Tuesday, April 30, 2013

Warfare, the Arrival of Walpurgisnacht and Beltane and the Persistence of the Saints

As I continue to blog and post some rather arcane studies, the Lord continues to bring forth insight and subsequent freedom in us, as attested to by the spirit of the Lord and a steady stream of email. It's encouraging to me to see the Lord faithfully attending to the need we have to be filled with Him, His peace and joy.

In this season, as Walpurgisnacht and Beltane are now at hand, the enemy is being fortified through the practices of worship. Those committed to his service perform rituals and cast spells, seeking enhancement of their powers, increase of their domain, promotion within the ranks... What may be attained in this season will carry forward like momentum built towards their ultimate goal - union with their god.

Many of us saints enter into spiritual warfare on behalf of those against whom this evil is intended, and I encourage your participation in this, as the Lord leads. There are more victims than just those who directly suffer physically, and their families and loved ones, and owners of the pets and livestock.

Blessings in Y'shua!


Monday, April 29, 2013

Decoding the Olive Exposes the Illuminati UN, the US Great Seal, Etc.

I've been writing about Monarch programming and the antichrist plot in an episode of the sci-fi show Fringe, the episode. One of the connections I made depends upon the olive as a symbol, which really deserves its own post. So, here it is!

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, you may want to pass on this one. Also, no offense is intended for anyone named Olive or related to someone named Olive, or who works in the olive business.

Biblically, I understand the Mount of Olives as a symbol of division, which the Lord revealed to me many years ago and about which I have written at some length. The Occult symbol of the olive has another focus. For a clue to what that is, consider what the Marquis de Sade had to say as he provides the link. (Yes, the man “sadism” is named after.)

“No habit is more easily acquired than mard-savoring; eat one, delicious, eat another, no two taste exactly alike, but all are subtle and the effect is somewhat that of an olive.” Marquis de Sade

Mard (also merd) is dung, excrement. The consumption of feces is called coprophagy or coprophagia. Some animals do this by nature, like the dung beetle, and this is a behavior that is also practiced in the SRA community. The Marquis compared mard to an olive. I've noticed that the olive appears in a wide variety of ways in the context of ritual abuse and mind-control. The olive signals coprophagy and coprophilia, which is, “An abnormal, often obsessive interest in excrement, especially the use of feces for sexual excitement,” and ritual sodomy.

The olive signal may appear as an olive branch, the use of the drab olive color or in some character's name.

In Fringe, the lead female character's name is Olivia Dunham, and some just called her Olive. She was romantically paired with one of the lead males, Peter Bishop. Both his names are slang for a phallus. Hers equates to mard. Can you put that symbolic relationship together? The folks responsible for Fringe fill it with Illuminati SRA themes and symbols. The naming is not just random. There's more to their symbolic relationship than carnal acts of coprophilia, coprophagy and anal sex. She was a Monarch slave, a child subject in a special facility. She was able to cross into the alternate universe and was able to assist Peter with his dimensional boundary crossing. Olivia was abused by her step-father when she was young, and that trauma is what first caused her to jump to the other universe, which I recognize as allegorical. Her jump pictures dissociating, a switching to another alter, and also suggests astral travel and remote viewing, and even time travel. That's obfuscating the slave's psi power and alter switching. She is Olive, “mard,” the ritually sodomized and programmed slave.

A popular show on The CW network is Arrow. It's a comic book derived character like Batman that features a wealthy regular guy who is severely traumatized and trained to have an alter identity where he is an enhanced supersoldier kind of vigilante. His name? Oliver Queen. A male queen is a homosexual. The ad you see here pictures him with one eye inside a truncated pyramid - Illuminati, sure, and the triangle eye is a signal anus. The green = olive. The arrow is a phallic symbol. Do the math. Sodomy symbolism. The pyramid as a triangle is the Greek letter delta. Delta programming is the Monarch assassin programming. The Arrow character uses the bow and arrow as his weaponry. In legend, Apollo is known as the archer, alias Horus. Horus Eye enlightenment. “A Hero Will Rise.” Hero = antichrist. In Acts 12, Herod, which means, “Hero,” is an Antichrist type. Here's another Monarch slave supersoldier character with antichrist symbolism wrapped around it.

This should be familiar by now. No joke, this is not all just random chatter on the symbolic level, and the story line of the messaging is not fiction. I pray this testimony is becoming very real to you.

For a “real life” example we have the obverse of the ubiquitous Great Seal of the USA. The eagle holds an olive branch in one talon and arrows in the other. The official explanation declares that, “The Olive branch and arrows denote the power of peace & war which is exclusively vested in Congress.” It has been demonstrated beyond dispute by Tom Horn (Apollyon Rising 2012) and in this blog that the symbolic seal is essentially an Illuminati manifesto heralding the return of Apollo. The eagle is a phoenix as attested to by Manly P. Hall, but beyond that it is Amaru, the feathered or plumed serpent, alias Apollo. There's some truth in what was said about the symbolism of the olive branch and the arrow. Such public explanations always have to seem plausible, of course. What's really signified on a deeper level is sodomy, which you should now perceive in the mard-anal olive and phallic arrow pairing!

The talons are used by the eagle to seize and rend their prey. Think about it. Thirteen arrows, leaves and olives: Illuminati SRA programming's three dimensional matrix of 13x13x13!

The language of heraldry is read to say that what's seen in the dexter (right side, which is on the viewer's left) is more significant than the sinister (left side). Are the illuminated tares obsessed with mard? It is the mortar of the Freemasons that binds them together. The olive emblem signals great secret of ancient sodomite sex magick that hearkens the coming of the lawless one.

Another case-in-point; the UN logo. The olive branch is a messianic emblem, and I believe the leaf may be taken as a sign of readiness for repopulation.

But if some of the branches were broken off, and you, being a wild olive, were grafted in among them and became partaker with them of the rich root of the olive tree, ~ Romans 11:17

10 So he waited yet another seven days; and again he sent out the dove from the ark. 11 The dove came to him toward evening, and behold, in her beak was a freshly picked olive leaf. So Noah knew that the water was abated from the earth. ~ Genesis 8:10-11

The UN logo is a global map and grid wrapped in olive branches. The sun god sodomite layering is rich! Now being able to interpret the olive branches, you should perceive the redundancy of the message in the radial target as a sun wheel and anus, surrounded by the olive branches as a pair of sphinx, the sphincter. Count the areas enclosed by the grid. There are 4x8 plus one in the center, 33 total. Is that familiar yet? When they identify themselves as the “United” Nations, you should recall the binding element, the mard-mortar of ritual sodomy. This is the agency on the physical level that creates a binding of heaven and earth in an Illuminated individual, their body of Christ that is the truncated pyramid and the mind-controlled collective that will soon manifest through the mark of the Beast.

Giant mural in the UN Security Council Chamber

If you count the olive leaves, I believe what is depicted is a declaration of the duplication of the 13 bloodlines of the Illuminati. Those elements of the branches forming the X at the bottom are separate, the messianic root, Lucifer's heritage and hero. This is their messianic plan, with the X as in Xmas, Christ, and the sign of the sun god. The Lucis Trust is plenty of evidence establishing the Luciferian connection. (Search this blog for Lucis Trust) The picture conceals and reveals how they intend to cross breed and hybridize the population of the globe, which is signified by the five concentric zones of the radial grid (like the 5 Olympic rings of that logo). This is the serpent seed replication of the counter flood, the sodomite messianic antichrist tree of knowledge of good and evil rooted in the earth. That picture is probably intended to represent a genetic crossing with the Adam-kind that is the Creator's genealogical tree and a tree of life.

The IOC shares their global agenda as the body responsible for the modern Olympics. The olive branch and wreath is an important symbol to these worshipers of the ancient sodomite gods. In ancient times as at present, the olive is a symbol of Athena, to whose worship the Parthenon was dedicated.

As Pallas Athena, she was the patron and muse of Francis Bacon, the spear-shaker. Historians have convincingly associated Bacon with the work of the playwright Shakespeare - spear-shaker. Bacon, like John Dee, would have understood about the olive. The central character in Shakespeare's Twelfth Night was named Olivia. This play was referenced in Rango's opening scene in the chameleon's terrarium stage, as you may recall from my lengthy series. The name Malvolio used by Rango identifies that production as Twelfth Night, and by association, the headless one armed doll torso as Olivia, which is probably the point. Olivia. Mard. Abused SRA slave. OK. Back to the Olympics.

Olive wreaths were awarded to the winners at the Olympic games, who performed their feats in the nude and gave honor to the gods with all their efforts. In the modern, era, some clothing is worn, but honor is still given to the gods. At the ceremonial lighting of the torch on Mt Olympus, an olive branch is cut off a tree and given to the high priestess by a young boy. (Vancouver Olympics - Part Two - The Light of Zeus) If you've done your homework on ancient Greece, the meaningful olive as mard metaphor is far more plausible explanation than the usual story about the olive branch meaning peace.

Another “real life” example appears when Pope Emeritus Benedict is identified as the 111th Pope listed in St Malachy's controversial Prophecy of the Popes. The descriptive used is, “Gloria olivae,” which translates to the glory of the olive. Is the olive as mard metaphor evident in connection with this Pope? Yes! For the long version, see “Part 13 - The Sodomite Gateway - The Sodomite High Priest of the Romish Sun Cult,” where I decode his Coat of Arms. As usual, the public explanations avoid reference to what remains a guarded secret. “Proponents of the prophecies generally try to draw a connection between Benedict and the Olivetan order to explain this motto: Benedict's choice of papal name is after Saint Benedict of Nursia, founder of the Benedictine Order, of which the Olivetans are one branch.” (Wikipedia) They can't really put it together, but when you take his heraldry as a clue, that picture of a man's backside, adorned with other sodomite symbols paints a vivid picture. Is it a stretch to interpret “Gloria olivae” as a metaphorical reference to some characteristic behavior associated with mard? Give due consideration to his position as the high priest of the Romish church during the era of highly publisized sexual abuse, where he made one apology after another and the church paid out many settlements. Malachy's descriptive fits.

In Charles Dickens' classic, Oliver Twist, the character named Fagin is a fence who recruits homeless boys and trains them as pickpockets. “Orphans,” as M (Judi Dench) told 007 (Daniel Craig) in the latest Bond movie, “make the best recruits.” They are already traumatized and have separation anxiety, are quick to dissociate and eager to bond. Like James “Bond” who usually introduces himself by emphasizing the sodomite Delta agent bonding: “Bond. James Bond.” The orphan, Oliver “Mard” has the last name of Twist, which describes the vortex associated with the chakra and kundalini, the anal activation of the pineal gland. This Twist was graphically illustrated for us by the pipe bowl in 1940's Pinocchio, as you see here. The orphan's handler, Fagin was a fence, like what was pictured in Singin' in the Rain, dealing in child trafficking. He trained the boys to be pickpockets, like Monarch slave Kitty Softpaws in Puss in Boots. The name Fagin, breaks down as Fag (homosexual) plus “in,” as the pedophile sodomite pitcher to the child catcher, handler to slave.

An American Tail: Fievel Goes West is a Steven Spielberg animated feature from 1991. I watched this recently, my interest drawn by the title's sodomy signaling. “Going West” is an allegory for turning to homosexuality and pursuing the left hand path. Amarucan tail ~ sodomized by Amaru. Fievel~Evil. There is a sequence during the film where the dialogue is densely NLP laden. I didn't record the script while I had the DVD and couldn't find it online, but one of the phrases in that script involved the olive pit or pitted olive, and that would have made little sense outside of the mard metaphor.

“Hemlock Grove,” the new series on Netflix has a creepy supernatural female lead named Olivia Godfrey, played by Famke Janssen. Her son has psi power "push" abilities. The inheritability of learned behavioral traits is a characteristic of the Monarch butterfly, which is why that is an emblem of Monarch programming. Slaves pass on programmed abilities/traits to their children, which I understand on one level as demonic curses passing down through the generations.

Hemlock (conium) is famous for use as a deadly poison and by witches, especially in hedge witchery. The hemlock is one ingredient in the flying ointment commonly applied with a broom handle. It's the pharmakeia facilitating dimensional travel seen so frequently in episodes of Fringe, which of course often related to Olivia Dunham. Also from the title, groves are where demon deities are worshiped by witches of the Freemason variety and otherwise with song, dance, ritual sex and sacrifice.

Hemlock Grove premiered April 19, 2013, with all 13 episodes made available for online viewing.” April 19 marks the Bloody Sacrifice to the Beast on the Satanic calendar, celebrated with human sacrifice and fire. The number 13 is of course the Illuminati and rebel lord Beast signal number. There's not much mystery left in the basics of that antichrist scheme, is there? The fictional town is set in Pennsylvania, Pan's Woods. Fitting! Pan was honored by Jack Parsons before every rocket launch. He was the student of Aleister Crowley whose work is given honor by Delta programmed multiples who await the black awakening. They refer to themselves as BWBs, Babalon Working Babies, making reference to Jack's sex magick ritual working performed with the Scarlet Woman Marjorie Cameron in 1946, the Babalon Working.

The series is produced by Gaumont International Television, often represented as the acronym GIT. Read: Gastro-Intestinal Tract. See the logo as a bloody sun anus and G-Eye Tract Eye of Horus!

In yet another example of the olive as mard symbol there's Olive Oyl, the love interest of Popeye the Sailor Man. She has a figure that is far more boyish than voluptuous, which is fitting for pedophile coprophiliac sodomites. Since the rectum provides no natural lubricant, sodomizers often supplement with whatever might be at hand. Olive oil has long been abundant in the Mediterranean region and therefore readily available as a natural lubricant. Olive Oyl, Popeye's love. Olive oil is a standard lamp fuel and also is a popular ingredient in food. Olive Oyl, coprophagia.

As a sailor man, Popeye would have a reputation as a sodomite. Winston Churchill is claimed by some to have remarked about the British Navy: “Don’t talk to me about naval tradition. It’s nothing but rum, sodomy and the lash.” Apparently that was a misattribution, but yet one that serves even better to make the historical link.

In his great book about Churchill quotations and misquotes, Churchill by Himself: The Definitive Collection of Quotations, Langworth says that Montague-Browne personally told him that he had asked Churchill about the quote. According to Montague-Browne, Churchill responded: “I never said it. I wish I had.” Langworth notes that “rum, sodomy and the lash” is similar to “rum, bum and bacca” — a catchphrase from an old saying about the, er, pastimes of British sailors, dating back to the 1800s: “Ashore it’s wine, women and song; aboard it’s rum, bum and concertina.” (Bum = a man’s rear end; bacca = tobacco.)” -- (The origins of “Rum, sodomy and the lash” – Churchill’s alleged quip about British naval tradition…)

The history of the sodomite sailors traces back through pirates and the Knights Templar, which I've researched before. One interesting piece of literature you'll find on this is, Sodomy and the Pirate Tradition: English Sea Rovers in the Seventeenth-Century Caribbean - By B. R. Burg

Supporting the esoteric layering evidenced in the mard metaphor of Popeye's love interest we should note how Popeye is himself a one eye, hidden eye, Horus eye Illuminated individual. Further support is provided by the character Swee' Pea. This crawling boy is Popeye's ward in the comic strips, and Olive Oyl's in the cartoon versions. Swee'Pea. Think “sweet pee,” which compares to the coprophagia of Olive Oyl. Other characters associated with Popeye bear poop names. Poopdeck Pappy is his 99 year old father, who is also a sailor. Popeye's lookalike nephews are named Peepeye, Pupeye, Pipeye and Poopeye.

Popeye sports tattoos on his forearms that look like anchors, but they also look like Occult symbols, even resembling John Dee's monas heiroglyphica!

Ripping off excerpts from Wikipedia, Popeye first appeared in the daily King Features comic strip Thimble Theatre on January 17, 1929; Popeye became the strip's title in later years. In 1933, Max and Dave Fleischer's Fleischer Studios adapted the Thimble Theatre characters into a series of Popeye the Sailor theatrical cartoon shorts for Paramount Pictures. These cartoons proved to be among the most popular of the 1930s, and the Fleischers (1933–1942, 108 cartoons)—- and later Paramount's own Famous Studios —- continued production through 1957. You may remember Fleischer Studios as producers of Betty Boop and Bimbo's Initiation, a blatant exhibit of abusive Illuminati fraternal order initiation rites of trauma and sodomy.

Other characters named Olive are:
  • Olive Hoover, character in movie "Little Miss Sunshine"
  • Olive Snook, character in ABC's "Pushing Daisies"
  • Olive Rudge, character in the British TV series "On the Buses"
  • Olive Penderghast, protagonist in "Easy A"
  • Olive Doyle, character in The A.N.T Farm show on Disney

In Little Miss Sunshine, 7 year old Olive performs Super Freak by Rick James in a burlesque routine at a beauty pageant. "Freak" is a slang term for, as described in the song's lyrics, "...a very kinky girl / The kind you don't take home to mother". (Wikipedia) Another pair of lines she sings speaks to the Olive as mard metaphor: “I really love to taste her - Every time we meet”

Olive Doyl is near to Olive Oyl. It's Disney, so I suspect the metaphor is probably leveraged in that.

Mention should be made of the character Sweet Pea in SuckerPunch, a Monarch programming extravaganza. At the film's end, we're tipped off to the fact that the movie was really not about Baby Doll, as we were led to believe. It's really about Sweet Pea, about whom no other conclusion can be drawn: she and others are SRA DID alters with Beta and Delta programming.

In closing, when considering what signaling might be present with regard to the name, Olive, these many variants are equivalent.

Olivia/Olevia/Olivea/Oliveea/Olyvia/Olivya/Olivija/Oliveia/Alivia/Alyvia, Olivet, Olivetta, Olivi, Olivianne, Olivine, Oliver, Ollie/Olie/Olly/Oly, Ol(l), Olia, Oliff/Oliffe, Olivet/Olivette, Liv, Liva, Livia, Livie/Livvie/Livvy/Livy/Liwie/Liwy, Livrie

Friday, April 26, 2013

Decoding Candy Crush Saga

Candy Crush Saga is a popular game for both iOS and Android smartphones. In March 2013, it became the most popular game on Facebook with 45.6 million average monthly users, surpassing FarmVille 2. The brand and game imagery features mind-control symbols.

Update: How women blow £400,000 a day playing Candy Crush, the most addictive online game ever

Here's a commercial I saw yesterday.

Caveat: If you're a victim of ritual abuse who is still being delivered, or if you're easily offended by mature subjects and descriptive language, you might not want to continue here.

Candy Crush Saga Commercial

The logo's heart was a pretty obvious symbol of the butt that caught my attention right away. Also, Candy Crush = CC and since C=3 it is a 33; signature Masonic degree and graphic image of engaging sodomite butts! The busy rainbow of colors floating, rising and dropping spoke to me of “go over the rainbow” programming. See here for some background: Yoplait Umbrella Commercial After a few moments of considering the meaning of the brand imagery it became apparent that the word anus was wrapped around the heart. Clever. The colors red and yellow blend to orange, another sodomy signal and a third layer of redundancy: heart + anus + orange.

That creepy little girl has cheeks like eyes that make the other element a third eye. See how the curve of the mouth frames the pupil? This is the illumination symbol that usually accompanies ritual sodomy signals, as I've demonstrated in the sodomite gateway series.

I noticed her wierd dress looked like it had horns for sleeves so I flipped it over. Yikes! The angry Baphomet appeared! See the dark circles under his eyes, golden ears, a chin with beard? He's dressed up for the occasion with a sodomite bow tie. The mouth is a Masonic Royal Arch and squared circle! So, that's not really a mouth, it's the other end of the GI tract.

Check out the Masonic square and compass in the hat/dress. Pretty sly.

If that wasn't enough, they layered in even more “33” numbering in the way they tied the two words together. Matching to the reclined 3 at the top of the heart is this opposing 3 at the bottom.

Candy Crush Saga is a celebration of the edible candy which, in the context, pretty clearly indicates copraphagia, and pedophelia.

I thought the an+us trick seemed familiar. Sure enough. Orange Crush played the same bit! Illuminati mind-control.

I wondered about what more might be in the popular game's name and there are some interesting anagrams that can be found. I think the reason why the Candy Crush is a saga probably relates to the ancient gods, who are worshiped by the Illuminati.

a. A prose narrative usually written in Iceland between 1120 and 1400, dealing with the families that first settled Iceland and their descendants, with the histories of the kings of Norway, and with the myths and legends of early Germanic gods and heroes.
b. A modern prose narrative that resembles a saga.

Update: Aaron noted how Saga was written on a tag and that the 4 letters summed to 28 in the usual way.


I think he rightly equates the 4 letters to the 4 Shemittah span of 28 years. If this doesn't make sense, you've got a lot of catching up to do! I think we're led to see the tag like a SALE tag on an item. I think seeing it that way kind of suggests seeing it as a price tag (sale=reduced price), with numbers, which invites us to do the conversion as above.

Aaron also noted how the tail of the “y” is what wraps around the heart and becomes the “C,” and the “y” is a male seed symbol. Then, the way that “C” hits the “r” is like sodomizing it, and the “r” is such a common symbol of Horus. I see how the first “C” sodomizes “andy” and how that all ends in “rush” like a male train.

Thursday, April 25, 2013

Part 3 - Monarch Programming in Fringe - "The Boy Must Live" - What Child is This?

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!

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!

Monday, April 22, 2013

Part 1 - Monarch Programming in Fringe - "The Boy Must Live" Under Walter's Umbrella

The TV series Fringe ran for 5 seasons, ending in 1/13. J. J. Abrams, Alex Kurtzman, and Roberto Orci were largely responsible for it, creating a prophetic sci-fi drama that concealed and revealed many elements of days soon to come. They showcased technologies and abilities that some of us know to be real, cloaking them masterfully by weaving them into this fictional context. I know. That's not unusual. It was, however, exceptionally well done. I wrote some about that here: “Part 55 - Rango - The Fringe Version of Petrus Romanus, a “Black Stone”” Alongside the themes of time travel and parallel universes much of the show plays as allegorical, presenting mind control themes, even identifying Monarch Mind control.

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!

Sunday, April 21, 2013

Part 105 - The Sodomite Gateway - Twilight and Hello Kitty, Enchantments with Apple Heart Symbols

Hey, 105 posts in this series! What a crazy season! I have learned that each little nugget mined in this strange expedition is valuable, and sometimes what seems like the least little insight is a key that opens the door to understanding something very profound. This work is the learning of an arcane language but it is also the decoding of the enemies communications during war time, the exposure of his ways, means and plans, which are ever wrapped around the Lord's own plans. That's where there's great value, with the Lord's confirmation of what our present situation is and where He's going with it. We're in a difficult season and situation now as believers and “obeyers,” all around the globe. I exhort you to learn well the lessons the Lord has for you and remain steadfast in faith. He has a plan in this season for the continued refining of our character and opening of our ears to hear, and it is working. I encourage you to patient endurance for making your hope secure.

Young impressionable girls and boys really go for the vampire style today, and the Twilight series of books and films has had a strong influence. The vampire look is associated with Goth (Gothic) style. In this Trick or Treat Halloween promo, the heart sign is formed by actress Kristen Stewart in the role of Twilight's Bella Swan.

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. If you're new to this series, welcome! You may want to start at the beginning to get the foundation for what's here. Series Links: The Sodomite Gateway

A swan is what every ugly duckling hopes to become, and a “bella” swan is a beautiful swan. This character wanted to be transformed into a vampire, and eventually she was. If this was all meant to make kids want to be transformed into cursed soulless creatures who suck blood and life out of endless victims, their efforts have met with success. Some swan, some beauty, right? What a pathetic evil model.

The signaling here indicates how the transformation comes. It's not the biting of the neck but ritual sodomy and sex magick.

The heart can be taken as the vagina and the apple as the womb which signals the sex magick of heterosexual reproduction that produces hybrid angel-humans. The apple is superimposed over her womb for that reason. The Twilight series does have the two pictured here marrying and having a child.

The heart is also the butt symbol. The sodomite gateway symbolism is supported by the orange color of the text, yes, the witches' traditional high day color. The apple also supports the ritual sodomy symbolism by alluding back to the sin in the Garden of Eden. The Devil knows what happened there, that what most people believe was a bite out of an apple was actually the engagements in sodomy with the nachash that led to the eyes of the man and woman being opened. Read about that in Who is Cain's Father? if this shocking insight is news to you.

Bella's dress resembles those worn by the priestesses at the Temple of Hera on Mount Olympus at the ceremonial lighting of the flame. The X shape formed at the breasts is a symbol of the sun god. This declares her service to and ownership by the god honored, Apollo, Horus, the illuminating sodomizer. See Robert Pattinson as Edward Cullen standing right behind her. Connect the dots. He's the vampire-handler and proxy.

The Twilight series features lots of fighting that displays the psi powers and super powers of the Vampires. Blood drinking and energy sucking mind controlled slaves are usually psi powered and programmed as supersoldiers. The heart-apple squad is literally building an antiBride army in the power of antiChrist.

The Hello Kitty brand is popular fashion for girls' clothing and accessories. The following McDonalds promotion of Hello Kitty Fairy Tales features a similar set of symbols to what we just saw, with the heart inside an apple inside a house. Wow! There's a lot going on in this promo! I've previously decoded the McDonalds logo, which appears here in the company of similar symbols. Fairies are demons, so fairy tales are stories about demons. Straight away, the Kitty and the big bow (sodomite binding tie) are elements that tip us off to MK-ULTRA sex kitten programming.

The apple with heart inside is like the apple in heart presented in the Twilight promo above. Like how Twilight's Bella Swan subliminally references the transformation of the ugly duckling, this HK promo features the ugly duckling doll, bottom left, which we associate with the transformed "bella" swan. This dual nature and transformation is very much a mind-control thing, as a Monarch slave switches in and out of Beta programmed alters. Multiple identities are illustrated for us by putting Kitty White in costume, with faces like masks. Each costume is an alter identity.

The featured “Wizard of Oz” identity pictures a bow on the hood's drawstring as the sphincter of a slave's big golden anus, which is complemented by the black sun rayed kitty whiskers. Hello Kenny! (From South Park with the parka hood's drawstring tightly drawn - and no mouth visible or speech understood) Hello Humpty Dumpty! (From Puss in Boots, wearing the “gold pooper” suit.) The gold light body is Lucifer's dangled carrot-on-a-string promise of reward and the enlightening initiation provides them with what is their token, a counterfeit to the holy spirit. Under severe trauma, as the cowardly lion of the Wizard of Oz always was, and while being ritually sodomized, the slave dissociates. See the little head at the bottom of the ad? Dissociated! See the yellow brick road pictured as an orange (sodomy) path, which we can infer to be smeared poop - mortar. Another familiar set of symbols appear in the lion's face, where the nose is the anus and the mouth, the buttocks.

An M is formed across the solar plexus as the M=13=rebel lord beast and sun god signal. Mason ~ Monas ~ McDonalds

The “Wizard of Oz” is a fundamental source of imagery for programming scripts. So is “Alice in Wonderland” along with others of that classic series, and from there comes the inspiration for Hello Kitty! “Hello Kitty was designed by Yuko Shimizu and was added to the lineup of early Sanrio characters in 1974. Shimizu got the name Kitty from Lewis Carroll's Through the Looking-Glass, where in a scene early in the book Alice plays with a cat she calls Kitty.” (Wikipedia) The McDonalds promo isn't projecting onto Hello Kitty anything that was not already there, from the very inception of the brand. The target age for SRA programming victims is 3 years old. Little Kitty was first marketed to very young girls, and I believe this has been a directed effort to support Beta sex kitten programming.

“There has been some suggestion that Hello Kitty has its origins in Maneki Neko, and that the name Hello Kitty itself is a back-translation of Maneki Neko, which means beckoning cat in English.” (Wikipedia)

I believe that's valid because the “beckoning cat” aptly describes an operation of slaves with sex kitten programming, who operate a psi power spell like animal magnetism to draw their prey. It's more than pheromones, it's a supernaturalism, and it's real.

“Hello Kitty - full name Kitty White - is a fictional character produced by the Japanese company Sanrio, first designed by Yuko Shimizu. She is portrayed as a female white Japanese bobtail cat with a red bow. The character's first appearance on an item, a vinyl coin purse, was introduced in Japan in 1974 and brought to the United States in 1976. The character is a staple of the kawaii segment of Japanese popular culture. At age 36 as of 2010, Sanrio has groomed Hello Kitty into a global marketing phenomenon worth $5 billion a year. ” (Wikipedia)

Some of the programmers who are responsible for many chosen ones today are known by their color names: Dr. White (aka Dr D. Ewan Cameron of Montreal Canada), Dr Green, (Josef Mengele), Dr Blue and Dr Black. Kitty White suggests who it is that is her daddy.

It's big business for the bobtail (sodomy) cat (sex kitten). The coin purse is an emblem of Mercury aka Hermes, which you'll often see borne on his belt or held aloft alongside his eye-mazing caduceus. That's Hermes the sodomizer who facilitates Horus.

Everything that is today is not merely the cosmic coincidence some would have you believe. The ancient gods continue to inspire worship through objects and images. Spells are placed upon many objects sold in the marketplace, and you may purchase these demonically charged objects locally, online or receive them as gifts, or even by purchasing any food order and adding $25 extra!

“Charmmy Kitty is Hello Kitty's pet, a white Persian. She is described as docile, obedient and fond of shiny things. Her necklace holds the key to Hello Kitty's jewellery box.” (Wikipedia)

A charm is an object of enchantment, which is sorcery. Persia is famed in the West for magical themes, genies and flying carpets. Charmmy the white Persian kitten speaks to me of what is known as a familiar, a spirit companion to a witch. Not every witch has one but many do. Familiars may manifest in the form of cats, black or white or any color, or they may also take many other forms, animal and otherwise. Being docile and obedient pictures the familiar as serving, and having the key to Hello Kitty's jewellery box on her necklace fits the profile of the familiar's operation.

“A familiar is a companion or assistant who is close to a person and considered their helper in magick. Although a familiar can present itself in various forms, it often manifests itself as an animal whose psychic attunement makes it an ideal partner in magickal workings. Many Witches have animal familiars in the forms of cats, dogs, birds, rabbits, horses, snakes, toads, and spiders.” (a witchcraft website)

The Lewis Carroll literature that inspired Hello Kitty featured in the Wonderland world a character known as the Cheshire Cat, who must be seen in the role of a witch's familiar.

The witch persona in the McDonalds promo, “McDelivery,” has the handler/programmer role. Everyone knows McDonalds has no delivery services. The witch delivers spells. Her conical hat is what's known as a power cone. The hat is also a signal anus, which pairs with the phallic broom as the ritual sodomy symbols through which the demons are installed in ritual magick.

The core persona of a mind controlled slave is trapped. Unless their programming breaks down they cannot cry out. They have no voice, no mouth. Having no mouth is a way of telling us that they have a secret that cannot be told.

“Spokespeople for Sanrio have said that Hello Kitty does not have a mouth because they want people to "project their feelings onto the character" and "be happy or sad together with Hello Kitty.” (Wikipedia)

That is a mind control sign! There is a projection onto the character as a front alter who lives the slave's life.

“Originally aimed at pre-adolescent females, Hello Kitty's market has broadened to include adult consumers. She can be found on a variety of products ranging from school supplies to fashion accessories and high-end consumer products. Several Hello Kitty TV series, targeted towards young children, have been produced. Hello Kitty is also the main character at the two Japanese Sanrio theme parks, Harmonyland and the indoor Sanrio Puroland.” (Wikipedia)

Theme parks~kraps, like Disney's mind-control support institutions.

To see an example of marketing Hello Kitty to a slightly older consumer base, here's a lengthy video commercial for MAC Cosmetics.

Hello Kitty MAC Cosmetics Make Up Collection

There is a ritual in that commercial, a dramatized performance of the slave being programmed and sodomized.

The official character profile states that Kitty White was born in the suburbs of London, England on November 1. That's a Satanist High Day that involves blood and human sacrifice! It's related to the All Hallows Eve of the night before, the Halloween of the Twilight promo at the top of this post, which is a very special time when the dimensional veil is considered to be very thin. Blood and sexual ritual and animal or human sacrifice is practiced at that time that is considered to be most propitious. Much witchcraft goes on in London, home of the powerful royal monarchy, Illuminati financial institutions and the Tavistock Institute, the infamous secretive mind-control programming institution.

“According to the official character profile, she was born in the suburbs of London, England on November 1. Her height is described as five apples and her weight as three apples. She is portrayed as a bright and kind-hearted girl, very close to her twin sister Mimmy. ...While Hello Kitty wears a bow on her left ear, Mimmy wears hers on the right” (Wikipedia)

The bow positions suggest that the twins are a mirrored pair, which is how alters are created during programming when a slave dissociates. Mimmy ~ The Last Mimzy? (“The Last Mimzy is a 2007 science fiction adventure drama film directed by Robert Shaye and loosely adapted from the 1943 science fiction short story "Mimsy Were the Borogoves" by Lewis Padgett.”)

The apple inside the promo logo probably connects the heart and house on a superficial level to the measure of Hello Kitty's body. I believe the house as the container and the nested heart inside the apple is a metaphor for the slave, who is locked inside concentric layers of protective programming. This is akin to doll house programming.

Decoding the logo, we see the house and a heart are linked to the Ronald McDonald House charity, a brand I've written about and decoded already.

The leaf and stem of that golden apple are the scrotum and phallus stuck into the apple as an anal orifice. It's the sodomy in the Garden of Eden I mentioned earlier. This is what was being signified by all the apples floating and rolling around during the Paralympics Opening Ceremony, ritual sodomy , with “go over the rainbow” programming.

The apple and heart together present a 33 as the top of each forms a 3. The bottom of the apple supplies a 3 that opposes the 3 at the top of the apple and the heart to provided a deeper layering of two more instances of the signal 33. The house presents a phallic arrow.

The heart sits inside the apple as the core where the seeds are, which is a distinctive reproductive metaphor to match the heart as vulva and apple as womb. The heart in the center is where a pentagram may be found if you slice it at the equator, which is a characteristic that is known to many witches and esoterics, who favor the fruit for this reason and because it is an emblem of sin and of the reproduction of the tree of knowledge of good and evil, the serpent tree.

In closing, the other Hello Kitty characters featured in the McDonalds promo I haven't yet mentioned are the green, red and brown color programming objects. The Frog Prince is another transformation themed identity, like the Ugly Duckling. The story is that the prince was turned into a frog by a witch. A kiss from a princess frees him from that spell so he turns back into a prince. Frogs are biblically symbolic of demons. Little Red Riding Hood is a story about a wolf, who ate the girl's grandmother. A subsequent masquerade with the wolf-as-grandmother was an identity swap that set up a lethal trap for the girl. The Wisdom Owl must be connected with Sophia, and to the Watchers who were the fallen angels. Masqueraders, as angels of light. The owl is a very common witch's familiar.

The witch and owl don't have little dissociated alter heads. They appear on one side as the programmers and handlers over against the slaves. They are Special Edition.

Why do these designers of dolls and graphics go to such elaborate lengths to craft these Occult programming collections? Well, that's why they're there, to do what they do. Many are slaves themselves. Slaves are mind controlled. They don't generally know what they do, or who or what they are. They are controlled by demons, ritually installed. Those who choreograph dances, compose music, write lyrics, direct movies, design stages, design clothing and jewelry and toys, compose novels, publish books, report the news, chair corporate boards, govern towns and nations, ... yeah, it's a conspiracy. The symbols of every kind must be produced and presented that enslave the world through binding demons. If you perceive this to be so and take offence at the evil, praise the Lord! His spirit is alive in you!