Friday, December 8, 2017


Breaking:  The twit-o-sphere tonight on absolute fire over coming claims of a major L.A. "outage" due in just hours.  And not a Bryan Singer-level major, but MAJOR.

Possibly Geffen (hot on the latest claims circulating re his part in the coverup of the Don Henley rape of a couple of 15 and 16-year-olds in November 1980).......or, ?

In any event, need to re-examine those Geffen yacht photos and those in attendance...(Henley's cold comeuppance is definitely on the legal agenda for early 2018 I hear, and with damning, unimpeachable physical evidence.)  This, of course, barring any strange suicides in the interim.....

And ALL this on the heels of apocalyptic L.A. fires absolutely riddled with anomalies which point straight to use of directed energy weapons by unknown factions employed to destroy all evidence of their extensive child-trafficking systems and hard sites, particularly in the immediate area surrounding the Getty Museum.  More proof to follow in the coming days.  Will say that this looks awfully suspicious when tied-in with the crazy underground booms that have been so in evidence these past several weeks.

Eyes and ears open, and no fear.  The turning.  It's happening.

Back soon.


  1. 'Gremlins 2: The New Batch', 'An Amblim Entertainment Production' - this imprimatur appearing on screen as the camera flies ever closer to Lower Manhattan (& goes on to fly among the scrapers of the ground zero of the 'masters of the universe'), the film title previously having been conjured out of Daffy Duck stuck in an imploded 'Warner Brothers' logo that's spun into a vortex by Bugs ("What's up Doc?") Bunny, which in turn casts a fractured screen framing the oncoming Twin Towers in an inverted isoceles triangle into the viewer's mind's eye(s), is a highly disturbing piece of work replete with overt Archontic symbology throughout.

    The most disturbing thing about this film is a scene in which Phoebe Cates, as 'Kate (soon to be) Peltzer', is triggered, by mention of (Abe?) "Lincoln"* not 'giving up', to recall an incident in "a park" when she was "six or seven" involving a man in a "rain coat", we never learn exactly what happened as when she says "Oh God he said "Hello little girl..."", her on-screen boyfriend (later revealed as definite to-be husband (after a sub-plot involving a supposed love-rival)) says to her "Honey I... Honey I really don't think we got time for this now", this is followed by the only other woman in the scene (the aforementioned rival, a 'red-head') shrugging her shoulders, as an older man looks toward her, in response.

    'Kate' (Cates?) had earlier been subjected to a 'Gremlin', styled as a macintosh wearer, 'flashing' at her (an 'action figure' of this Gremlin was released in 2011 for all those nostalgic now-adults I suppose, & the actress is shown experiencing the same thing in the original movie), these 'Gremlins' though are devoid of any observable, or at least recognisable, genitalia, but adding to the oddity at work through the film It ends with an inter-species love match.

    (To top it all off the action mainly takes place in a building conceived and owned by a 'Trump' doppelgänger going by the name of 'Clamp', his ID-cult brand logo being a globe squeezed out of shape by a letter 'C'. (The piss-gate notion's been reseeded in the news the past week just after '#metoo' was graced with the Time 'person of the year' cover snatching the glory from 'the most powerful man...')

    *spielberg himself went on to direct that oscar-lavished biopic 'Lincoln'.)

    Now that is quite some multi-layered (full-spectrum) sleight of hand encoding being Worked to programme the masses in the G2:TNB movie in particular & quite why the inclusion of such in a kids movie, even if it was released as a PG-13 (& a '12' rating here in The UK) the age restriction could be considered a 'grey-area' (a 'close encounter?) in terms of life-epochs, has never been brought up in spielberg's presence, at least publically reported on, can only serve a furthering of the obscene process.

  2. (continued from the above:)

    The 'PG-13' rating was brought in as a consequence of two other ss productions:

    "The story of that was, I had come under criticism, personal criticism, for both Temple of Doom and, you know, Gremlins, in the same year. I remember calling Jack Valenti [then the president of the Motion Picture Association] and suggesting to him that we need a rating between R and PG, because so many films were falling into a netherworld, you know, of unfairness. Unfair that certain kids were exposed to Jaws, but also unfair that certain films were restricted, that kids who were 13, 14, 15 should be allowed to see. I suggested, 'Let’s call it PG-13 or PG-14, depending on how you want to design the slide rule,' and Jack came back to me and said, 'We’ve determined that PG-13 would be the right age for that temperature of movie.' So I’ve always been very proud that I had something to do with that rating. ..."

    "very proud"

    Auticulture's last post:

    which originally reminded me of the pedophile tones of 'Indiana Jones', explores this sick nexus in more exacting detail.

    & on weinstein:

    '"I have a lot of opinions about that," he said, but declined to share them.'

    that this would be the choice taken, as the foundation of hollywoodland is given the beginnings of an airing in the mediated public eye (beyond 'casting couch' joking), speaks volumes, especially as the person asked is held up as being so good, making such beloved movies entertaining the generations for decades, his being 'the most profitable director of all time' may give us another clue as to why he's silent on the matter.

    However, mea-culpa of sorts has been issued:

    'Until Kathleen Kennedy cut him down to size' ... '"Basically," he said, "I was a little bit of a hothead, impatient, and I would be hard on my crew — loving to my cast but tough on my crew.'

    "loving to my cast"

    I've not seen E.T. all the way through since It's original theatrical release so I'm curious what a watching will divulge in these post-pizza/weinstein / supposed imminent disclosure days, but searching for a version of the original trailer brought up suggestions of the 2017 remake of 'It' as viewable results in the offering.

    & there's 'Captain EO', the production of which links ss to michael jackson, although ss 'dropped out' of seeing the project to Disneyland fruition.

    A meme doing the rounds in the wake of the release of 'Aliens Vs, Predator' featured a promo picture of jackson & the E.T. puppet, jackson was a huge E.T. fan & no doubt intimately associated himself with the glowing fingered inhuman that captures the heart of a boy.

    First weinstein, Next spielberg?

    1. Wonderful roundup KTV, & quite thought provoking.
      In this current climate, far be it from me to pile on in the "witch hunt" (haha) as folks like Pete Levenda have so piously & self-righteously accused me of, with more than a little of "methinks thou doth protest too much" added in their mix, but hey, since the water's fine, let me dive right in!

      The Spielberg meme in all this has been going around forever (see Crispin Glover's famous rant), and after awhile, one begins to sense that all that smoke must contain at least a little bit of fire, beyond mere suspicion. When entertaining the possible perversities of Spielberg, Geffen, & other major hitters, you can't discount the variable of boatloads of cash keeping tongues from wagging, &, when cash won't work, the imminent threats of bodily damage to you & yours.

      See this for a great bit of insight:

      Ironically, one of the most damning pieces of evidence against Spielberg for me is the hatchet job he did on what Kubrick intended to be his final statement: A.I.
      After talking to Jay Weidner on this, this all makes a lot of sense.

      The underlying, big, heavy statement that Kubrick wanted for A.I. (that he began with Eyes Wide Shut), was a further spotlight on & exposure of the elite factions that control mankind: with an accent on their specific taste for satanic ritual abuse of the young, i.e., they're all pedophiles. This was to be Kubrick's overall meaning & message to the entire film, painting it as THE driving force of the Deep State.

      Specifically, in terms of the narrative, the film obviously concerns a pre-pubescent age robot boy, who will, of course, never age. And just who would be the major clientele/consumers aiming to buy a boy of 8-10 years that would never age? Spielberg took this holy grail of Kubrick's & completely neutered it of this specific message.
      Wonder why?

  3. That Crispin Glover piece is fascinating, all the more so for having been ignored by red carpet attending press packers, which again speaks volumes.

    The kids of 'E.T.', & their being alien children isn't beyond the bounds of possibility - perhaps why 'E.T.' feeling briefly at 'home' hid away with them, are introduced in a scene during which pizza, having been ordered, is paid for by 'Elliot' - the youngest of the boys present, 'Elliot's' even sent out on his own on a damp night to make payment.

    'E.T.' resembles the squat aliens of the 1953 movie adaptation of 'The War of the Worlds', especially in It's ss fetishized hands, but 'E.T.', & 'Close Encounters' too, are considered positive depictions of alien contact whereas ss's 'TWOTW' isn't a 'heartwarmer' at all, it does star Tom Cruise though so there's that closeting of truths present.

    Another odd thing about 'E.T.' is that, on the whole, the adults in the film aren't shown as being cruel, untrustworthy or motivated by negatives, & even when they do locate 'E.T.' they don't seek to destroy It & there's no military assault on the spacecraft, so quite why the children feel the need to hide 'E.T.' from them sticks out somewhat.

    That 'E.T.' was released the same year as 'Poltergeist' is also surely telling, they're both set in very similar locales & are ss productions, also through the famous "They're here" exclamation, the 'they' being "TV People", It's linked with another 1982 film release 'Halloween III: Season of the Witch' which also revolves around TV enabled horror & like 'Poltergeist' opens with a close up shot of a TV. A rewatch of both may be in order especially as the director of 'H3' went on to direct the original film adaptation of 'It'.

    'A.I.' had been on the periphery of my 'NEXT' considerations, that It turned out to be what would have been Kubrick's 'NEXT' film after 'Eyes Wide Shut', but ended being passed on to spielberg to bring to the silver-screen, is a clear signal of what's being done, but this signal doesn't cover things up It emphasises that something awful is going on.

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