Chiming in on the most relevant philosophical issues of our day, I’ve recently posted three podcasts that are well worth a listen. Departing from current events, each of these philosophical podcasts covers a crucial sector of understanding for free-minded people who wish to prosper in a dangerous world (where your freedoms are under constant assault).
This podcasts reveals the root cause of evil in our world and how it all has a single, common source. Listen to this fascinating podcast to hear the full explanation about consciousness, the “disconnect” and the root of all evil.
Hillary Clinton is at it again. In her cool new book “What Happened?” she comes up with any number of people and institutions to blame for her stunning defeat. She seems to blame everyone but herself.
At the same time she recycles the lies of John Podesta claiming falsely that I knew about Podesta’s email being hacked in advance, that I knew the content of the WikiLeaks October disclosures and that my brief and now totally public exchange with somebody calling themselves Guccifer 2.0 is anything but innocuous, benign and meaningless.
I have a feeling these questions will come up when I testify before the House Intelligence Committee next Tuesday. Let’s take a look at Hillary Clinton’s latest lies:
Page 345
“Then, on August 8, Trump’s longtime consigliere Roger Stone, who cut his teeth as one of Richard Nixon’s “dirty tricksters,” bragged to a group of Florida Republicans that he was in communication with a Assange and predicted that an “October surprise” was coming. This was a shocking admission, made in public, from Trump’s longest-serving political adviser. Stone made similar statements on August 12, 14, 15, and 18. On August 21, he tweeted, “Trust me, it will soon be Podesta’s time in the barrel. #CrookedHillary”. This was particularly notable because, as I mentioned earlier, we have determined there was a good chance that John’s email might have been hacked, but didn’t know for sure. Stone kept at it over the next few weeks, even calling a Assange his “hero.”
I wasn’t the only one who noticed. At the end of August, Harry Reid, one of the congressional “gang of eight” who are briefed on the most sensitive intelligence matters, wrote a letter to FBI Director Comey that cited Stone’s claims and asked for a full and thorough investigation. “The evidence of a direct connection between the Russian government in Donald Trump’s presidential campaign continues to mount,” Reid wrote.”
Allegation: Contact with Julian Assange and knowledge of the Podesta hack, plus Harry Reid confirmed it.
Since its publication in September of 1986, It has enjoyed a long shelf life, first as a book that spent 14 weeks at the top of the New York Times best-seller list and then worming into nightmares as a TV mini-series in 1990 starring Tim Curry as the titular demonic clown/embodiment of children’s deepest fears. The monster, which a group of kids simply name “It,” manifests as something different for each person based on their specific fears — burning houses, lepers, a dead sibling — and, perhaps because of this, the story has maintained a compelling hold on our collective psyches for more than 30 years. This week, It hits theaters for the first time as a feature film, with a script that was originally set to be directed by Cary Fukunaga, before New Line decided to pivot to Andy Muschietti. (Fukunaga retains a writing credit on a reworked script).
But one controversial scene from King’s novel has dogged the book and subsequent adaptations. After defeating It, the kids get lost in the sewer tunnels on the way out; this is attributed in part to the fact that they’re losing their “connection” to one another. The solution is to bind them together, which Beverly — the only girl in the story’s main group of protagonists, called “the Losers” — says can only happen if each of the boys has sex with her. Where they’re timid and unsure, she’s confident and maternal. (King writes the first boy Eddie comes to her “the way he would have come to his mother.”) The sex is a “consensual” gang bang, with each of the boys losing his virginity, and thus entering manhood, through Beverly.
The ’80s was a bonkers time, but the orgy scene in particular has aged poorly; critics and readers looking back at it have called it everything from “disturbing” to “sick” to “insane.” A Reddit reader from last year simply asked, “WTF?” and generated over 500 comments. For almost ten exhaustive pages, King describes each of the boys having sex with Beverly and their orgasms as a version of “flying.” (You also get the sense that King is a bit of a size queen.) Beverly’s desires are positioned as a way for her to overcome her own fears around sex, but mostly the narrative centers on how the boys literally enter adulthood through Beverly’s vagina. Kingreleased a statement a few years ago through his fan site Stephenking.com, where he wrote, “I wasn’t really thinking of the sexual aspect of it… Intuitively, the Losers knew they had to be together again. The sexual act connected childhood and adulthood.” Perhaps most horrifying to modern sensibilities is that there is no talk of birth control, condoms, or a realization that a circle jerk would have sufficed.
When the new adaptation was announced, many wondered whether it would feature the scene, or some version of it (though the 1990 version eschewed it entirely). As fans often like to say: It’s canon. So does the new version feature a bunch of kids engaging in an orgy? The tl;dr version: No. But while it evades the obvious graphic horror and legal problems of minors simulating group sex, the new film retains a lot of the original scene’s problems — namely, its regressive gender politics and sexualization of its adolescent-girl lead.
The 2017 film flattens and reduces Beverly as a character in retrograde ways. It plays up the love triangle between Beverly (Sophia Lillis), Bill (the protagonist played by Jaeden Lieberher, who loses his little brother Georgie at the start of the film), and the chubby kid, Ben (Jeremy Ray Taylor), who pines for Bev and writes her a precocious love haiku. The climax of the film — when the Losers reconnect to defeat It after they initially disband — is prompted by It capturing Beverly and taking her to its lair. From there, it’s a classic tale of a damsel in distress: When Bev’s friends come upon her, she’s suspended in midair, like a pendant lamp. The boys eventually get her down, but she’s zoned out, her eyes clouded over. And just as in Sleeping Beauty,Ben kisses her and she awakens. She exists first and foremost as an object of their desire.
It’s an odd decision, in part because this is a more classically sexist narrative than what Fukunaga and Chase Palmer wrote in their original screenplay (which was leaked online after Fukunaga and the studio parted due to “creative differences”). In fact, some of the major differences between the old and new scripts involve Beverly in this way; the new script sexualizes her several times, like when she flirts with a middle-aged cashier at a pharmacy to help the boys steal some supplies. (In the Fukunaga script, the hypochondriac kid Eddie, played by Jack Dylan Grazer, fakes a medical emergency). In Fukunaga and Palmer’s version, Beverly flirts with zero old dudes and needs no saving. She goes with the boys to Pennywise’s lair, launches herself into a waterfall and goes headlong into the fight.
The Fukunaga script does have elements of physical horror that hew more closely to the book. But the focus is different: Beverly’s It manifests as blood — buckets of blood that spew from the sink — and Fukunaga makes it clear that the blood is a metaphor for her own fears around growing up and becoming a “woman,” something she fears would make her more of a sexual object to men, including her father. The new version, on the other hand, removes the physical horror, but leaves in the male gaze: Her father leers at her, calling her his “little girl” and attempting to harm her physically, but there is no blatant indication of sexual abuse. And while the bathroom blood remains, it’s not visually connected to her period or to her fear of her dad, making it seem displaced and random.
As Hollywood continues to push Satanic rebellion into the hearts and minds of children, the Disney’s Descendants movie series has taken the indoctrination to an entirely new level. The series has been a massive success for the Disney franchise as millions of children and pre-teens have tuned in. The movie series – a spinoff of prior Disney stories and the movie Maleficent – casts evil villains as heroes and celebrates wickedness, sinful rebellion and the occult. All the while it subtly and deceptively reinvents the story of the fall of Lucifer and his fallen angels.
DESCENDANTS VILLAINS: TRULY ROTTEN TO THE CORE
The temptation of the forbidden fruit is constantly promoted in the Descendants films.
The Descendants film is about the children of some of the more famous Disney villains (Maleficent, the Evil Snow Queen, Cruella De Vil, Captain Hook, etc.), who along with their parents have been banished to the “Isle of the Lost.” They are given a chance to infiltrate a peaceful kingdom and bring their wicked ways there. The film makes no secret in its symbolism of a bitten apple logo with a serpent-like vine wrapped around it. It is a not-so-subtle allusion to Adam and Eve eating the forbidden fruit of the Tree of the Knowledge of Good and Evil in the Bible:
“Now the serpent was more subtil than any beast of the field which the Lord God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden? And the woman said unto the serpent, We may eat of the fruit of the trees of the garden: But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die. And the serpent said unto the woman, Ye shall not surely die:
“For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil. And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.” – Genesis 3:1-6.
Satan deceived Eve by distorting God’s words (The Lord did not forbid “every tree.” Only one), calling God a liar (telling her she would not die if she ate the forbidden fruit) and slandering God (telling her that the fruit would make her god-like, implying that God wanted to keep this knowledge and ability from her).
And just like that, what was once evil and dangerous to Eve became exciting and alluring. This is the precise deception of Descendants as it repeatedly portrays sinful rebellion, wickedness and witchcraft as fun and cool.
Continuing the theme of eating the forbidden apple, the original Descendants movie opens up with the song “Rotten To the Core”:
The first image of the video is Mal (the daughter of Maleficent from Sleeping Beauty), spray painting “Long Live Evil” on a wall.
The main character Mal spray paints the film’s mantra: Long Live Evil.
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DISNEY’S DESCENDANTS 2: SATANIC INDOCTRINATION FOR KIDS
The Descendants 2 movie calls evil good and good evil.
As Hollywood continues to push Satanic rebellion into the hearts and minds of children, the Disney’s Descendants movie series has taken the indoctrination to an entirely new level. The series has been a massive success for the Disney franchise as millions of children and pre-teens have tuned in. The movie series – a spinoff of prior Disney stories and the movie Maleficent – casts evil villains as heroes and celebrates wickedness, sinful rebellion and the occult. All the while it subtly and deceptively reinvents the story of the fall of Lucifer and his fallen angels.
DESCENDANTS VILLAINS: TRULY ROTTEN TO THE CORE
The temptation of the forbidden fruit is constantly promoted in the Descendants films.
The Descendants film is about the children of some of the more famous Disney villains (Maleficent, the Evil Snow Queen, Cruella De Vil, Captain Hook, etc.), who along with their parents have been banished to the “Isle of the Lost.” They are given a chance to infiltrate a peaceful kingdom and bring their wicked ways there. The film makes no secret in its symbolism of a bitten apple logo with a serpent-like vine wrapped around it. It is a not-so-subtle allusion to Adam and Eve eating the forbidden fruit of the Tree of the Knowledge of Good and Evil in the Bible:
“Now the serpent was more subtil than any beast of the field which the Lord God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden? And the woman said unto the serpent, We may eat of the fruit of the trees of the garden: But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die. And the serpent said unto the woman, Ye shall not surely die:
“For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil. And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.” – Genesis 3:1-6.
Satan deceived Eve by distorting God’s words (The Lord did not forbid “every tree.” Only one), calling God a liar (telling her she would not die if she ate the forbidden fruit) and slandering God (telling her that the fruit would make her god-like, implying that God wanted to keep this knowledge and ability from her).
And just like that, what was once evil and dangerous to Eve became exciting and alluring. This is the precise deception of Descendants as it repeatedly portrays sinful rebellion, wickedness and witchcraft as fun and cool.
Continuing the theme of eating the forbidden apple, the original Descendants movie opens up with the song “Rotten To the Core”:
The first image of the video is Mal (the daughter of Maleficent from Sleeping Beauty), spray painting “Long Live Evil” on a wall.
The main character Mal spray paints the film’s mantra: Long Live Evil.
While of course the basic message is her rebellion and vandalism, her writing of “Evil” with the letters backwards is a part of the Occult Law of Reversal. This concept, strongly endorsed by satanist Aleister Crowley, teaches that occult powers can be enhanced when words or writings are done backwards:
“Those who want fame, power, spell-casting abilities, demons at their beck and call, and to recognize the godhead within, as well as to know the past, present, and future, he extolled to his apt students, must consistently, with intensity, practicetalking (reverse speech), walking, thinking, and playing phonograph records, backwards.This is a form of divination, and we are warned against this in the Holy Bible.” (source).
In our previous installment Wars of The Nephilim Kings, Beginning And End referenced an occult secret linked to the Nephilim. Something that many in the New Age and occult societies acknowledge is in the Bible. What do the symbols of Freemasonry, alchemy and many other mystic groups mean? What is the mystery they have been concealing for centuries? This article will explain from the pages of Scripture.
A SECRET HIDDEN IN THE BIBLE?
Among the foremost leaders of the mystery schools and New Age movement, there was an acknowledgment this special knowledge was contained in the pages of the Holy Bible. Albert Pike, 33rd degree Freemason philosopher, Confederate War General and Luciferian wrote:
“Therein is the secret fire, living and philosophical, of which all the Hermetic philosophers speak with the most mysterious reserve: the Universal Seed, the secret whereof they kept, and which they represented only under the figure of the Caduceus of Hermes. This is the grand Hermetic arcanum…. So that the Great Work is more than a chemical operation; it is a real creation of the human word initiated into the power of the Word of God.” – Morals and Dogma, Albert Pike, p 501-502.
Other esoteric sources also credit the Bible for having this knowledge:
“The reason…is that there exist powerful secrets hidden in the pages of this ancient book [the Bible]… a vast collection of untapped wisdom waiting to be unveiled.” – The Lost Symbol, Dan Brown, p. 489.
“The great Masonic truths, concealed among the learned of former ages under allegories and fables, are therefore lost– long long lost! But what is lost is not consequently destroyed – what is lost may be found, and all that is required is some clue or key. Fortunately there are applicable keys, held sacred by a body of men who know not their use, and the locks these keys fit are held sacred by all modern clergy, and the multitude of religionists. The first and best evidence of the truthfulness of the keys is their being used to interpret the Bible – that heavenly book of truth.” – The Ignorant Learned, p. 15-16.
What is this hidden knowledge? One source gives a subtle hint:
“I knelt beneath the cedars old and hoar That streak with verdure snowy Lebanon; The mountain eagles o er the patriarchs soar, The thunder clouds of summer grimly frown, Where large and strong they stand those giants of renown” – Freemasonry in The Holy Land, p. 604.
THE FUSION OF OPPOSITES – GENESIS 6
The secret was revealed to the prophet Daniel.
The secret is The Fusion of Opposites – a term commonly used in the Christian community by Pastor Mike Hoggard of Bethel Baptist Church. What the occult societies and new age mystics have concealed is that the path to attaining godhood and immortality is found in Genesis 6 – the account of the fallen angelic Sons of God marrying the daughters of men and giving birth to the Nephilim giants – hybrid supermen who dominated the antediluvian world. The great expectation of the occult is a future age where the angels interact with humanity that can revive that era and turn men to gods.
The Biblical source for this is found in Daniel chapter 2. In this chapter, the power of the God of the Bible comes in direct conflict with the occult. King Nebuchadnezzar, ruler of ancient Babylon and the most powerful man on Earth at that time, woke from a nightmare so terrifying he called all his court astrologers, wizards and mystics to give him the interpretation. Adding to the challenge was that that the king could not remember the content of the dream – requiring clear supernatural insight to answer his request. The occult advisors to the king were powerless to respond:
“Then the king commanded to call the magicians, and the astrologers, and the sorcerers, and the Chaldeans, for to shew the king his dreams. So they came and stood before the king. 3 And the king said unto them, I have dreamed a dream, and my spirit was troubled to know the dream. 4 Then spake the Chaldeans to the king in Syriack, O king, live for ever: tell thy servants the dream, and we will shew the interpretation. 5 The king answered and said to the Chaldeans, The thing is gone from me: if ye will not make known unto me the dream, with the interpretation thereof, ye shall be cut in pieces, and your houses shall be made a dunghill.
6 But if ye shew the dream, and the interpretation thereof, ye shall receive of me gifts and rewards and great honour: therefore shew me the dream, and the interpretation thereof. 7 They answered again and said, Let the king tell his servants the dream, and we will shew the interpretation of it. 8 The king answered and said, I know of certainty that ye would gain the time, because ye see the thing is gone from me. 9 But if ye will not make known unto me the dream, there is but one decree for you: for ye have prepared lying and corrupt words to speak before me, till the time be changed: therefore tell me the dream, and I shall know that ye can shew me the interpretation thereof.
10 The Chaldeans answered before the king, and said, There is not a man upon the earth that can shew the king’s matter: therefore there is no king, lord, nor ruler, that asked such things at any magician, or astrologer, or Chaldean. 11 And it is a rare thing that the king requireth, and there is none other that can shew it before the king, except the gods, whose dwelling is not with flesh. 12 For this cause the king was angry and very furious, and commanded to destroy all the wise men of Babylon.” –Daniel 2:2-12.
The royal sorcerers told the king that it was impossible for any mere human to supernaturally look in the recesses of the king’s memory, find out what he dreamt and then interpret that dream for him. This provoked the king to order the death of any wise man. The prophet Daniel was living in captivity in the king’s court in Babylon at that time. When he heard of the decree to kill the wise men he requested an audience with the king and then prayed to God for the answer:
For her show on Monday night, Dilara transformed St Andrews Church, in London, into a graphically satanic runway. Fashion insiders lined the front row as models strutted their stuff down a checkerboard catwalk. The set was dominated by a towering backdrop packed with symbolism from tarot card imagery. Dilara’s occult influences were evident in the ensembles she unveiled. One model looked eerily pale as she appeared in a shredded cream outfit inspired by a corpse bride.
TURKISH DESIGNER DILARA FINDIKOGLU’S SPRING/SUMMER 2018 COLLECTION, WHICH WAS SHOWCASED AT THE ALTAR OF A CATHOLIC CHURCH, HAD AN ELEMENT OF VICTORIAN GOTH COMBINED WITH SATANIC IMAGERY.
“Raging waves of the sea, foaming out their own shame; wandering stars, to whom is reserved the blackness of darkness for ever.” Jude 1:13 (KJV)
EDITOR’S NOTE: As shocking as these photos are, we should not be surprised to find a demonic “fashion” show taking place in one of England’s most famous Catholic churches. All of the Devil’s “heavy hitters” were on display at this show as we see Illuminati, Masonic and occult imagery and symbolism all over the place. The priests at St. Andrew’s church seem quite pleased with the show, and of course, the revenue it generated. Exactly what you might expect from an organization the Bible refers to as the “whore of babylon” in Revelation 17.
Rapper Brooke Candy and drag artist Violet Chachki were within her troupe of heavily made-up models that strutted to the soundtrack of 80s dark wave and traditional belly-dancing music.
The Turkish creative made a name for herself two years ago at Central Saint Martins when she held a guerrilla presentation for the students whose work didn’t make it into the official press show.
Growing up with Muslim parents in Istanbul she admitted wanting to explore constantly. She told Vogue magazine that became fascinated with parapsychology, the occult and ‘magic stuff’ – which clearly shows in her unusual designs.
Dilara treated fashionistas to an array of face tattoos, tartan and lace at St Andrew Church in London. Off the catwalk, her quirky designs can be found in Selfridges in London and have been worn by the likes of Rihanna and FKA Twiggs.
Turkish designer Dilara Findikoglu’s presented her Spring/Summer 2018 collection at London Fashion Week and it was nothing less than a satanic Black Mass. Indeed, the event took place at the altar of St Andrew Church in London and incorporated heavy occult and satanic symbolism. In short, the event summed up everything the fashion world is truly about.
While Dilara Findikoglu is said to an “up-and-coming rebel of the fashion world”, she’s perfectly in line with the industry’s philosophy. She’s not rebelling at all, she’s doing what exactly the type of stuff “they” want her to do.
For this reason, celebrities such as Rihanna, FKA Twigs, and Grimes wear seen wearing Findikoglu’s creations.
The backdrop is basically a mish-mash of Masonic-inspired imagery. On each side are the Masonic twin pillars. Between the pillars is the letter G inside an inverted pentagram. Underneath it is the all-seeing eye inside a hexagram. There is also the Masonic square and compass in there. To top it off, the runway was a checkerboard pattern. Here’s a classic Masonic painting for comparison.
In this heavily occult context, the models were dressed and arranged with a plethora of symbols. Of course, this had to be combined with the current agenda of androgyny and blurring of the genders.
This model is wearing a bride’s dress, complete with a white veil. On her face is drawn a sigil.
A sigil is an inscribed or painted symbol considered to have magical power. The term has usually referred the pictorial signature of a demon or other entity and is used in ceremonial magic. The particular sigil on the model’s forehead is strongly reminiscent to the Sigil of Lucifer.
In short, the model is basically a “bride of Satan”.
Historically, a Black Mass is a ritual characterized by the inversion of the Traditional Latin Mass celebrated by the Roman Catholic Church and the desecration of Christian objects for Satanic purposes. The fact that models walk around a Church wearing devil horns recalls the concept of Black Mass.
Among her elite social circles in Washington, DC, and the Hamptons, Washington Post religion writer Sally Quinn did not keep her use of black magic a secret. In a lengthy and glowing profile, the Washingtonian reveals that Quinn’s fascination and outright use of the dark arts were just another part of her wide and varied social scene.
Quinn has consulted psychics for years and, until recently, would conduct readings herself for family and friends.
“She used to take her cards out to the little thatched hut,” recalls writer Leslie Marshall, an ex-wife of Quinn’s stepson Dino Bradlee and one of Sally’s closest friends. “The place has the right ambience for the occult.”
Ouija boards, astrological charts, palm reading, talismans—Quinn embraces it all. And yes, she has been in contact with her husband since his passing. Through a medium. Repeatedly.
Some friends have voiced reservations that Quinn is now showing all her cards, so to speak. “Don’t play up the voodoo too much,” one implored. But Sally does nothing by halves. She reveals that, in her less mellow days, she put hexes on three people who promptly wound up having their lives ruined, or ended.
Quinn’s late husband, former Washington Post executive editor Bill Bradlee, died in 2014. Therefore, the news that Quinn has used the occult to contact his spirit means that while working as a regular and prolific religion columnist for the Post, Quinn was a practitioner of the dark arts. (She started as a young woman).
Bradlee was also a vice president of the Washington Post right up until his death, was well aware of his wife’s practices, and apparently, did nothing during those years she deceived his trusted readers.
Readers were not only not informed of Quinn’s occultism; they were misled and lied to about her beliefs, which she claimed were only that of a curious non-believer.
As an example, in November of 2011, Quinn published a column celebrating the five year anniversary of On Faith, which she co-founded with Jon Meacham, the man most famous for destroying Newsweek. In the column, Quinn described her beliefs and non-beliefs in this way:
Although I called myself an atheist when we started this site, I no longer do[.] … I don’t call myself agnostic. That doesn’t work for me. It simply means you don’t know. By that definition we are all agnostic. The pope is agnostic. We may believe, but we don’t know. I wouldn’t call myself a seeker, either. If I had to define myself, I would say I was a learner. And this has been an extraordinary learning experience.
That is as far as she goes. Quinn says nothing about her decades-long belief in the occult or her occult practices. This is a lie of omission so large it is beyond description. Regardless, it is still a lie.
In fact, Quinn believes in the dark arts to a point where is certain she possesses the ability to murder people through the power of a hex, and on three occasions, with murder in her heart, she used that power. In her own mind, she is responsible for the deaths of three people whose only sin was offending her in some way.
This demonic woman was/is a high-profile religion writer for the Washington Post, everyone in D.C. knew this, and no one thought the readers should.
