Imaginative Worlds Paranormal and Supernatural Forum - Mind Control http://imaginativeworlds.com/forum/ Discuss all Mind Control Topics here: past, present, individuals, techniques, motives, vehicles, specific case studies. media complicity,Psyops....the big and small picture..... etc. en Tue, 21 May 2013 02:21:57 GMT vBulletin 60 http://imaginativeworlds.com/forum/images/misc/rss.png Imaginative Worlds Paranormal and Supernatural Forum - Mind Control http://imaginativeworlds.com/forum/ “Hide and Seek”: The Most Blatant Movie About Monarch Mind Control Ever? http://imaginativeworlds.com/forum/showthread.php?26755-“Hide-and-Seek”-The-Most-Blatant-Movie-About-Monarch-Mind-Control-Ever&goto=newpost Thu, 09 May 2013 08:21:17 GMT Has anyone seen this movie? Comments? Thoughts? *“Hide and Seek”: The Most Blatant Movie About Monarch Mind Control Ever?* Apr 4th, 2013 Hide and Seek” is a 2005 thriller movie that did not get great reviews at the time of its release. However, chances are... Has anyone seen this movie? Comments? Thoughts?


“Hide and Seek”: The Most Blatant Movie About Monarch Mind Control Ever?


Apr 4th, 2013

Hide and Seek” is a 2005 thriller movie that did not get great reviews at the time of its release. However, chances are most critics did understand its symbolism and its underlying theme which is all about Monarch Programming. In fact, “Hide and Seek” is probably one of the most blatant movies about Monarch Mind Control in Hollywood’s history. We’ll look at the hidden meaning of the movie.

Hide and Seek is not going down in history as Robert De Niro’s most memorable movie. It was bashed by movie critics for its derivative nature and because its ending was deemed “nonsensical”. While it is true that the plot of Hide and Seek has a fair share of logical fallacies, the movie simply cannot be fully understood without knowing about the key element at its core: Trauma-based Mind Control. From the first frame to the last, almost every line and every symbol found in the movie directly refers to concepts associated with mind control, specifically Monarch Programming.


In this particular brand of mind control, children are subjected to trauma so intense that it causes them to dissociate from reality. The slave’s handlers can then program into the children’s minds alter personas that can be triggered at will (for more information about Monarch Mind Control, read the article entitled Origins and Techniques of Monarch Mind Control). In a symbolic and theatrical way, Hide and Seek describes the horrible procedure behind Monarch Programming and hints to the more sadistic aspects of it. The fact that Monarch butterflies appear in key parts of the movie confirm that the whole storyline is based on Monarch Mind Control.


Further, when one understands the handler/slave relationship that is happening in the movie, the “nonsensical” ending becomes a little more “sensical” as it fits precisely with the way Monarch Programming works .


Let’s look at the story of Hide and Seek and the MK symbolism it contains.
Brief Summary

Warning: Gigantic spoilers ahead.



After witnessing the apparent suicide of her mother, a young girl named Emily Callaway (played by Dakota Fanning) displays symptoms of severe trauma. Her father David Callaway (played by Robert De Niro) attempts to help his daughter snap out of her trauma by leaving his job as a psychologist and by moving to a small town outside of New York.


There, he realizes that his relationship with Emily is extremely difficult and that her behavior is increasingly worrisome. Emily claims to have a new friend named Charlie who is “lots of fun” and plays with her, but Emily tells her father that Charlie doesn’t like him at all. David believes that Charlie is an imaginary friend Emily created to help cope with her trauma. Things however become unsettling when horrible things begin to occur around the house (i.e. the cat gets drowned in the bathtub) that Emily then blames on Charlie. When David discovers his potential new girlfriend has been murdered in the bathtub, he realizes that Charlie is a real person and that he’s extremely dangerous. After running around the house for a few minutes, David has a moment of clarity and realizes that HE is Charlie. Charlie is indeed David’s alternate personality, one that he didn’t know even existed. This alter personality has been manipulating poor traumatized Emily and has been committing horrible crimes. After this epiphany, Charlie takes control of David’s body and goes on a murderous rampage. Charlie is then stopped, and shot dead, by Katherine, a psychologist who worked with David in New York and who came to see if Emily was alright. After the ordeal, Emily goes to live with Katherine and that’s that.

As stated above, for most movie viewers, the internal logic of the script is somewhat unbelievable. However, once the MK symbolism of the movie is recognized, one understands that Hide and Seek is about a handler traumatizing and programming an MK slave. The fact that the father/handler has two personas is consistent with the fact that handlers are often dissociative slaves themselves who’ve been programmed to carry out someone else’s dirty deeds. Let’s look at the deeper symbolism of the movie.


Emily, the Traumatized Child


The movie begins with a symbolic image: Emily playing with her mother, spinning around in the bliss of childhood and innocence. Notice the doll: she holds this constantly in the first part of the movie.



Emily is a regular and playful child who appears to be very happy. In the first scene of the movie, we see her playing hide-and-seek with her mother, who then lovingly tucks her into bed.



Emily constantly holds a doll that takes on an important meaning later in the movie. The doll represents Emily’s innocent, core personality: her “real” self.



Later that night, Emily witnesses a horrifying scene: Her mother dead in a bloody bathtub.



Seeing her mother dead is Emily’s first mind-altering, life changing traumatic event … but not the last.



While the death appears to be a suicide, we later learn that Charlie (the alter personality of David – Emily’s father) killed the mother and placed her in the bathtub to make it look like a suicide. Did he do this on purpose to traumatize Emily and begin her Mind Control programming?
Emily is then placed in a mental hospital for children.



Emily displays the classic signs of a traumatized person: Shock, isolation and withdrawal.




The face of trauma.



David (or was it Charlie) decides to leave his job and moves to a small town named Woodland. He says to Katherine, another psychologist who works with him:
“Right now I need to be doing what’s right for Emily. I need to be a full time dad”.
Did he mean: “I need to be a full time handler”?


Right before leaving, Katherine, gives Emily a gift.



Katherine gives Emily a music box that plays the Mockingbird song. As the movie progresses, the Mockingbird song plays whenever a traumatic event happens, which makes it a programmed trigger song. Upon giving the gift, Katherine tells Emily: “Whenever I was feeling sad, I would open the lid and all my sorrows went away” – essentially telling Emily that she should dissociate from reality whenever she hears that song to avoid trauma.



Once in their new home, Emily goes into a wooded area behind the house. There, she follows a Monarch butterfly that leads her to a cave.



This mysterious cave is in fact the programming site where Charlie programs and traumatizes Emily.




The fact that a Monarch butterfly leads Emily to the cave is a coded way of telling viewers “in the know” that this is all about Monarch Programming and trauma-based mind control.



When Emily discovered the cave, she does something that ends up being extremely symbolic.



Emily drops her beloved doll, signifying that she lost her core, innocent persona. Mind Control handlers seek to “lock away” this core persona to be able to program new alter personas within their psyche.



Emily however did not simply “drop” the doll that represents her innocence. She literally mutilates it.



David finds Emily’s doll completely defaced in a garbage can. The mutilation represents how Emily’s mind is being mutilated by the torture and programming happening in the cave.



As Emily “plays” with her friend Charlie (handlers manipulate their slaves to believe they are their friends), she develops a disturbing taste for the morbid. A growing likeness for the dark side of things is often seen in Monarch slaves who become disillusioned with life. Starting with innocent children, handlers seek to create an opposite “mirror image” of their slave who become dark, twisted and disturbed (for this reason, the dualistic, black and white imagery in MK symbolism is extremely important). While we don’t ever see Charlie actually “programming” Emily during the movie, we clearly see the symptoms and the switch in Emily’s behavior.



While fishing with her father, Emily cold-hardheartedly inserts the hook inside a live insect to use as bait. Her lack of reaction to what is usually considered to be repulsive indicates that she might have been “desensitized” to pain, suffering and the repulsive due to the torture she received while being programmed by her handler.



Emily’s programmed dark side becomes more evident when she is set up to play with a “normal” girl.



David sets up a play date for his daughter with another girl from the area.

Notice that the girl is holding a doll, hinting that she is “normal” as she is still in possession of her innocent, core personality.



Emily reacts rather badly to the playfulness of this girl and finds a way to show that to her.



Emily takes the girl’s doll and mutilates it – hence reflecting her own distorted soul and her loss of innocence. Notice that the mouth was melted away (symbolizing the slave’s inability ask for help) and has one eye (symbol of Illuminati Mind Control). She also holds her by the neck as if shocking her (shocking is a form of torture used in MK programming).



As things progress in the movie, Emily realizes that the “fun” Charlie is actually evil and sadistic. While playing hide-and-seek with Charlie, Emily gets lured into a dark and scary room in the basement of the house. Then, the lights go out and Emily screams.



David (who has switched back to his core personality) finds Emily in the basement in tears and in state of shock. We can deduce that, while the lights were out, some kind of traumatizing event occurred in that creepy basement – probably torture or abuse.




We then see her in bed with the “face of trauma”, hinting that something horribly wrong happened in that basement – and that Emily’s trauma-based mind control is continuing.



Towards the end of the movie, Charlie loses it, kills some people and starts running after Emily. In a classic “horror movie dumb move”, Emily decides to go hide in the cave where she gets tortured. There, we see a disturbing yet symbolic display of Emily’s stuff.



Inside the cave are Emily’s dolls – mutilated, decapitated and dismembered – representing the powerless state of MK slaves and the abuse they are subjected to. We also see the music box that plays the Mockingbird song, the song Katherine told her to dissociate to when “she was feeling sad”. In MK terms, the song was a trigger to engender dissociation.



In the movie, everything relating to childhood and innocence is twisted, perverted and destroyed, which goes in line with how Monarch programming works on children.


In the final scene of the movie, Emily is living in Katherine’s house and drawing a picture. While everything appears to be well, the last shot of the movie shows Emily’s drawing. Everything is not well at all.



Emily drew two heads on herself, representing that she has an alter persona.



The final frame of the movie basically confirms that the entire programming process succeeded. Emily has an alter persona and is living with another psychiatrist who may or may not be continuing the process. Is Katherine there to help her or is there to continue her programming?


The movie’s DVD features an alternate ending, where Katherine appears to be continuing Emily’s programming.



In the alternate ending, Emily is locked up in a room in a psychiatric institution.




In a deleted scene featured from the DVD, we see Emily acting extra creepy around her babysitter. She is wearing a shirt with a big butterfly on it. Monarch programming.


David the Father / Charlie the Handler

The big “whoa” moment of the movie is when we discover that Charlie is David’s alter persona. While this plot twist was a major let down to most viewers, it falls right in line with how MK programming works. Many handlers are dissociative slaves themselves who are programmed to do someone else’s dirty work. At the end of the movie, we learn that David was deeply traumatized when he caught his wife cheating on him – and that’s when Charlie was born. I guess this is a clunky way of conveying to the viewers that he is also a product of trauma-based mind control.



David is a psychologist with intricate knowledge of the effects of trauma on the human psyche. One can therefore say he is qualified to do some Mind Control programming.



During the first part of the movie, whenever the Charlie alter is triggered, we see David sitting in his study, wearing headphones and listening to music. This symbolizes his core/real persona being “put on hold” while Charlie is in control of his body. David is “out of service” and oblivious to what is going on – hence the headphones.



While in his study, David notices a black mark on his hand.




We then learn that its because Charlie, while in the cave, was holding Monarch butterflies in his hand. Get it? Monarch … in his hand … ? Monarch … handler? While most viewers might perceive this scene as being very random, it is extremely clear to those who know about Monarch programming.



We therefore understand that David never actually sat in his study: It was a way of symbolically showing that his core persona was on hold while Charlie was triggered.


Other random scenes in the movie explain what is happening with David.



David’s head is torn off family pictures, hinting that his “real” self has been taken over and removed from the family.




David’s head is found in the song box, symbolizing his dissociation from reality while the Charlie alter persona is triggered.



At the end of the movie, Charlie is shot dead by Katherine, who takes custody of Emily and brings her back to New York City. Considering the Mind Control interpretation of this movie, we can ask ourselves: Was David and his programmed alter Charlie used by higher ups to traumatize and program Emily? Was he ultimately a disposable, mind controlled pawn who needed to be eliminated? Was his death the final, major traumatic event to completely break down Emily – and to make her an orphan that is completely dependent on the state? These are all questions that arise when one understands the Mind Control symbolism in the movie.


Also, were the people in this friendly town “in on it”? Is Woodland a kind of government-owned remote location used for MK programming?



Most people in Woodland are extremely creepy and strange. Every man made it a point of saying that Emily was “very beautiful” – with an unsettling, perverted look on their face. These scenes might refer to a child abuse ring going on in the town. Or maybe it was an odd way to add some suspense to the movie.



In Conclusion

Hide and Seek is a deeply symbolic movie that depicts, in careful detail, the process behind Trauma-based Mind Control. While the meaning of the MK symbolism of the movie probably flew about a mile above most viewer’s heads, a only a little knowledge of the subject is required to make the entire thing extremely overt and blatant. This story of a traumatized child who followed a Monarch butterfly into a dark cave full of pain and horror sums up the entire plight of Monarch slaves. But it played out before the eyes of most viewers without them even realizing it.


The same way Charlie stood in the dark in his deadly game of hide-and-seek with Emily, the truth about the movie is hidden in the darkness of people’s ignorance. However, simply flicking on the light of knowledge reveals the movie’s true meaning: A description of the ugly, disgusting world of Monarch Programming. Playing hide-and-seek with the truth? VCs ain’t got no time for that.

Article ]]> Mind Control Alpha http://imaginativeworlds.com/forum/showthread.php?26755-“Hide-and-Seek”-The-Most-Blatant-Movie-About-Monarch-Mind-Control-Ever Beyond Sheeple/Sleeple http://imaginativeworlds.com/forum/showthread.php?26693-Beyond-Sheeple-Sleeple&goto=newpost Sun, 28 Apr 2013 14:14:24 GMT I came across this on RMN. Post your examples here in this thread. * Beyond Sheeple* http://investmentwatchblog.com/beyond-sheeple-this-is-scary/ (http://investmentwatchblog.com/beyond-sheeple-this-is-scary/) Can we understand why I have no tolerance for the collective after this?... I came across this on RMN. Post your examples here in this thread.

Beyond Sheeple

http://investmentwatchblog.com/beyond-sheeple-this-is-scary/


Can we understand why I have no tolerance for the collective after this? Soooooo many are like this. And sorting is such a hassle.
Morgan









Source

 ]]> Mind Control Alpha http://imaginativeworlds.com/forum/showthread.php?26693-Beyond-Sheeple-Sleeple Lamestream Media: TV Titans lose US viewers over slanted stories http://imaginativeworlds.com/forum/showthread.php?26691-Lamestream-Media-TV-Titans-lose-US-viewers-over-slanted-stories&goto=newpost Sat, 27 Apr 2013 17:44:36 GMT Let's hope this trend continues...good news for a change on the "mind control" front!!!

Lamestream Media: TV titans lose US viewers over slanted stories

]]> Mind Control Alpha http://imaginativeworlds.com/forum/showthread.php?26691-Lamestream-Media-TV-Titans-lose-US-viewers-over-slanted-stories Reality is a Psyop http://imaginativeworlds.com/forum/showthread.php?26666-Reality-is-a-Psyop&goto=newpost Wed, 24 Apr 2013 19:38:31 GMT Reality is a psyop by Jon Rappoport April 21, 2013 _www.nomorefakenews.com (http://www.nomorefakenews.com/)_ Reality is a psyop



by Jon Rappoport
April 21, 2013
www.nomorefakenews.com



Jack True was one of the most innovative hypnotherapists of our time. Largely unknown in academic circles, uninterested in publishing his work, Jack focused on his patients.



We met in 1987. We became friends and colleagues. Over the course of several years, I interviewed him many times.
Jack eventually gave up on straight hypnosis-and-suggestion as a way to do therapy. He said, “I’m finding that people who come to my office are already in a hypnotic state, so my job is to wake them up.”



Here is an excerpt from one of our interviews:



Q: What does “mind control” mean to you?
A: The total sun of all influences that put people in a reality trance.


Q: And what’s that?
A: A state in which people consider this the only space and the only possible time.


Q: And it isn’t?
A: Reality is a psychological operation. “Here we are, this is the only space and time, and we’re inside it.” Whereas, music, for example, invents its own time and even space, and you can see, from people’s reaction to it, how profound other deeper realities can be.
If we define ourselves as creatures only capable of living inside one space and time, then we adjust our behavior, our prospects, and we adjust the scope of our desires.
The space-time continuum is one reality. And at some level, a human being knows this. That’s the point. He knows this. And he doesn’t want to stay glued to one reality.
So if a person becomes all wound up in this continuum—which of course he does—then he loses sight of what? Desire. Because it seems then that reality defines what can be legitimately desired. Everything is backwards. Desire becomes diluted and blunted. And power drains away.
Imagine it this way. There’s a machine that keeps manufacturing reality. Space, time, reality. And people, however it happens, hook themselves up to it. They’re addicts.



Q: So who is really carrying out this psychological operation, as you call it?
A: The people who run the machine, and the people who, whether they realize it or not, choose to stay attached to what the machine produces. It’s a two-way street. But the trump cards are played by the addict. He can either cure himself or remain a slave.



Q: When you say there is more than one space and time, do you just mean there are alternative realities or possibilities?
A: I mean that, yes, but also more. Space and time are constructs. They can be manipulated. They can be invented by artists. They can be imposed. They can be, at a deep psychological or spiritual level, perceived for what they are: elements that spring out of our state of mind. In one state of mind, you’ll perceive one corresponding space-time. In another state mind that is quite different, you’ll perceive another space-time.


Q: And knowing that, what can be done?
A: Well, with patients, I have them invent different spaces and times.



Q: How?
A: Several ways. One way is by inventing dreams.



Q: What’s the effect of that?
A: They begin to receive new feedback.


Q: What kind of feedback?
A: Every space and every time has different emotions and feelings attached to it. These become chronically experienced feelings. By getting out of a central space and time, the patient feels new things. He is freer.



End of interview excerpt



Of course, for most people, the idea that we “are living in one space and time”, or that there is some way to escape it, is preposterous. It doesn’t register or make sense.



Which is precisely why, to take this discussion down to ground level, the FBI and the media can drive the whole Boston Marathon story like a Cadillac in a parade.



They make reality. They are trained to present one version to the public and sell it.



Consider a far more mundane example. People walk down the street and look at a large building, and it never occurs to them it was put there. It was conceived, designed, and built. To passersby, it’s just there. It’s a “there” object in their field of perception. Nothing to think about. Nothing to reflect on. It’s a piece of the one and only reality.



But a painter, if he’s being honest, will tell you that every time he steps up to a blank canvas, he’s inventing space and time.



Socio-political reality basically means some group has guns and access to fawning media. They can define what exists. They can say, “We know exactly what happened in Boston, and here it is.”


If, magically, overnight, you found yourself in possession of overwhelming force and a direct pipeline to elite media anchors, you could tell your story about what happened in Boston, and you would find millions of people believing you.



Your story, presumably, wouldn’t mirror what CBS, NBC, and ABC are reporting. But your reality, your space and time, would replace theirs.
There is more than one space and time.



What would happen if the three major networks, each with considerable power, had come up with three vastly different versions of the Boston massacre?



You would see a serious conflict of “spaces and times.” It would happen before your eyes.



It would put people into an existential warp. They wouldn’t know what to do. They’d feel as if their innards were separating, as if they were being drawn and quartered.


Consensus reality would begin to disintegrate.



A psyop depends on being able to engineer one story line.



Take five of the most prestigious medical-research centers in America. Imagine each one came up with, and stuck by, a different explanation for cancer. Genes; environment; mineral deficiency; fungus; oxygen deficit.



Imagine that these cancer centers wouldn’t budge, no matter what. You’d have five different realities, five different pictures, five different “space-times.” You’d have decentralization of power at a level no one had ever experienced.



A psyop depends on selling one centralized story.


Obviously, a very significant proportion of the public wants the centralized story; otherwise, we wouldn’t have it.



This fact is often covered over by the pretense that we’re talking about science. For example, the government’s version of what happened in New York on 9/11 operates on the basis that the towers fell because two planes crashed into them. And that’s “science.”



“See, we aren’t selling anything. We’re just reporting how physics worked in the towers. We have no vested interest.”
Nonsense.



Centralized story (psyop) explains how long-standing institutions can continue to thrive. Suppose, for instance, this item hit the network evening news:



“Today, investigators from a Congressional task force unveiled documents going back more than thirty years in the history of cancer research at the National Cancer Institute [NCI]. These documents reveal widespread collusion, involving more than 400 scientists and bureaucrats, to manufacture a false conclusion about the cause of cancer…”



In any sane society, that would be the end of NCI. But firing 16 scientists, sending one researcher to jail, and sacking the current director would sufficiently placate the public to make them forget the whole thing—because NCI is centralized reality. To destroy it would be perceived as leaving “a hole in space and time.”


Returning to the Boston massacre, imagine these firmly entrenched conclusions from the three major networks:


CBS: “FBI and local police killed one terrorist and captured the other in what observers are calling one of the bravest days in the history of law enforcement in America. The victims of the Marathon bombing remain indelibly etched in our hearts and minds as we move forward…”



NBC: “After a violent gun battle on the streets of a great American city, during which a suspect in the Boston massacre was killed, an FBI source stunningly revealed they had ended the life of a cooperating informant. He put it this way: ‘The Tsarnaev brothers were recruited by a secret Bureau unit to plant the bombs. The plan was to blame the bombing on so-called patriots, but that fell through, so the Bureau exercised their only option. They put their informants front and center and blamed the whole thing on them…”



ABC: “Today, the tragic loss of life and wounding of more than 180 persons at the Boston Marathon were partially redeemed, when Boston police traced three pipe bombs, found at the apartment of one of the Tsarnaev brothers, to a CIA storage locker in Maryland…”
In the midst of an uproar heard and echoed around the world, the networks stand by their contradictory versions of events. No one blinks. No one backs down.


A massive blow hits psyop-land. Centralized story? Poleaxed.



People don’t know what to do. They expect one story line and they get three, from the highest hypnotic and influential media giants.
In a literal, though unconscious, sense, familiar time and space begin to fall apart.



But actually, its far more surreal for the three major television networks to agree on the substance of every significant event than to come to radically different conclusions.



Unfortunately, people don’t see it that way. They don’t see that three behemoths dispensing the same information are key elements in thought-police fascism. They don’t see that the consensus is arranged.


They don’t see they are being subjected to one space and time.



In another interview, Jack True proposed the following:



“Here is a loopy scenario. A wild one. We have a young boy living in a tiny cottage with his parents at the southern tip of South America. One day, he writes, in perfect English, the precise words of a secret CIA memo stashed in a vault in Langley, Virginia. This becomes known and it’s acknowledged.

JACK TRUE, the most creative hypnotherapist on the face of the planet, is featured in THE MATRIX REVEALED. Jack’s anti-Matrix understanding of the mind and how to liberate it is unparalleled. His insights are unique, staggering. 43 interviews, 320 pages. That is just a faction of what THE MATRIX REVEALED has to offer.

“Now we have a problem that goes a great deal farther than national security. This boy’s violating the rules of space and time. He’s operating in ‘some other dimension’ of experience.


“Two days later, the same thing happens in Mongolia. Another boy, another CIA memo. Then it happens in New Zealand. And Detroit. And Northern Alaska.


“These boys are penetrating or living in another space-time continuum. They’re reaching in and pulling out knowledge.



“It keeps happening. Every week, it’s a new child. And nobody knows what to do about it.



I said, “So what’s more troubling to the authorities? The exposure of these memos or the fact that the kids can read them from great distances?”



“Obviously, the latter,” Jack said. “Because if reality is turned on its head, you get tremors. The system is shaken. The powers that be can handle almost any amount of exposure, as long as the system itself stays in place. But when that goes…”


The system IS: one reality, one space and time, one centralized story.



I would add to that: one centralized story told by an organization or organizations that are accepted as authoritative. It doesn’t matter if CBS tells its story and then a “lesser source” contradicts it. CBS is sitting in the catbird’s seat.



You could have a nation, a small nation of 10 million people—and a few individuals do a fantastic job of exposing the government and a few major corporations, revealing all their crimes, but then what happens? You could get wholesale prosecutions and prison sentences for the criminals who were exposed, but if most of those 10 million people are now looking for a different and better centralized story, it will all go for naught.



The basic problem is the addiction to one centralized story, which is always going to be a psyop.

Article ]]> Mind Control Alpha http://imaginativeworlds.com/forum/showthread.php?26666-Reality-is-a-Psyop