This is a continuation of the previous post, “Donald for Donald.” You might want to open it in another window so you can reference it while you read this because I'm going to address different elements of that same scene. There's more layers of both Monarch programming and antichrist beast symbolism masterfully woven into this episode. Engaging with this material brings a conviction to many of us about how we've been so undersold on the evil genius of the Devil's work among us. As the Lord provides, let's make the most of this season as the spiritual war in the heavens and on earth waxes great. Don't take any revelation insight opening to you or the trials you are experiencing for granted, which come by much grace. Let me encourage you once again to take hope in the Lord, who is our refuge and who is faithful!
Caveat: If you're a victim of ritual abuse who is still being delivered, there may be triggers ahead so be forewarned.
The main subject of this reunion scene in Act 1 involves the boy. September responds to Walter's query about what he is by relating a story of how the boy came to be, divulging also the back story of the Observers. For some Fringe plot context, the Observers are waging war against mankind.
One of the Observers (kind of a Herod figure) is going to target the boy, who is already known by those assembled in September's apartment to be the key to their salvation from destruction at the hands of the invading Observers. An important action in the scene involves a old fashioned music box. The song it plays makes plain sense when you identify it as, “What Child is This?” Most who make that connection will remember it as a religious Christmas song. Obviously, the song title echo's Walter's question so the logical conclusion is that the song's context holds the answer, that he is as the Christ child, the savior of man. That insight provides a satisfying reason for the music box's role in the plot but there's more to be read into it than just that.I've already identified September/Donald as a Monarch programmer and Messiah figure, more precisely, antichrist. Obviously, the boy is another antichrist. We're going to see this scene as an enactment where September is a slave and also the boy's handler, and both of them are antichrist Beasts. The antichrist symbolism appears to be wrapped inside the SRA programming symbolism to model to us a version of the False Prophet and Antichrist Beasts of Revelation 13.
The box on September's coffee table looks like a book with pictures of two butterflies on the cover. It contains a small music box. Donald removes it from the box and plays it long enough for us to identify the tune, then gives to Michael/Anomaly XB-6783746, who also plays it. It's a simple mechanism that used to be very common. Those I'm familiar with were always wound with a key then turned on and off with a lever, but this one requires turning a little crank. The tune it plays is “What Child is This?” but it's also known as “Greensleeves.” This is more than just an toy to entertain him while the adults discussed important matters. There's some profound symbolism in all this!
The butterflies signal Monarch programming. The box looks like a personalized hand made book because programmers keep such a log book for each slave that contains program structures, access codes, triggering signals and gestures (like I wrote about here). I believe the larger of these two butterflies represents the adult handler, Donald, and the smaller, his boy slave. Michael is a chosen one, a genetically groomed multiple, and the book is his programming log, kept by Donald. The objects in the box would of course be related to Michael's programming. I believe this plays symbolically on more than one level.
What Donald and Michael do with the box dramatizes a programming session. The handler takes the box and turns the crank so the music plays.
In this instance, the program is this simple ritual. Programs of various kinds might be installed and rituals are one common kind. When Michael then does what Donald did we see the slave has learned the ritual. Mind-control programming is often done when the slave has been placed in a trance through ritual sodomy and this is what is being signaled by the song titled “Greensleeves.” From the song's Wikipedia entry: “One possible interpretation of the lyrics is that Lady Green Sleeves was a promiscuous young woman and perhaps a prostitute. At the time, the word "green" had sexual connotations, most notably in the phrase "a green gown," a reference to the way that grass stains might be seen on a woman's dress if she had engaged in sexual intercourse out-of-doors.” Having grass stains on the sleeves would suggest sodomy more particularly. I believe the music box in this programming dramatization represents more than just some kind of ritual, that it's also a trigger. When Donald played it he turned the crank, a trigger gesture, and the tune it played was a trigger. This, along with perhaps the producing of the object from out of a box with butterflies on the cover, appears to represent a standard three part trigger code to activate Michael, whose immediate response was to repeat what Donald had done because that's what he was programmed to do in response to that trigger.
This action involving the music box takes place right after Walter has asked what the boy is. Donald responds to the question by demonstrating the answer, that he is a chosen one and his slave. This kind of demonstration process is common in the Bible, especially in the Gospels. The Fringe folks are not stupid, and they have lots of help with this mind-control working.
There's more here because there's antichrist symbolism wrapped around the handler/slave interaction. When we recognize the activity as an activation sequence and consider the symbolism of Donald and Michael as antichrist beasts we can identify this scene as a prophetic modeling of the Beast's “activation” by the false prophet! Biblically, this is what's called the revealing of the lawless one in 2 Thessalonians 2, which I've often described as the sign to the Bride. As I've written at length, John the Baptist was Yahweh's appointed High Priest. He “activated” the Messiah, so to speak, by baptizing him in the Jordan where Y'shua subsequently received the anointing. After forty days of temptation in the wilderness, Y'shua emerged to begin ministering as Yahweh's anointed. The Devil's plan hinges upon a counterfeit, element for element, including an activation of his chosen one by his anointed high priest, who is presumed to be a chosen one who is demonically programmed to carry out that key ceremonial ritual. (The high priest's office is that of the Pope, and that very agent might be the Jesuit who was just installed in the Vatican.)
Read the lyrics of “What Child is This?” until it really sinks in how this song heralds the arrival of the Messiah. Then, watch the Fringe episode, and when you see this scene enacted, put the words to the tune as Donald activates Michael. When Michael repeats the activation ritual he announces his own arrival and possibly signals the implementation of the mark of the Beast, the anointing-activation of others!
If that interpretation seems like I might be reaching, there's a precedent for this that was set in 2008. During the London Ceremony at the close of the Olympics in Beijing this same song was played to herald the arrival of another model of the antichrist Beast! It was playing while the bus rolled in to the bus stop at the crosswalk. The song was heavily obfuscated, sampled in with a similar song (We Three Kings), but some of us were able to pick it out from the carnival like blend. I documented my observations here (Olympic Ceremony Symbolism). You can listen to it in a
brief audio clip I posted here, which includes a reversal of it at the end and a traditional church organ version in the middle. The Fringe folks weren't reinventing the wheel, just giving it one more spin! When the roles played by Donald and Michael are understood to be those of the false prophet and the Beast and the key interaction as a dramatization of the baptism that reveals, replaying the scene where they meet in the hall outside the apartment exposes that as a preview of the same. It's evil genius, wrapping this too in the sodomite handler/slave symbolism. They illustrate this critical scenario once, then again, expanding on it to present their cryptic message with redundancy.
As you can see in the sequence of screenshots below, when Donald greets his visitors in the hall, Michael has a purple hood pulled over his head. Donald approaches him slowly and, kneeling down, he pushes the hood back to uncover his head. On one knee before him, Donald touches hands with Michael, and the camera has swung around to present their joining against the appropriate background.
In a prophetic modeling of the revealing of the lawless one, we see Donald kneeling before the boy as the false prophet humbling himself before the Beast. With the hood covering his head, he is hidden, but Donald's act of uncovering his head represents the baptism and anointing that reveals! With an understanding of the supernaturalism of headcovering's glory language (as declared in 1 Corinthians 11), the uncovering of his head exposes the glory of his “head,” which will be the Dragon (Revelation 13:4). As these two touch hands, they join, in a blessing that is actually cursing, as the transfer is notably from the Papal high priest's left hand. As the camera sweeps around, the backdrop changes, momentarily bringing into view a pair of lamps on the wall flanking a doorway that signals a dimensional portal in familiar imagery common to so many Masonic scenes. This pre-enactment pictures the crux move that the ancient dragon has eagerly anticipated for a very long time!
When the camera finishes the sweep, we see the pair framed as in the last screenshot above, with the bright sun light streaming into their sanctuary through the portal windowed doors. That's a metaphor for spiritual illumination and also a testimony about the heavenly glory that will attend the ceremony and become manifest in the earthly realm. Some of you may recall how the same prophecy was dramatized in Beijing during the Olympics London Ceremony, where the lighting feature was provided by the bus lights.
These are not the only two witnesses to the revealing! The redundancy I've been seeing as I become more familiar with their symbol language is staggering in scale! That event and other key elements of what's coming have been expertly embedded into our entertainments and marketing media for a very long time!
Interpreting other elements, we see the high priest wearing the vest, his Papal vestments and blue-of-heaven shirt. The one who stands before him wears the royal purple of a king's robe. The setting of the hallway in front of Donald's apartment and, with attending witnesses, presents this as a semi-public ceremony at a place that is at that time associated with the high priest, and we'll see soon enough whether the reality unfolds as pictured.
All that is wrapped in sodomite handler/slave symbolism, just like in the music box scene that happens once inside the apartment. The purple hood worn by the boy is a redundant signal of sodomy, by the color and by the hood that I've illustrated from the examples of Humpty Dumpty of Puss in Boots, Kenny of South Park and most recently from the Hello Kitty Fairy Tale dolls of a recent McDonalds promotion. When Donald pushes it back off Michael's head, the engagement identifies them as sodomite pedophile handler and slave. The roles they play are supported in the scene by how Donald and Michael are positioned right in front of another handler-slave pair! When Olivia was a girl, she was one of the subjects in a special institute Walter ran in Florida. They have a handler/programmer and slave relationship that is probably the most obvious of the entire series. By positioning Donald in front of Walter and Michael in front of Olivia, they have doubled the handlers on one side and the slaves on the other, superimposing one set on the other!
To be continued, Lord willing!
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