Tuesday, October 09, 2018

The Man in the High Castle - Season 3

Aaron and I have been watching Season 3 of The Man in the High Castle. Volumes could be written but I just wanted to briefly note a couple observations. We see this release of the 10 episode season as a very timely one. Much of it speaks to us about the pending reset of time back into the past, the divergent (and biblically legitimate) time line branched in 2012.

The series is loosely based on a Philip K. Dick novel from 1962. Many believe the author had occasions of supernatural insight that spanned time. I'm not going to summarize very much, but there may be spoilers here, so if you want to watch it first, don't read this yet.

When the show goes on about different worlds in the multiverse, it's really about alternate time lines. The show is primarily set in a world where the Axis powers won WWII. Nazi Germany occupies the East of America with NYC as the capitol. Japan occupies the West with San Francisco as the capitol. It emerges that a few people called travelers can travel from one timeline to another, primarily the one at the same equivalent time but where the outcome of WWII is according to our familiar history. The plot makes much of films from the "Allies won" world being brought over to the "Axis won" world, and the hope that instills in some who view it, growing the resistance movement.

One of the seasons main story arcs revolves around a propaganda campaign that is intended to reset America's history, removing everything that would remind people of a pre-Nazi America. The campaign is called, Jahr Null, which means, Year Zero. It's a reset of history at a designated point in time. Let that sink in for a moment. It speaks of the reset of time itself, of history itself, not just the record of it or the memory of the past!

One of the elements in the plot involves a machine the Nazis build, you can call it a stargate. It's called Die Nebenwelt, meaning, The World. Compare it to Die Glocke, The Bell, a multidimensional vehicle of legend. It is meant to create a bridge that allows the Nazis to make incursions to extend their domination to other worlds. There are several reasons why we find this so compelling as a revelation of the Adversary's goal in the spiritual war, which is to break through into the highest heaven and replace the most High God.

Die Lebenwelt was built underground in a coal mine because there was known to be a spatial/temporal anomaly at that location that could be leveraged. It was in Pennsylvania, the Lackawanna mine, shaft #9. Lackawanna, is from a Lenni Lenape word meaning "stream that forks." This is a well chosen name because they are forking the time stream there, branching to other timelines. The number 9 is also significant, as the 9 realms of Norse mythology, of its role in vector math, etc. Have you ever seen The Ninth Gate, (2000) starring Johnny Depp? There's something legitimate underscoring all that.

The show has Dr. Josef Mengele as the lead scientist on the stargate project. In reality, Dr. Mengele (alias Dr. Green) was secretly brought to America for his expertise in trauma-based mind control programming. Travel through space and time has been a significant result. In the show, Mengele talks about travel on the astral plane, and astral projection or remote viewing (and being, in the astral body) is what some alters are programmed for and some multiples are particularly adept at this.

When the show makes the opposing capitol cities New York City and San Francisco, they are following an ancient protocol that involves stargates. These are paired Celestial Stargate cities, the Silver Gate (NYC) and the Golden Gate (SF), as we have documented, here. Series Links: Celestial Stargates It's not by coincidence, so let it speak to you that this media production is one in a long line of productions that is a ritual working that advances the Adversary's agendas supernaturally.

Featured in the show is a secret enclave of Jews (in the middle America Neutral Zone) who study the Torah and continue traditions such as the Bar Mitzvah. They masquerade as Catholics to conceal themselves. God has His chosen people Israel secreted away, their identities preserved but obfuscated for protection because they are reserved for the fulfillment of His purposes. Aaron and I rejoice about the Lord's special Romans 11 work!

The show features some of the characters in homosexual relationships. This is on the theme of crossing over and destroying fixed boundaries, which resonates with and advances the main dimensional bridging aspect. One should make the Pink Swastika connection, at some point, even though the gay Nazi element is not played openly.

One secret of our reality is that Hitler didn't die in the bunker in Berlin. The Nazi officials weren't destroyed so much as relocated and integrated into other nations. Nazi rocket science benefited America, which is well known to the public. What's less known but more influential by far were the specialists in mind control programming, of individuals and the masses. The fact is that America and Nazi Germany have been merged while maintaining the superficial identity of America, and the national socialism aspect or socialism has become prominent.

One sequence that really spoke to me was in episode 3, Sensô Kôi. Mengele was experimenting with a captured traveler who was not native to his timeline. (She had brought one of the film reels with her, so she is what would be called a courier. The secret moving of valuable secrets by couriers is something Illuminati slaves are renowned for in the spy trade. The real Dr. Mengele/Dr. Green would have have been involved with that activity!) So, in the show, Mengele was telling Reichsmarschall John Smith about his theory of travel from another world in the multiverse. Mengele said, "Our physicists and engineers are working on a physical means of travel to other worlds." Then, they cut to a San Francisco scene where delegations of the opposing Axis powers meet, and the point of this is really arranging for the different world versions of Joe Blake and Juliana Crain to meet, exploring the matter of having memories of relationships and events from other timelines. (This is a big deal, in reality - because some small number of individuals will remember this shemitah after time has been reset into the past) Then they cut to a scene in a club in San Francisco where the Japanese Chief Inspector Kido meets with a mob moss. "We start with a blank slate," he says, and Kido answers. "Yes. A NEW BEGINNING!" And they toast to that. It's a reset! They don't connect it to Jahr Null but we should! That's the Nazi campaign of Year Zero that resets history. What strikes me is the sequence they strung together, with the focus on the traveling between worlds and then on having the memory of other worlds/timelines and then on the new beginning of a key relationship that meant survival for the Japanese in America, the starting with a blank slate.

A segment of episode 4 really spoke to Aaron. Frank Frink was talking about the "dawn of a new day" in the sense of a new beginning and a new world. And the next step being the man of darkness who is trying to prevent that new dawn - and of people forgetting or perhaps never knowing that the new dawn was needed - that this world is not normal. Aaron says that resonates on so many levels, and it does with me, also!

1 comment:

  1. The wait is ova, for all across the land dawns a brand new morn, this is the birthing of a new day and a different way. It is the end of the primum mobile, yet every end brings a new beginning. The end of the world of darkness and the ego, and of separation from one another makes way for a new day of sunshine, love and unity.