If this whole “mind-control programming” kind of thing is new to you, I recommend a recent article by the Vigilant Citizen that highlights an insider's testimony. Roseanne Barr: “MK ULTRA Mind Control Rules in Hollywood”
I've been leading up to this set of posts for a while, laying some foundation for it in the Sodomite Gateway Series. There's plenty of mind-control programming featured overtly in the show's story, but what is even more powerfully influential is the covert layering masked underneath the complex stories. As I wrote in The Fringe Series is History (January 20, 2013): “All this is exposing the mind-control programming mechanisms and schemes towards bringing forth the hybrid Beast and his mark, and this ministering is preparing a remnant people in advance of that crucial season!”
The episode from season 5 called “The Boy Must Live” features the now familiar black umbrella symbol in Monarch programming context. A direct reference is made to the classic film “Singin' in the Rain,” which appears to be a “go to” reference, an Illuminati programming standard. This is set in the context of facilitating the Beast, who is allegorically represented by a rather special boy from the future named Michael, aka Anomaly XB-6783746. (A message I'll decode in another post, Lord willing.)
In this post I'm featuring one of two connected scenes of this episode. The first plays as tender sentimental moment shared by a father and son. The second plays as a sentimental reunion of old friends. I'll describe the setting but it will help if you watch the episode, which you can do online, at least for now at this link on fox.com. This first clip is located at time 7:00-10:18 and the second I'll be covering is at 14:07-18:18, but I recommend watching at least the entire first 20 minutes.
“Fringe: The Boy Must Live”
If you can't watch it, you can read a good summary here: Fringe Episode: “The Boy Must Live”
From the Prologue that sets up for the first scene (Act 1), Walter is trying to find a character named September, and he going to do so by means of remote viewing his location. The remote viewing is only slightly obfuscated. There's a guide/monitor (Peter Bishop) and a record keeping of location (Astrid). Remote viewing is not an uncommon psi power for Monarch slaves, who use it both to establish a target's location and to monitor activity at target coordinates. Their version involves Walter being in a sensory deprivation tank, drugged. He's naked.
Caveat: If you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, please move on.
The transcripts here are from Fringepedia.net. Transcript: Fringe Episode: “The Boy Must Live”
OLIVIA: Okay, Walter, how are - - ? Walter, why did you remove your trunks?
WALTER: They were too restrictive. My body needs to be as free and open as my mind, so I can find September.
OLIVIA: Are you feeling sufficiently free and open now?
WALTER: I am. Let's get started.
The show plays the awkward moment as a comedic element but it is actually allegorically referencing the sodomite sex magick ritual involved with the programming of Monarch slaves, when installing the demons in the alters that will be accessed for remote viewing. Walter can't very well be sodomized while he's wearing his shorts. “My body needs to be as free and open as my mind,” he says. Supporting this interpretation we have his interaction with Olivia, whose name is itself a sodomy metaphor (that I'll explain in the next post, Lord willing). References to trunks or a trunk are also common references to the butt, a sodomy metaphor. (Recall Daffy Duck's shotgun in the tree trunk poking him in the butt from out of the rabbit hole. Recall DEV's video - In my Trunk)
Other remote viewing / psi power amplification sets appear in the purported leaked image of Scientology's Inner Sanctum of the Super Power Building, and in the X-Men film from 2000.
And, there's a control room where the Village is monitored by some magickal remote viewing technology in the iconic 60s series, The Prisoner with Patrick McGoohan, which is really worthy of a mind-control themed series of its own. (Thanks Jonathan)
Another version of remote viewing is scrying, as seen in these screenshots from The Wizard of Oz where Professor Marvel and the wicked witch of the west use the crystal ball as a dimensional view port, but enough about that. Let's get on with Act 1.
Walter and Peter share tender moments under Walter's umbrella as they approach the apartment building Walter remote viewed. Again, it plays like a tender sentimental moment shared by a father and son, but it is also a picture of an incestuous romance between sodomite lovers, a handler and slave, and about illumination and gnosis.
WALTER: There. It was from over there.
PETER: Wh - - hey. Hey, hey, what's going on with you?
WALTER: What do you mean? I feel good.
PETER: From where I’m standing, you don't seem good, you seem amazing, which is a little scary.
WALTER: I wouldn't worry about me.
PETER: How can I not? You asked me to help you stay grounded. You were so afraid of becoming the man that you used to be, you asked Nina to remove pieces of your brain. Again.
WALTER: It's alright, Son. The procedure is no longer necessary.
PETER: But wh - - Walter, why? What's changed?
WALTER: I can't explain it, but... when the boy touched me, he showed me more than just images. It was freeing, Peter. All at once, I understood that everything I’ve ever known - - or thought I knew, as a great man - - could fit into a thimble. And that's not all he gave me. I remember things, things I haven't experienced. I think, from the other timeline, before you were erased, before the timeline was reset. I remember when you came to me at Saint Claire's. My first words: I thought you'd be fatter. And I remember the night I was up late, making a peanut butter sandwich, and you slipped and called me 'Dad'. The feeling of joy that gave me... and the terror, before you stepped into the Machine. I told you I’ve never been good at letting you go, and you said...
PETER: ... this time, you're gonna have to.
PETER: What is this boy? How could he do this for you - - enable you to see a life you didn't live?
WALTER: I'm not sure, but I feel it.
PETER: Do you remember the plan?
WALTER: No. No idea.
PETER: But that doesn't make any sense. Why would he give you back all of those memories, but not give you the plan?
WALTER: I don't know. Peter, before I met him, I didn't think it was possible to love you more, but now, knowing what we've been through, and everything we've had... I do. (bro hug) You never liked public displays of affection. Or going Number Two in a public restroom. I remember that too.
OK, While most will dismiss Walter's mention of going number two as a typical awkward Walter moment, given the visual imagery that they are in the rain under his black umbrella, that's a pretty obvious tip off to ritual sodomy and umbrella programming. Since public restrooms are famously known as locations for sodomite trysts, there's that too. Connect the dots between these two things Peter doesn't like, public displays of affection and defecating in a public restroom. Do the math. Subtract “public” from both and the equation matches “displays of affection” with “restrooms.” Fringe is all about being clever, and this is how it's done.
All the sentimentality is referencing that sodomite love, love in action, a counterfeit that has been described in some situations as Stockholm Syndrome. While you watched the scene, did you happen to notice the woman pass by wearing a deep purple coat while Walter and Peter were embracing?
Peter said to Walter, “You were so afraid of becoming the man that you used to be, you asked Nina to remove pieces of your brain. Again.” This two flows with the story line of the show but the mind-control NLP layering is impressive!
“afraid” = trauma
“becoming the man that you used to be” = switching back to that alter
“remove pieces of your brain, again” = removing memory repeatedly through hypnotic suggestion as during umbrella and “go over the rainbow” programming or by means of electrical shock
The bit about the boy is woven in so we should interpret this relationship too as an illustration of the sodomite pedophile handler/slave relationship. There's a flip, an inversion with Walter and the boy. If you consider a perspective where "the boy" is Walter's programmer/handler, the following exchange makes perfect sense as the expression of Walter's experience as the DID multiple in the care of his handler. “PETER: What is this boy? How could he do this for you - - enable you to see a life you didn't live? WALTER: I'm not sure, but I feel it.”
When Walter said the following, he describes his own ritual initiation. “I can't explain it, but... when the boy touched me, he showed me more than just images. It was freeing, Peter. All at once, I understood that everything I’ve ever known - - or thought I knew, as a great man - - could fit into a thimble. And that's not all he gave me. I remember things, things I haven't experienced. I think, from the other timeline, before you were erased, before the timeline was reset.” Freeing = dissociating. This describes a transfer and acquisition of gnosis and enlightenment, with Akashic Record and multiple temporal domain access. This also suggests pedophilia, of course, which is implicit in Monarch programming.
Saint Claire is a reference to illumination. When Peter first came to Walter at Saint Claire's refers symbolically to a ritual initiation. “Claire” means “clear” as in clairvoyant. Saint is a religious word, and Saint Clair is a religious experience which is the Key of David sodomy that makes one “clear” as in Scientology. Let's not miss how a “peter” is a phallus. Walter thought Peter would be a fatter “peter” because Walter was playing the “catcher.” Peanut butter is a symbolic fecal reference and also slang for “semen.” Peter slipped, as in the peanut butter. Calling him “Dad” like Who's your Daddy? - Sugar Daddy handler. He mentions his joy and Peter's terror, because the slave was necessarily traumatized in this experience. The machine Peter stepped into was a DNA customized dimensional transport and portal control device. Consider that as a metaphor for Walter's butt because then there's this: “I told you I’ve never been good at letting you go, and you said... PETER: ... this time, you're gonna have to. WALTER: Hmm.” Right. Walter has to let “peter” go, out of his butt. and Walter says, “Hmmmm.”
It's all really subtle, but when you break it down and identify the elements the sum is undeniable. The Fringe crew has the Gene Kelly touch.
More to follow, Lord willing!