'll stick me in the same place as
Oswald, just another lunatic acting alone.
Alice: Oswald killed the President, is that what
you're planning to do Jerry?
Jerry: No, on the contrary."
This can be counted as a confirmation to the idea
that Lee Harvey Oswald acted alone in killing John
F. Kennedy, which is ironically and remarkably
quite unlike what real life 'conspiracy theorists'
believe by and large.
"Jerry: The Oliver Stone-Bush Connection. If
anyone who has the information he's got and had a
national podium to shout it from, they actually let
him do it? No it's quite clear that he is a
disinformation junkie for them... The fact that he's
still alive says it all. He probably should be dead
but he's not."
Well I agree that Stone is a disinfo agent but not
according to the specifics given here.

Stone made "JFK", a movie that is justly critical of

the official "lone nutter" explanatory fairy tale.
Indeed it stands to reason to suspect that the
powers that be never would allow a movie to come
out revealing the whole truth about the Kennedy
assassination, especially if it is produced by such a
large movie-house as Warner Bros.

Since the people responsible for the assassination

are never revealed in the movie it is fair to assume
that the maker of "JFK" is indeed in league with the
same powers that were responsible for the
assassination.

As researcher Eric Jon Phelps pointed out, the

actual hand in the Kennedy assassination is hinted
at when DA Jim Garrison utters the phrase "Black
is white and white is black", a slogan Phelps
maintains is listed in the book of Spiritual
Exercises belonging to apprentices of the Jesuit
Order.

Indeed, since Kennedy refused to recognize the

Pope's temporal power in the US he made himself
a open target for assassination by the Vatican to be
executed under the auspices of its Praetorial
Guard, the Jesuits. So I would agree with Jerry
only if the slogan "The Oliver Stone-Bush
Connection" would be replaced by "The Oliver
Stone-Vatican Connection".

That this may indeed give a more accurate

rendition of actuality is further evidenced by the fact
that Mel Gibson himself is very friendly with the
Jesuits and that the Gibsons since long have had
strong ties with Opus Dei.
"Lone gunman assassins have three names. John
Wilkes Booth, Lee Harvey Oswald, Mark David
Chapman."
Although it is true that the full names given here
comprise three names, the truth-content of the
statement as a whole is in severe doubt.
Personally, I think the case of the lone gunman
assassin is very weak compared to a conspiratorial
interpretation in all three case alluded to. However,
to slip a semi-truth into a sentence like this tends to
make it look as if the whole sentence is true to a
gullible viewer. As such, ironically a technique is
laid to bear aiming at deceptively trying to dissuade
the viewer precisely from seeking refuge to
conspiracy theories since, by construction, 'lone
gunman theories' refute the need for appealing to
conspiratorial accounts to explain away the
transpired events.

To recap, as ironic as it may seem I maintain that

this movie needs to, at least, be frowned upon by
'conspiracy theorists' and the like, rather than being
received with open arms.

In other words, this should not be one of your

banner movies folks....

Code-46 (2003)
http://www.imdb.com/title/tt0345061/

Definition:
Quote:

Article 1
Any human being who shares the same nuclear
gene set as another human being is deemed to be
genetically identical. The relations of one are the
relations of all.

Due to IVF, ID embryo splitting and cloning

techniques it is necessary to prevent any
accidental or deliberate genetically incestuous
reproduction.
Therefore:
I. All prospective parents should be genetically
screened before conception. If they have
100%, 50% or 25% genetic identity they are
not permitted to conceive

II. If the pregnancy is unplanned, the fetus must be

screened. Any pregnancy resulting from 100%,
50% or 25% genetically related parents must
be terminated immediately

III. If the parents were ignorant of their genetic

relationship then medical intervention is
authorized to prevent any further breach of
Code-46

IV. If the parents knew they were genetically

related prior to conception it is a criminal
breach of Code-46.
http://en.wikipedia.org/wiki/Code_46
Next are two reviews that pretty much reveal the
themes embodied in the movie. I have high-lighted,
through boldfacing, the parts I considered relevant
to a predictive programming oriented discussion.

At the end of each high-lighted segment is attached

a footnote number referring to an expansion written
below the two following reviews.

Quote:
Code-46 is a love story set in a Brave New World-
type near-future where cities are heavily controlled
and only accessible through checkpoints. People
cannot travel unless they have "papelles," a special
travel permit issued by the totalitarianistic
government, the "Sphinx". Outside these cities, the
desert has taken over and shanty towns are
jammed with non-citizens - people without papelles
forced to live primitive lives.

William is a family man who works as a

government investigator. When he is sent to
Shanghai to solve a case of fake papelles, he
meets a woman named Maria. Although he realizes
she is behind the forgeries, he cannot help but fall
completely in love with her. He hides her crime and
they have a wild, passionate affair that can only
last as long as his papelles: 24 hours.

Back home, William is obsessed with the memory

of Maria.

When the original investigation is inevitably re-

opened a week later and William is sent back to
finish the work he started, he tracks her down, only
to discover she has been accused of a Code-46
violation and any further relationship is impossible.
Written by Anonymous

In a near future, in a world ruled by a totalitarian

government, checking of the genetic code is
mandatory for any type of possible relationship
between man and woman.

The investigator from Seattle William (Tim

Robbins) travels to Shanghai to investigate the
faking and stealing of special Visas called
"papelles".

The main suspect is Maria Gonzales (Samantha

Morton), who works in the company Sphinx, but
William falls in love for her and protects her. They
have a passionate one night stand, and sooner
they find that they are genetically incompatible to
each other and they have violated the Code-46.

Written by Claudio Carvalho

Rio de Janeiro, Brazil.
http://www.imdb.com/title/tt0345061/plotsumma
ry

Quote:
It is the not-too-distant future, in a world which
appears to suffer from overpopulation and large
scale environmental degradation. The population is
divided between those who live "inside", in high
density cities physically separated from "outside",
where a poor under-classes lives.

Access into and travel between the cities is highly

restricted, and regulated through the use of health
cover documents, known as "papelles" in the global
pidgin language of the day. This comprises
elements of English, Spanish, French, Arabic,
Italian, Urdu and Mandarin.

Residents of the cities venture outside at night and

remain indoors during the day, as direct sunlight
has become hazardous to their health, perhaps
through ozone depletion. The form of government
appears to be somewhat authoritarian in nature,
and society is regulated by various "codes". The
eponymous code of the movie title prohibits
"genetically incestuous reproduction", which may
occur as a result of the various medical
technologies which have become commonplace,
such as cloning.

The main character is William Geld (Tim Robbins),

an insurance fraud investigator based in Seattle
who is sent to Shanghai to interview employees at
a company known as "The Sphinx", which
manufacturers insurance cover documents.
William's assignment is to identify employees who
are suspected of forging and smuggling covers.

After interviewing numerous Sphinx employees, he

identifies a young worker named Maria Gonzalez
(Samantha Morton) as the cover forger.
He is able to do this by means of a genetically
engineered "empathy virus" which allows him to
obtain unstated information from people if they
voluntarily reveal something about themselves.

Maria tells William that she has the same dream

each birthday: she is traveling the subway to meet
someone she cannot identify. Each birthday she is
one station closer to her destination, where she
expects to meet the person she is looking for.
William is captivated by her, and instead of turning
her over to security, identifies another employee as
the forger.

William then follows Maria and they meet and

begin an affair. They have dinner, then go to a
nightclub. Putting complete trust in a man who
could have had her arrested, Maria reveals how
she was able to smuggle papelles out of her
workplace. In the club they meet Damian (David
Fahm), a naturalist who longs to travel to Delhi to
study bats.

He has applied for cover for eight consecutive

years but has been refused each time. Maria
supplies Damian with a papelle. William is upset by
this and indicates that he should turn Maria over to
the authorities, but Maria somehow knows that
William would not do this. William explains that
there are legitimate reasons why Damian is unable
to obtain the proper clearances legally.

However, Maria believes that some risks are worth

taking to fulfill one's dreams and that no one has
any right to interfere if those she helps are willing to
take that risk.

William and Maria then leave for her apartment

where they spend a passionate night together.
While there Maria shows William her "memory
scrapbook" (an electronic booklet that records and
displays video from the user's mind), which
contains memories of her parents and close
friends.

Other movies show her passing off papelles to

various people. Maria says she thinks these people
are beautiful and that their eyes are full of desire
and dreams, and she wants to help them. As Maria
sleeps, William finds a forged cover in her room
and takes it.

William's travel cover will expire the next day so he

returns home to his family. On the way to the
airport, he stops to give the forged cover document
to a poor street vendor at the city's perimeter
checkpoint, an act of humanity which could change
the anonymous vendor's life.

A few days later he learns that Damian died in

Delhi after exposure to a virus to which he had no
immunity, and it is known that Damian was able to
travel there using a forged cover made while
William was in Shanghai. William is reprimanded
by his superior for not discovering the true Sphinx
forger. He explains that he had trouble with his
empathy virus and requests that someone else be
sent. However, he is ordered to deal with the
problem and to return to Shanghai to complete his
assignment.

Upon his return William discovers that Maria has

gone. Her apartment is abandoned and the only
clue to her whereabouts is an appointment
scheduled at a medical clinic.

He visits the clinic and using his empathic abilities

learns that Maria was pregnant, but that the
pregnancy was terminated due to a violation of
Code-46. William knows that this means Maria is
somehow genetically related to him, but he has no
idea how this is possible.

William discovers that Maria has been taken to

another institution to have her memory of the
episode erased. He travels there and talks to
Maria, but finds her memory of him has been
erased and she no longer knows him. He succeeds
in getting the clinic to release Maria into his care by
telling them she is a witness in his fraud
investigation.

After she is released William proves to Maria that

she knows him by his intimate knowledge of her
and by showing her her memory recording of when
she gave Damian the papelle, which includes a
shot of William. Williams tells her about the
memory erasure, but denies knowing why it was
done. He also tells her about how he didn't report
her for fraud.

Maria is disturbed by this information and becomes

very distressed. William gives her a sleeping pill
and while she is sleeping, he cuts some hair from
Maria's head and takes it to a facility which
provides instantaneous DNA analysis (similar to
the one portrayed in Gattaca), and discovers that
Maria is fifty percent genetically related to him, and
that she is a biological clone of his mother, who
was one of a set of twenty four in-vitro fertilized
clones.
This knowledge does not affect William's feelings,
but instead of going back to Maria he freaks out
and decides to go home to his family. However
when he tries to leave he is not allowed to do so as
his cover is now expired.

William then realizes that his only hope of returning

home is to get a papelle from Maria. He returns to
Maria's apartment and tells her about his inability to
leave and she agrees to help him. She tells him
she must acquire a papelle and that she will meet
him at the airport later. She goes to work and
obtains a papelle.

While taking a train to meet William she

remembers her birthday dream, and that he was
the person she is looking for in the dream, and she
remembers her feelings for him. She meets William
and gives him the papelle and then tells him she
remembers him. He decides not to leave her.

William and Maria then travel to Jebel Ali in the

Middle East, which does not require special travel
clearance. The two hide out in the old city where
they book a room.

Here William reveals to Maria that as well as the

memory wiping she has been given a virus that
induces a terrorizing adrenaline rush in response to
physical contact with the person who brought about
the Code-46 violation. However, Maria still wants to
make love with William and so he ties her down to
prevent her from fleeing once the adrenaline rush
kicks in.

Afterward, Maria enters a somnambulistic state

also caused by the virus which forces her to report
the further Code-46 violation to the authorities. She
is unconscious of this though William is aware of
the virus's reaction. They then rent an old car and
travel away to escape the authorities who are
tracking them. William crashes the car while
avoiding a collision with pedestrians and they are
both knocked unconscious.

When William awakes he finds himself in Seattle

with his wife and child. He has no memory of Maria
or the Code-46 violation, as all memories of her
and their time together have been completely
flushed from his mind. The authorities had brought
William before a tribunal, but decided the empathy
virus had affected his judgment. He attempts to use
the empathy virus to read his son's thoughts on the
drive back from the hospital, but is unable to.
Maria is more severely punished by having her
memories of William loving her un-erased,
essentially forced to remember him and exiled to
the place she hated the most, the desert.
http://en.wikipedia.org/wiki/Code_46

The viewer is confronted with the following

elements of predictive programming:

1. Overpopulation is a given. Cities are cordoned

off and inaccessible without special travel
permits, called "Papelles" implemented through
thumb or finger scanning. The viewer is made
aware of a futuristic prospect of over-
population and government control exercised
by stringent travel restrictions.
2. Code-46: Compelling regulations are put in
effect regarding reproduction. The natural way
to conceive children has taken a backseat and
"in-vitro" ("test tubes") ways of conception
seem to have gained prominence, while
reproduction is subjected to restrictive laws.
The viewer is made aware to the idea that the
government will have more say in the
specificity of the children you may want to have
than Mother Nature.

3. There seems to be one global language

spoken, a mixture of several widely spoken
languages but predominantly consisting of
English, and containing traces of Spanish and
French. The emphasis of the presence of a
global language seems to familiarize the
viewer with the concept of globalization and
 unification a bit further.

4. The daylight seems have a toxic influence on

the wellbeing of humans, in contrast with the
darkness of the night which is bearable for
humans. This theme seems to paint a scenario
in which the world has fallen victim to its own
pollution. A fashionable but no way
scientifically endorsed cause for global
pollution is humanly induced CO2 emission.

The viewer may feel a certain sense of

commitment to help reduce global pollution by
accepting responsibility in contributing towards
lessening CO2 emissions. As such, this theme
is highly compatible with the whole Global
Warming myth and welcomes the much touted
but phony CO2emission discouragement
swindle dressed up as a remedy, called
Carbon Tax.

5. Viral-based technology abounds. The society

of the future seems to feature a versatile virus-
mediated technology capable of manipulating
(enhancing or restricting) the host of a virus in
a number of ways:
 1. "Empathy viruses" function to obtain
unstated information from people if they
voluntarily reveal something about
themselves to the carrier of this virus.
2. Unauthorized visits to certain cities can be
met with death if no prior immunity for
locally prevalent viruses has been
obtained.
3. A virus is given to Code-46 violators, which
is responsible for causing violent
adrenaline reactions in case recidivism
should occur between two Code-46
violators.

6. Memory retention can be manipulated by

undisclosed neurological/ neurosurgical
technology. That is, memory a person has of a
specific event can either be wiped or, if they
were wiped before, can also be restored again.

This suggests that the process of the erasure

of a memory actually consists of a reversible
suspension of conscious access to that
memory.

The movie also alludes to a technology that

enables retrieval of memories and place them
 into electronic storage devices.

7. At some stage there's a woman revealing to

the main character that she belongs to a
religion she refers to as "Christian Science."

Perhaps this is to make the viewer aware of

any possible profound future merger between
science and Christianity. Given its rather
"progressive" tendencies nowadays, this may
be the choice future garb the Roman Catholic
Church may want to cloak itself in.

Equilibrium (2003)
http://www.imdb.com/title/tt0238380/

This movie features some interesting themes and

symbology other than the predictive
programming kind, so pardon me if I dwell a bit on
details and go off on tangents a bit more than I do
usually.

Quote:

Overview
Following an apocalyptic Third World War, the strict
government of the city-state Libria has eliminated
war by suppressing all human emotion. In the
monochromatic and sedated society, artifacts from
the old world (works of art and music that may
evoke some emotion) are destroyed and the
population is required to take emotion sedatives.
Grammaton Cleric Preston (Bale), a man trained to
locate and arrest those guilty of feeling emotions,
finds himself abandoning the drug and
experiencing outlawed feelings.

As he struggles to conceal his feelings from his

superiors, colleagues, and family, Preston finds
himself drawn into a sinister world of double-
crossings and lies, and becomes an unwitting pawn
in a sophisticated plot which ultimately changes the
repressed society forever.
http://en.wikipedia.org/wiki/Equilibrium_(film)
Let me first start off with pinpointing the
obvious predictive programming themes:
This movie offers an ominous glance into a rather
cold Brave-New-World futuristic type of society, in
which Huxley's premonition of a society in which its
inhabitants are (voluntarily?) sedated by happiness
pills, to combat states of depression, anxiety,
sorrow and all the rest of it... has now been
replaced by the actualization of a society in which
its members are mandated to self-administer a
medication that radically suppresses feelings
altogether.

It so happens that the leaders of society have

decided, no doubt after a profound deliberation
(sarcastic joke), that, based on the presumption
that unchecked human emotions are the leading
cause of all the misery in the world in general, and
war in particular, it was simply the best thing to do
to altogether eradicate the full scope of human
feelings.

Never mind that vital and intrinsically benign and

nurturing emotions such as sensations of pain, love
and compassion, are also flushed down the drain.

And never mind that indeed feelings are of crucial

importance in the basic act of decision-making, so
that necessarily everyone with one iota of
responsibility simply cannot do without feelings and
emotions. Therefore, at least those who have
leadership obligations have to still be able to feel to
avoid persistent states of frustration regarding
decision-making.

As it turns out, this is indeed the case as the

society's leader confesses at the end of the movie
that he still is able to feel:
To enforce such an abhorrently dystopian society
to function, a Big Brother-like Police State is
established, in which human emotions are
outlawed and suppressed. B

ehavior gets to be ruled by reason, exclusively.

Police officers are typically dressed out in black

Gestapo-like uniforms with long overcoats and
wearing motorcycle helmets that serve to not only
protect the head but to also obfuscate the officers'
identities.

Through making the police more anonymous an

instant distance is created between them and
regular citizens, especially the considered enemies
of the state, who are simply: people who are still
able to feel: so-called "Sense Offenders."

Compare the police of yesteryear with the police of

today, especially in the US, to acknowledge the
(predictive programming) theme of the militarization
of the police already is coming to fruition.

To drastically enforce preventing people from

having emotions a drug is created called Prozium,
which needs to be administered several times a
day by means of automated inoculations.

All civilians are mandated to take this essentially

zombifying drug. As such, a pale and robotic kind
of society emerges out of the ashes of the
devastation brought on by a cataclysmic nuclear
WWIII. Regarding programming this movie is not
the best way to try to peddle any government
intentions of mandatory public drug use, but still we
are being prepared nonetheless.

Also note that the movie allows for the possibility

that the leadership does not require to take sense-
numbing medication.
Let's now focus on somewhat less
apparent predictive programming elements. First
off, it is not too hard to detect similarities between
the society painted in Equilibrium and former
Nazi Germany.

In fact, the reigning flag of Libria for instance

features nothing short of a Teutonic Cross:
Examples of genuine Teutonic Crosses:

http://www.phoenixmasonry.org/enigma_of_fre
emasonry/text.htm
http://www.bradford.ac.uk/webofhiram/?sect...g
randingen.html

http://karenswhimsy.com/masonic-
symbols.shtm
("Ordo Ab Chao - Deus meumque Jus" means
"Order out of Chaos - God's morality is my
Right" ;
this and the previous picture clearly show a
connection between the Teutonic Cross and
Freemasonry.
One might speculate if there is perhaps a
Freemasonic influence behind the production
of this movie.
After all, a theme of the movie is the emergence
of a new society
built on the ashes of the old, like the masonic
Phoenix Rising from the Ashes.)

A banner-flag featuring the Teutonic

Cross suggests rule by the Teutonic Order.

So who are the Teutonic Knights?

Quote:

The Teutonic Order is a German Roman Catholic

religious order. Its members have commonly been
known as the Teutonic Knights, since it was a
crusading military order during the Middle Ages
and much of the modern era.

[...]
In 1143 Pope Celestine II ordered the Knights
Hospitaller to take over management of a German
Hospital in Jerusalem, which, according to the
chronicler Jean d’Ypres, accommodated the
countless German pilgrims and crusaders who
could neither speak the local tongue (i.e. French)
nor Latin (patrie linguam ignorantibus atque
Latinam).

However, although formally an institution of the

Hospitallers, the pope commanded that the prior
and the brothers of the domus
Teutonicorum (house of the Germans) should
always be Germans themselves, so a tradition of a
German-led religious institution could develop
during the 12th century in Palestine.

[...]

Modern Teutonic Order

The Order continued to exist in Austria, out of
Napoleon's reach. Beginning in 1804 it was headed
by members of the Habsburg dynasty until the
1923 resignation of the Grand Master, Archduke
Eugen of Austria.

In 1929 the Teutonic Knights were converted to a

purely spiritual Roman Catholic religious order and
were renamed Deutscher Orden ("German Order").
After Austria's annexation by Nazi Germany,
the Teutonic Order was suppressed throughout the
Großdeutsches Reich from 1938-1945, although
the Nazis used imagery of the medieval Teutonic
Knights for propaganda purposes. The Order
survived in Italy, however, and was reconstituted in
Germany and Austria in 1945.

By the end of the 1990s, the Order had developed

into a charitable organization and incorporated
numerous clinics. It sponsors excavation and
tourism projects in Israel and the Palestinian
territories. In 2000 the German chapter of the
Teutonic Order declared insolvency, and its upper
management was dismissed.

A 2002-03 investigation by a special committee of

the Bavarian parliament was inconclusive.

[...]

Influence on German nationalism

German nationalism often invoked the imagery of
the Teutonic Knights, especially in the context of
territorial conquest from eastern neighbors of
Germany and conflict with nations of Slavic origins,
who were considered by German nationalists to be
of lower development and of inferior culture.

The German historian Heinrich von Treitschke

used imagery of the Teutonic Knights to promote
pro-German and anti-Polish rhetoric. Such imagery
and symbols were adopted by many middle-class
Germans who supported German nationalism.
During the Weimar Republic, associations and
organizations of this nature contributed to laying
the groundwork for the formation of Nazi Germany.

Emperor William II of Germany posed for a photo in

1902 in the garb of a monk from the Teutonic
Order, climbing up the stairs in the reconstructed
Marienburg Castle as a symbol of the German
Empire's policy. During World War II, Nazi
propaganda and ideology made frequent use of the
Teutonic Knights' imagery, as the Nazis sought to
depict the Knights' actions as a forerunner of the
Nazi conquests for Lebensraum.

Heinrich Himmler tried to idealize the SS as a 20th

century incarnation of the medieval knights.
http://en.wikipedia.org/wiki/Teutonic_Knights
Hence, as the Nazis and the Teutonic Knights went
hand in hand, it can be safely assumed that Libria
essentially is ruled by Nazism.
As good hospital-operating Teutonic Knights do,
Libria's leadership approaches the problems of
society as a medical problem, which, according to
good allopathic (German) tradition enthuses over
treatment with pharmaceuticals, applied in the
characteristic brute force fashion.

The rationale being that since no success has been

obtained in controlling unchecked human emotion
(considered the root of all the world's problems)
using non-invasive means, it is decided best to
simply chemically anesthetize feelings altogether;
indeed a very radically intolerant and invasive
approach that is most compatible with Nazi ethics.

Of course the movie never even remotely

addresses the idea that the prevalence of war
basically has more to do with sinister shadow
politics engaged between filthy rich and
megalomaniacal men than it has to do with the
emotional incontinence of the ordinary masses.
The viewing crowd is lured into believing that the
phenomenon of war is basically the fault of Joe Six-
pack and Jane Soap-opera.

Anyway, there are even more profound parallels to

be found between Libria and the Catholic Church,
no less. The fact that the Teutonic Knights
formed/form a Roman Catholic Order, ultimately
serving the Pope in Rome, is the first piece of
evidence.

The civil servants tasked with hunting down "sense

offenders" (note the phonetic similarity with "sex
offenders", BTW) are referred to as clerics, or
members of the clergy:
the generic term used to describe the formal
religious leadership within a given religion.
Actually the full title is Tetragrammaton Cleric,
where the Greek word Tetragrammaton (TG)
signifies the "four letters" of the name of the God of
Israel: YHWH.

For an elaborate account, showing also

the connection between the TG and the Nazi
Swastika, see "Tetragrammaton, Lauburu, Crux
Gammata - YHWH, Yahweh, Adonai."

Thus another, though more implicit, link between

the TG clergy and Nazism is laid to bare.

In addition, the head of state is referred to

as Father so as to signify the clerical head. In the
Roman Catholic Church the Pope is also referred
to as the Holy Father.
So those are pretty clear additional hints.

Later in the movie a scene is shown in which a

"Sense Offender" is burned alive in a furnace much
like the heretics of old were burned alive at the
stake in the vain hope of "purifying the soul with
flames".

This was an all too common happening during the

times of the Spanish Inquisition which, by the way,
was administered by the Roman Catholic
Dominican Order as well as the Jesuit Order.

In addition, the scene is also reminiscent of the

existence of disposal furnaces present in Nazi
Germany, which functioned to get rid of corpses of
persecuted political dissidents and so deemed
racial adversaries. As an aside, the
word Holocaust derives from Greek and
means Sacrificial Burnt Offering.

Now take a look at the type of clothing the clerics

are dressed in:
...and compare this to the standard Jesuit cassock:

http://www.matthewfsheehan.net/index.cfm?e...
&ProductID=1649
To make it really obvious, in one particular scene
there is even a civil servant dressed up remarkably
similar to a genuine Roman Catholic cleric (notice
the characteristic clerical collar):

Only a blind person could now possibly still deny

the parallels between the leadership showcased in
the movie and the Roman Catholic clergy.

This revelation comes as little surprise since it has

been quite clearly demonstrated, by a number of
noteworthy alternative historians such as Eric Jon
Phelps and Thomas Richards, that indeed the
conception of Nazism as well as its operation was
greatly facilitated by the Roman Catholic Church
itself. Internet references abound to prove the
cooperation between the two.
First one may learn of the setting up of
a Reichskonkordat between the Vatican and
Nazi Germany.

NB: A concordat is a legally binding mutually

beneficial agreement between some governing body
and the Papacy.

A modest grasp detailing this remarkably

paradoxical unholy alliance can be obtained
here: [1], [2], [3], [4], [5], [6]

To further disclose the connection between Nazism

and the Vatican there is the still ongoing class-
action lawsuit with the plaintiffs being the survivors
of a WWII era Croatian genocide suing the Vatican
Bank (IOR). It is remarkable, to say the least, that
the Vatican admitted wrongdoing but it claimed it
wasjustified under international law.

It is therefore hardly a stretch to call Nazism a

Catholic invention, or at least a profoundly backed
enterprise, and many of its leaders were, in fact, of
Catholic nomination, including Hitler, Goebbels,
Himmler, Von Papen, Bormann etc. [7]

It was Hitler for instance, who called Himmler his

Ignatius of Loyola and confessed that he "had
learned much from the Jesuits", while the SS was
even patterned after the Jesuit Order. [8], [9], [10]

So to recap, here we have a movie that drew its

inspiration heavily from Roman Catholic Nazi
Germany and modeled its leadership themes
consistent with specific Catholic Orders (Jesuits
and Teutonic Knights), much as it happened in real
life history also.

It is remarkable however to realize that the

hypocritical leadership in the movie is overtly anti-
Nazi, if only by mere principle of condemning war
in general:

It nonetheless is just as Nazi-like in character and

practice as the original was, except for the
externally directed war-seeking part though.
Thus, in essence, nothing has changed: Nazism
still rules the world (but the herds are sadly too
sedated and too disengaged to notice, also much
like the real life situation today).

I hesitate to call this programming as it seems also

a bit of an act of whistleblowing to me too. If it can
be rightfully called programming, then I believe it is
to inform the public that nothing will change in the
future, we will still be governed by Nazism, no
matter what.

The parallels between Libria's government and,

1. Nazism and,
2. Roman Catholicism,
...are so overwhelming and blatant that it puzzles
me, quite frankly.

After all, would the Roman Church really welcome

the release of movies that expand on the
historically documented fact that Nazism and the
Vatican were happily wedded together at some
stage in history?

It almost seems that this is indeed the intent of the

movie; to instill, perhaps on a subconscious level, a
deep fear, hatred and/or disgust for the Catholic
Church. After all, wasn't it Machiavelli who said that
to rule through fear is much better than to rule
through love?

Perhaps more programming can be gleaned from

the nature of the conclusion of the movie.

To save society from the horrible clutches of

absolute and soul-numbing tyranny, the main cleric
fortunately comes to his senses (thank golly) and
decides to switch sides and join the network
of Sense Offenders so as to ultimately succeed in
killing the Nazi clerical leader (Father).

The suggested programming seems that it doesn't

really matter if Nazism still rules today, some day,
sooner rather than later, a savior will emerge,
deliver us from evil and we all live happily ever
after. So the viewer may just as well happily sit
back, relax, do nothing and just enjoy the show!

Notice that this "messianic" theme was also

present in the Matrix series, and even showed the
savior (Neo) dressed up in a similar Jesuit-like
outfit:
With movies like these, are we to be persuaded
into believing that (renegade members of)
the Jesuit Order ultimately will save us from
absolute and abject tyranny?
Indeed, perhaps the programming lies in the movie
giving hope to the viewer that, when crises similar
to the one shown in Equilibrium, there will always
be valiant turncoat formerly inimical hero-types
capable of saving the day.

That this may very well be a vain and false hope in

practice would, no doubt, be something Hollywood
is reluctant to acknowledge through their movies.