Tuesday, April 23, 2013

Part 2 - Monarch Programming in Fringe - "The Boy Must Live" - Donald for Donald

In the previous post I introduced this episode from the fifth season of Fringe where the mind control programming theme was exhibited in a few visual cues that were heavily supported by NLP. The folks responsible for Fringe know profound secret things and they're concealing and revealing plenty of what they know about what is, what was, and what's coming. The scene that follows what I featured in that post plays as a sentimental reunion of old friends. Again, it's allegorical, spilling the beans about Illuminati control and the antichrist plot in a remarkable way! 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.

Fringe: The Boy Must Live

This featured scene is located at time 14:07-18:18, but I recommend watching at least the entire first 20 minutes. If you can't watch it, you can read a good summary here: Fringe Episode: “The Boy Must Live” The transcript comes courtesy of Fringepedia.net. Transcript: Fringe Episode: “The Boy Must Live”

Caveat: If you're a victim of ritual abuse who is still being delivered, please move on.

Here's the featured scene.

Act 2: Donald/September's Apartment - Filling In The Blanks

SEPTEMBER: How did you find me?
PETER: We've been relying on the tapes that Walter made in 2015, trying to piece things together.
WALTER: We found the radio that you left in the pocket universe, and that led us to the boy, and he showed me where to find you.
OLIVIA: The couple that you left him with called him Michael.
WALTER: It's been quite a journey.
PETER: We've lost a lot. A lot of good people sacrificed themselves to get us to you.
WALTER: So - your turn. What happened to you?
SEPTEMBER: Before The Invasion, I was apprehended for my continued interference in the timeline, and my interaction with all of you. As punishment, they removed my device. Now, I’m no longer able to move through time or do the things that I was able to do. They experimented on me. They called it biological reversion. Now, I am no different from you. Truthfully, it wasn't much of a punishment. I've always held this era in the highest regard.
WALTER: And why the name Donald?
SEPTEMBER: You really don't remember, do you? The first movie we watched together was Singin' In The Rain, and I chose the name Donald O'Connor.
WALTER: Yes! It was an excellent movie. I used to sing Make 'Em Laugh - - wonderfully - - in the key of "A" minor.
SEPTEMBER: I remember.
WALTER: What is he?
[music box with butterflies]
SEPTEMBER: He was born hundreds of years from now. Like all of our kind, he was created in a lab, using the genetic material of a designated donor. It was a process that began generations earlier, with a discovery on February 20th, 2167, by a scientist in Oslo, Norway, who was trying to find ways to increase human intelligence. He realized that if he could rewire the portion of the human brain that induces jealousy, he could increase cognitive function, sacrificing emotion for intelligence. This discovery was the catalyst of the creation of the beings that you called Observers, and his work carried on, and more and more emotions were seen as roadblocks to higher intelligence. Things like anger, greed, aggression, they were abandoned in the pursuit of intellect. Eventually, Humanity became so intelligent and efficient, they lost perspective of the value of these emotions - - Not only the negative ones, but the positive as well, and soon empathy, compassion, and love became messy distractions, and they too were machined out, and without romantic love, they developed new reproductive technologies.

The most obvious sign of Monarch programming has to be the butterflies on the book-like box that contains the music box. It's the Monarch butterfly connection. Comparing to that is the highlighted pyramid shape of the nearby geometrical object that says to most folks, “Illuminati.”

Because the classic film “Singin' in the Rain” is an Illuminati programming masterpiece (parts 94-101), the tribute paid to it is perhaps the biggest tip off in the scene! This flags the presence of other programming signals. Did you notice this poster on the wall of September's apartment? If we ignore this film reference and simply focus on what's going on with the child there would still be plenty to discuss, but in this post we're not going to pass by this nugget that seems so lightly tossed our way.

Those who aren't familiar with the referenced film will miss the clever revelation of how September's name is not really giving tribute to Donald O'Connor but to another Donald, the character played by Gene Kelly who had the starring role. Instead of choosing the name to honor Walter, what's implied is that September/Donald is really the star, and I'll explain how shortly but here's one reason why. September is the Observer, i.e. Watcher, a star of fallen angel. He is a messiah figure, a god becoming man, having undergone biological reversion to now manifest in their time just as normal humans, with his divine abilities having been “uninstalled.” He was instrumental in saving everything due to the “crimes” for which he was apprehended, as he testified: “Before The Invasion, I was apprehended for my continued interference in the timeline, and my interaction with all of you.” The clever swap draws attention to this important identification, which is the basis for a key insight.

To understand how we're being directed to adjust the character identities you have to be familiar with the film. When Walter said “I used to sing Make 'Em Laugh - - wonderfully - - in the key of "A" minor,” he was referring to a comedy routine in the musical that was performed by Donald O'Connor. He did sing but it's his dancing that was really notable. What betrays the switch is Walter's mention of singing in the key of A minor, which has to be seen as either superfluous chatter or a sly reference to another of the film's most memorable scenes. Near the close of the film, the actress and presumed singer in the film's pretend inner-movie, Lina Lamont, is on stage. Her acclaimed vocal talent has actually been dubbed by another girl all along in the inner movie. When the live audience calls upon her to sing, she knows she's in trouble. An arrangement is made where she'll lip-sync it. They put Kathy, the real voice, behind the curtain with her own microphone. Lina walks back on stage. Here's the dialogue.

Orchestra Conductor: What are you going to sing, Miss Lamont?
[Lina retreats back to the curtain where she takes direction from the vocalist.]
Kathy Selden: Singin' in the Rain
Lina Lamont: Singing in the Rain
Orchestra Conductor: Singing in the Rain. In what key?
[Lina retreats back to the curtain for more direction.]
Kathy Selden: A flat
Lina Lamont: In A flat

What makes this scene so memorable is because Lina has become an unbearable primadonna and bully and she is set up by the crew to dramatically receive what they feel is her due. This is what you see in these screenshots. We see her humiliated in front of the crowd as she's lip-syncing the song when the curtain is pulled back to reveal the actual vocalist, the "real star of the movie." I believe Walter's “A minor” alludes to this famous scene's “A flat” to signal us that a similar fraud is being perpetrated, not a lip-sync substitution of one voice for another but one identity for another. There are two Donalds and one of them is the humanized September's namesake; just not the one the audience is superficially shown!

Rosco: What's your name?
Don Lockwood: Don Lockwood sir, but the fellas all call me Donald.

The Donald identified by September's misdirection is the actor, Donald O'Conner. The real star of the show is Donald Lockwood, Gene Kelly's character. We are to switch the Donalds, just like how one scene in “Singin' in the Rain” was substituted for another by Walter's clever “A minor” bit, and how that scene we were redirected to highlighted a switching of characters.

Now, why would Fringe want to game us with this little swap? It plays on one level to imply that September/Donald is Walter's handler. It does this because Donald Lockwood/Gene Kelly was the Monarch programmer, which became very apparent during the series of blog posts I referenced previously. Yet, there's something else I feel is more significant being signaled on the messianic level, which I introduced above. September is the star, the fallen angel who underwent biological reversion and became a man. He's a messiah, but there's another. When we talk about antichrist, the word breaks down to “anti” and “christ.” The prefix is popularly understood to mean “against,” and the characterization of such a spirit or man is therefore “against Christ,” but an antichrist is also a substitute, an impostor, “instead of Christ.” This is what the swap is about; one Messiah for another. From a saint's perspective, the Antichrist will be soon offered to man and this impostor will be accepted as their Messiah. From the upside-down perspective of those who believe the Luciferian lie, which includes the folks behind the Hollywood productions being featured, Lucifer is the true god and he will anoint his own son who may then seize his rightful throne in a coup that displaces the supposed fraud who now sits at the right hand of the throne of God. This is what the clever “Singin' in the Rain” ruse is about! When Lina's lip-sync fraud was exposed, the real star took her place, Kathy. The Luciferians see my lord Y'shua as a “Lina” who will soon be replaced by their champion, a “Kathy,” the real star.

By the way, the name “Donald” means “dark stranger” and “ruler of the world.” Look it up!

I'm taking the time to fuss over this for you so you see their boastful presentation of the antichrist masquerade they know is coming and see very graphically how they think in their twisted and perverted nature. In these cryptic messaging systems that are theatrical productions, if you can understand the language they use you can read the plot and motives in their own words.

I would be remiss if I didn't finish all that off with the closer, with what followed Lina's exposure at the theater. Don Lockwood had to win Kathy back after she took offence at how she had been used to deal thus with Lina. He woos her back with this song, which ends the film. Interpret this as a love song for their real star, Lucifer's champion Apollo, Amaru, the coming Beast who will be their “Donald,” “dark stranger” and “ruler of the world.”

You are my lucky star
I saw you from afar
Two lovely eyes
At me they were gleaming
I was star struck

You're all my lucky charms
I'm lucky in your arms
You've opened heaven's portal
Here on earth for this poor mortal
You Are my lucky star

Yes, their lucky star is coming, who does now open heaven's portal here on earth for mere mortals and who will on yet another level when the mark of the Beast arrives. This is not fantasy, folks. Those who run this world know it, and they relish telling us so in language most just don't understand. Those who believe the Bible and what the holy spirit reveals know it too!

More to follow, Lord willing!

No comments:

Post a Comment