Tuesday, March 31, 2009

Knowing: Addenda

ITEM: For those of you who haven't seen The Forgotten, here's the trailer. Note that yet again we see aliens connected to memory and amnesia and identity.

ITEM: Spoiler alert: Here is the final scene from The Quiet Earth, for those of you that have seen both Knowing and this film. See if you pick up on the similarity.

ITEM: Here's an interesting story on Nic Cage's now-defunct comic series, Voodoo Child:

There aren't many bigger comic book geeks in Hollywood than Nicolas Cage. After all, the guy has a tattoo of Ghost Rider on his arm. But when executives at Virgin Comics approached the actor about starting his own line of books, Cage shrugged. "I said I didn't have any ideas, but I told them my son might," Cage says.

So Cage and his 16-year-old son, Weston, brainstormed an idea that would become Voodoo Child, a six-issue illustrated series that hits shelves July 11 and marks one of the first launched by an A-list actor. Hollywood directors long have been fans of comic books. Those who have written Marvel and DC stories for years include Kevin Smith, Bryan Singer and Joss Whedon.

Voodoo Child is different because it's "more spiritual than, say, a Superman or a Batman," Cage says. "That's always been more effective because there's more believability to it." The stories will be rooted in some real-world scenarios.

Set in New Orleans after Hurricane Katrina, Voodoo Child tells the story of Gabriel Moore, a child murdered in the antebellum South by secessionist soldiers. Just before dying, the boy puts a voodoo curse on his soul, leaving him in a netherworld to cope with gang violence and abductions in the modern-day city. Weston says he had tinkered with the idea since seeing hurricane damage in New Orleans, where he and his father lived part time for years.
ITEM: I was struck by the synchronicity between the Plymouth Air crash in Knowing and the connection between National Treasure and Flight 1549. Here's the link for the post making those connections.

ITEM: And on the Google alien tip, a fleet of UFOs flying in formation photographed over Bethnal Green.

Monday, March 30, 2009

Knowing and the Alien/Solar Revelation


Well, I saw
Knowing today, and as I write there is an extremely violent thunderstorm going on outside. I hope the power doesn't go out, because it's certainly an appropriate backdrop to express my thoughts on the film.

I went into the film nursing a preconception, that this was some allegory of personal Gnostic revelation for John Koestler (a tribute to Arthur Koestler, author of The Roots of Coincidence), and that what I would be seeing would feed into this notion. I still see this film as highly symbolic and inherently Gnostic, but by no means pertaining to any individual's personal "awakening." I started to wonder if this is a metaphorical depiction of an ongoing - or oncoming - agenda, as it ties into so many strands of meaning I've been puzzling over for the past several years, and certainly since 9/11.

Though I was surprised by how much I liked it, Knowing is derivative as hell. There is a scene where the Whisper People (the alien angels) show young Caleb Koestler (played by Chandler Canterbury, who also plays the young Benjamin Button) a vision of the oncoming solar apocalypse and it's nearly a shot-for-shot tribute to the alien apocalypse in The X-Files episode, "The Sixth Extinction: Amor Fati. "

The ending of the film- where children are taken from Earth in order to seed a new world- reminded me of the alien Rapture in "Two Fathers/One Son," the mytharc episodes that preceded "The Sixth Extinction." Visually, the scene reminded me of the cult classic film, The Quiet Earth. The climax of the film recalls Deep Impact. And those of you who saw The Day the Earth Stood Still will pick up a lot of that vibe in Knowing, though it's a lot better than that preachy mess.

Reviewers have compared the Whisper People to the Strangers in Dark City, but they reminded me more of the Friendly Man in The Forgotten (a film that was originally set in Boston). Knowing takes a lot of its ominous mood from The Forgotten, which itself borrowed liberally from The X-Files. At the end of the film the Whisper People morph from mopey goths to looking very much like the robots at the end of AI (but also reminded me of the light beings that Tracy Twyman mentioned in our first crossover).

The plane crash scene is pretty tough to watch, and reminded me of two other Ten Thirteen milestones- "Tempus Fugit/Max" from the fourth season of The X-Files, and "The Innocents" from the third season of Millennium (which we looked at in the "Grill Flame") post.

(Real time note: Not only do I hear thunder, now I hear sirens)

I was also struck on a personal level, seeing that the entire film takes place in my old neck of the woods, that being 42º latitude 71º longitude, which we see repeatedly on GPS. I did notice that my old hometown of Braintree was lit up like a Christmas tree in the satellite photos during the opening credits (I wonder how much of that was being generated by the monstrous South Shore Plaza, the mall where the exteriors for Paul Blart: Mall Cop were shot).

The crash of the Plymouth Air jet seemed highly symbolic to me, since it was at Plymouth where corporatist Calvinism was imported into the New World (as were the Knowles family, incidentally). I've written about the strange, counter-intuitive syncs surrounding Plymouth and the Mayflower, and they certainly tied directly into this film.

Easter eggs are pretty redundant in a film like this, but I did catch a few:

  • The subway disaster at Lafayette St (an obvious 9/11 allegory) claimed the lives of 170 people, not 81 (that was the plane crash). Check out Loren Coleman's post on Lafayette and "the Fayette factor" for deep background.
  • And what's 17 without a 33? The last two disasters were predicted to claim 170 and 33 lives (although 33 wasn't quite accurate).
  • Koestler's wife Allison died in a hotel fire in Phoenix. That's the kind of obvious sync we see when they are put in a film intentionally.
  • Rose Byrne (Byrne=burn, more fire symbolism) is named Diana and dies in a car crash, as did her royal namesake, who was "England's Rose."
  • Diana's identification with the Moon draws back to themes explored in Dark City- the lunar, monotheistic traditions battling the Solar, fertility ones. Interesting to note that Diana was going to disobey the aliens and take the children elsewhere, therefore opposing the Solar/alien revelation.
  • Most of the action takes place in Lexington, where the American (read: Masonic) Revolution began. Lexington split off from Cambridge in 1713.
  • When we meet Koestler's father, he is standing next to a very strange sculpture of a roaring lion, that looks very much like Aion (Deus Leontocephalus) from Mithraic iconography. Given the symbolic thrust of the film I don't think this is accidental. Since we are looking at Synchronicity, it should be noted that Aion was of particular importance to Carl Jung.
  • At the end of the film we see the children on their new alien world, merrily skipping through fields of grain with their white rabbits (la la la, everyone on Earth is dead, la la la). Since we're coming up on Easter, it's worth noting that rabbits or hares are sacred to the Magna Mater, whether you call her Eostre or Ishtar or Astarte or Inanna or Isis. More ancient fertility symbolism in sci-fi, where it shouldn't belong.

  • I couldn't help but remember that I had an ear infection when I had my leprechaun hallucination when I saw Caleb's hearing aid, which was a plot point in his own anomalous encounters.
  • Exhibit A in Bible UFO literature- the wheels of Ezekiel- show up. Again, this ties into the "Sixth Extinction" storyline in The X-Files, since the quote was a linchpin when the AAT storyline was picked up again in "Providence/Provenance."
So yet again, aliens at the multiplex. I was expecting this film to be an exploitative scare-a-thon, but the world destruction seemed entirely metaphorical to me. I've been puzzling over this strange nexus of Solar symbolism and alien revelation for quite some time now, and I'm still always stunned when I see it play out before my eyes on screen. Maybe more so than if I hadn't been aware of the history and importance of these memes.

Koestler crowned with Sol, while the Green Sun keeps its own counsel

Although it's been reduced to a staid cartoon by scholars and opposition propagandists, the Solar religion is extremely complex, extremely symbolic and incredibly weird. I've been struggling with a post on Mithraism (that I hope to have up soon) that will prove just how alien - in the truest sense of the word- the Solar religions are. Last spring I began to suspect that the Sun in question is not our friendly old Sol, but an alien sun that some people throughout history have believed is of particular importance to human existence.

The giveaway for the symbolic nature of the end of the world scenario was given away for me when Koestler (representing technocratic reductionist materialism) and his pastor father (representing corporate supernaturalism) embrace and then are consumed by the solar flare. It struck me that both our sciences and our religions would be absolutely devastated by alien contact, no matter how hard we may see the priests of these institutions back-peddling in the media lately. Not that they would be destroyed, but they would have to completely start from scratch, just as the biosphere would after the kind of inferno we see depicted in the film.

So what does that mean today, when alien themes dominate in Hollywood like never before, UFO sightings are at an all-time high, and the Vatican and NASA are trying to figure out how humankind would respond to alien contact? This film could be pure fiction (in fact, let's just assume that it is, even though we've seen recent scare stories about solar activity), but if there was any truth behind all of the omens and portents we are all looking at, Knowing is throwing gasoline on this smoldering fire.

But it's almost impossible for me to see this as a literal narrative, given the whimsical, soft-focus ending. Since solar symbolism and aliens seem to be so closely linked in movies, Knowing seems to tell us that large-scale contact would bring humanity to a standstill, and that only the very young would be able to fully adjust to the post-contact paradigm.

All well and good, but why not just make that a movie? Why cloak these themes in a disaster movie scenario? That's the sort of thing that arouses my suspicions. But so does nearly everything we are seeing nowadays. Aliens and disasters are standard fare for big budget movies. But there's something about the way we're seeing these themes play out lately that really makes me wonder.

UPDATE: Speaking of aliens as beings of light, here's a much better shot of that NJ "alien' that showed up on Google Street View that I wrote about last week.

Thanks to JR for the grabs.

Saturday, March 28, 2009

The Age of Horus: Hancock, Part III

This is the long-overdue third part of the Hancock analysis. My apologies for the delay. You can read part one here and part two here if, like me, you totally forgot what the heck was going on in this series.

The original intent of the screenplay that Hancock is based on is that Hancock is Superman. Although the Jason Bateman character was originally named Horus, somewhere along the line he became Ray (Re, Ra). His character's son was a major character in the original screenplay but was not in the film, since the thrust of the script (no pun intended) became about Ray and Hancock's relationship.

Strangely, Hancock is clearly subservient to Ray, to the point of going to prison at his suggestion. This relationship may not make sense in a real-world context, but corresponds to the mythology, as we see in this interesting story:
When Ra reigned as king over Egypt he sailed up the Nile towards Nubia, because his enemies were plotting against him. At Edfu Horus entered the bark of the great god and hailed him as father. Ra greeted the hawk god and entreated him to slay the rebels of Nubia. Then Horus flew up to the sun as a great winged disk, and he was afterwards called "the great god, the lord of the sky". He perceived the enemies of Ra, and went against them as a winged disk. Their eyes were blinded by his brightness, and their ears were made deaf, and in the confusion they slew one another. Not a single conspirator remained alive.
I'm sure no one will be surprised that when I read "great winged disk," I think "flying saucer." And one can almost imagine some sort of sonic and laser weaponry inherent in this narrative. But this little coda to the story still cracks me up:
Ra afterwards visited the battlefield, and, when he saw the dead bodies of his foes, he said: "Life is pleasant."
This story has an interesting parallel in Hancock when the police summon Hancock from prison to take down a heavily armed gang of bank robbers. Ultimately this episode was orchestrated by Ray, who has a similar epiphany to Ra's when his plan to rehabilitate Hancock succeeds.

So this unlikely relationship between Hancock and Ray has its roots in the ancient literature
, as does the tension between Hancock and Mary (read Isis-Meri), since Horus reportedly beheaded Isis when she took pity on Set.

Given the relationship to Superman (whose own god is Rao) it's should be noted that we also have a tantalizing Synchromystic link with President-elect Obama, a bonafide geek who has not been shy in identifying with Superman. I didn't catch any obvious alien subtext in Hancock, but he and Mary's longevity is certainly reminiscent of the immense lifespans of the Anunaki in the ancient literature.


So, yet another blizzard of weird correspondences to mull over. And a whole host of questions as to what we are actually looking at. Are these just easter eggs or still more evidence of the power of archetypes to tell their own story once set in motion? It could be a little of both.

There's little trace of any of this in the original Tonight, He Comes screenplay, and it's certainly not Vince Gilligan's style either. However, one thing I've learned is that screenwriting credits don't always mean much, and that there are often other hands on deck, often getting producer credit - or often, no credit at all.

Bat-George covers the bases in Batman and Robin (1997)

One of the producers on Hancock is Akiva Goldsman, who is no stranger to hidden messages and secret symbols, having written the screenplays for The Da Vinci Code and the upcoming Angels and Demons. In the Hancock DVD doc, Goldsman gets a lot more screen-time than Gilligan, and seems a lot more involved with the shaping of the narrative.

Goldsman is no stranger to superheroes either, having served as the credited screenwriter for the Schumacher-era Batman films, Batman Forever and Batman and Robin (the latter starred George Clooney, himself no stranger to sun god symbolism).

Who better to write this very interesting film?


Ancient space gods and all the rest of it makes me think of Scientology as well. And of course Will Smith is now BFF with Tom Cruise, High Priest of the Church of L-Ron. After wrapping Hancock, Smith even gave the crew gift cards for CoS "personality tests."

Pondering Cruise and the various scandals over some of the more prominent Scientologists reminds me of L Ron Hubbard and Jack Parsons, going off into the desert together in January of 1946 to do a little boundary crossing of their own, the so-called "Babalon Working." Both were members of the OTO at the time (though Hubbard later claimed he was actually spying on the group), though we have no clear record of what degrees Hubbard may have attained.

Hancock paints a giant red heart on the moon for Ray

Regular Secret Sun readers know that this occurred at the exact same time that the US Army was sending radar signals to the Moon from Fort Monmouth, New Jersey with Project Diana, the first known project to make contact with another celestial body (given Parsons and Hubbard's contacts with the MIC, it's possible they coordinated the Working with the radar test).

Interesting then to note that Hancock ends with the image of a giant red heart painted on the moon for Ray by Hancock.

Incidentally, both Parsons and L-Ron were closely associated with Aleister Crowley at the time of the Babalon Working, though I'm not sure how they themselves defined the Eye of Horus, or if that figured somehow into their summoning of the "Scarlet Woman."

How strange that these obscure rituals still reverberate to this day.

Friday, March 27, 2009

David Sereda on NASA, UFOs, Time Travel and Sirius

This is a very long and detailed video but offers some very interesting puzzle pieces for anyone digging into the UFO phenomena. David Sereda talks about the filmed encounters that NASA has had with anomalous objects and then proceeds to lay out his own theories on Stargates, time travel and alien contact. Lots of interesting questions raised and lots of interesting grist for your semiotic mill. I can't speak to the science, obviously, but Sereda certainly hits some very interesting bases in the overall mystery of extraterrestrial contact and its aftershocks.

Again, heavy stuff, often slow-going, but essential for UFOologists and other assorted psychonauts.

Thursday, March 26, 2009

Wyrd New Jersey: ET Phone Home

Andre at The Alien Project links to another UFO story in the Telegraph, this time claiming "ET tracked down on Google Street View" with the sub-headline "UFO experts were left baffled after claims that ET was finally tracked down on Google Street View."
A misty shape, bearing a distinct similarity to the movie alien, was captured behind a bush next to a mysterious beam of light. The spooky snap was caught by Google image cameras in the town of Berkeley Heights in New Jersey. Some claim the image could be evidence of life in outer space while others point to a simple trick of the light.

The 'ET' alien was photographed on Diamond Hill Road, a semi-rural location about eight miles from Morristown Municipal Airport, New Jersey and 30 miles from the bright lights of New York City.

Malcolm Robinson, head of the Strange Phenomena Investigations, described the image as "the first of its kind". He said: "On close inspection the similarities with ET are obvious but it's hard to say with any certainty what exactly it is."

"Of added interest is the strange beam of light to the right, which I cannot explain either. "This picture is the first of it's kind, as far as I'm aware, in that its been captured on Google's new Street View technology.
The beam is nothing new to Secret Sun readers, since we've looked at the Heavenly Beam icon in several different posts. And strangely enough the E.T. film came up in Wednesday's post. But the Synchronicity here goes even deeper.

Diamond Hill Road is a very interesting spot for this image to be found because it connects to the entrance for the old Bell Labs compound in adjoining Murray Hill, where the transistor was somewhat mysteriously developed shortly after the Roswell incident in 1947. I know this road well since I used to pick my wife up there when she worked for Bell Labs (don't get excited, she was just a secretary), which became Lucent Technologies and is now Alcatel Lucent (Previously to working at BL/LT she worked at the old AT&T where the giant Mithras statue was located).

How ironic that ET is snapped right near where phone technology is developed. And of course, anyone who listened to my last appearance on Red Ice knows what I think about the whole transistor issue. And I'm not alone in this suspicion:
Much more recently, stories began surfacing about what the Army or Air Force supposedly did with the downed Alien Spacecraft in August, September and October of 1947. Nuclear Powered Engines and Advanced Communications and Computing devices, all of which were a hundred years beyond post-World War II technology, were taken from the Alien wreck and purportedly made their way to The Bell System's "Bell Laboratories", then located in Murray Hill, New Jersey -- it has been alleged. There, they were studied, dissected, microanalyzed and pieces tested. One piece was supposedly found to have unique potential, an Alien switching device composed of Silicon and Arsenic, arranged in a microscopic array much more complicated than even now have been assembled by Humankind, hundreds of years ahead.

The Alien device purportedly became the priority focus object of Bell Labs' and The US Department of Defense's analysis and scientific research. It was discovered by the researchers, that the unusual electronic Alien device could act as both a high speed electronic switch and as an Amplifier. They decided to call it the "Transfer Resistor", because it could be made to resist or accept power flow at much higher or lower currents than were applied to it, depending upon unique application of electron flows.
And all of this is hot on the heels of the UFO and earthquake activity in adjoining Morris County.
Three months ago, police in nearby Morris County, New Jersey, were alerted to a series of unidentified flying objects hovering over the area. Dozens of residents watched on in awe as five flickering red lights moved gently across the night's sky.

Local resident Paul Hurley, a pilot who works at Morristown Airport, said: "I've been in the aviation industry about 20 years, so I knew they weren't airplanes"
Fox Mulder, thou art revenged.

Wednesday, March 25, 2009

Alien Dreaming and the Widening Gyre

This is yet another post I've been working on for weeks. The connections kept multiplying and I finally had to bring it into focus. And to think it all started as Satellite news story on an upcoming low-budget film...

2009 is the Year of the Alien, innit?
Well, at least in the movies. X-Files producer/director Bob Goodwin goes old-school with his tribute to classic BEM sci-fi with Alien Trespass. Goodwin enlists John "Anubis" Doggett (aka T1000, aka Robert Patrick ) and Eric McCormack (Will of Will & Grace fame) for the invasion, as well as the delightful Jenni Baird, who added a bit of smolder to the last season of The 44oo. I'm sure it's not intentional, but the subject matter and the time period make this a nice companion piece to Kingdom of the Crystal Skull.

X-Files Lexicon has an amazing interview with Goodwin up now. In it Goodwin discusses his time producing the first five (and most essential) seasons of the show. Interviewer Matt Allair also lands an amazing scoop from Goodwin, who reveals that the primary inspiration for The X-Files distinctive look was the Italian wild man/artist Caravaggio:
My biggest role in the beginning was to get a concept based on what Chris had been talking about, and how we wanted to go forward, so we put together the people--the team that were able to do it--and to guide them as to what we wanted. I remember for the look of the show, which in those days was very unique for television, they didn't have shows that had so much dark and light.

One of my favorite artists, a guy named Caravaggio, who was probably one of the most innovative and creative artists ever. He came at a time in the late 16th Century, early 17th Century when most art was colorist or mannerist. He was the first to start using real dramatic source light...So I pulled a number of Caravaggio's, I got reproductions of them and mounted them all on a board, and that's kind of where we started. That was the reference of what we're going to go for, from there, the camera, the cinematographer John Bartley and other people were able to at least move forward with the concept.
Caravaggio was the Keith Moon of the Italian art world. He ran with some pretty interesting crowds, including the Velvet Mafia within the Vatican and the Knights of Malta. He also was accused of murder and had a knack for fisticuffs.

Derek Jarman, the late underground director, directed a kind of biopic on the artist in 1986 that introduced the one-woman Synchromystic factory Tilda Swinton (Orlando, Narnia, Benjamin Button, Michael Clayton) to the world. Amazingly it was also the debut of Sean Bean (Lord of the Rings, National Treasure). The artist is portrayed by Nigel Terry, who portrayed King Arthur in the classic 1981 film Excalibur (which is one of Joltin' Joe Linsner's all-time favorite films).

Pan among the padres, from Caravaggio

Swinton became Jarman's muse and would later write an essay on Jarman's second feature film, Jubilee, which had John Dee magically transport Queen Elizabeth forward in time to 1977, just in time for QEII's silver jubilee and the Punk Rock Revolution. Incidentally, this was the first feature film soundtrack for U2 producer Brian Eno who would also write the score (with fellow U2 producer Daniel Lanois) for a film on the Apollo moon landing.

I always pay special attention to these "firsts." Jarman's first film work was in Ken Russell's religious phatasmagoria The Devils. Russell would later direct Altered States, based on Paddy Chayefsky's must-read book (even though Chayefsky was so upset with the finished product he asked to take his name off the credits). That film would be the first leading role for William Hurt (of Dark City fame) and Blair Brown, who plays a female version of the Smoking Man in Fringe. Speaking of film firsts, Altered States marked the first appearance of Drew Barrymore, who rose to fame in ET, The Extra-Terrestrial. Bob Balaban of Close Encounters fame is also a major player in the film.

The basic story is that a Harvard professor believes that genetic memory is stored in the DNA and with the use of powerful hallucinogens and isolation tanks he would be able to travel back in time. The subplot was that he was a religious visionary as a child and lost his faith when his father died, and was trying to reconnect to God ever since. These themes are not well-explored in the film as in the book, taking away the character's motivation.

Even if Chayefsky hated it, Altered States is still a must-see. It's fascinating to me that Chayefsky saw fit to write the book after Network, in which he laid bare the depressing reality of the new world order (which isn't really new, seeing that Network came out in 1976- note that it too drinks from Caravaggio's well). In fact, Altered States is the first and only novel Chayefsky ever wrote (which makes him the second most unlikely psychonaut, next to Jack Kirby). He spent two years researching DNA, psychedelics and schizophrenia in order to bring this book to life.

From my standpoint it was time well spent, since that book hit me like a freight train when I read it. I even tried an isolation tank, which was a disaster since I kept getting the damn salt water in my eyes. I still think about getting a tank- a good one- if I ever have a few thousand bucks burning a hole in my pocket. That's how hard that book hit me.

It's interesting to note that like some more recent apocalyptic fiction, Altered States took place in Boston and had a professor as its protagonist. You see echoes of this in the Revelations miniseries (which also starred Secret Sun siren Natacha McElhone), Knowing, and particularly, Fringe.

Fringe creator JJ Abrams (again, the man behind the new Star Trek) has cited States as an inspiration for Fringe, and the Walter Bishop character certainly seems like an older analog of Edward Jessup. And to bring it all full circle, all three of these Altered States analogs were also influenced by The X-Files, which itself was also deeply influenced by Altered States- and Network.

The X-Files delved into themes explored in Altered States in the apocalyptic "Sixth Extinction" storyline. In the first part, "Biogenesis," the alien virus in Mulder's bloodstream is activated by exposure to radiation embedding in the rubbing of an alien spacecraft (that incidentally is an encrypted magic square).

The rubbing was the property of a Dr. Sandoz (heh), highly appropriate since it ultimately activates the deepest recesses of Mulder's brain, making him psychic and immune to the coming viral apocalypse. The storyline also reintroduced the Navajo shaman Albert Hosteen, who had performed the Blessing Way ritual when Mulder was nearly killed in a boxcar filled with alien corpses (in an episode directed by Goodwin). Somewhere, Terence McKenna is smiling.

I've written on this storyline several times, since not only does it involve shamanism, psychedelic experience and ancient astronauts, it also began the Isis-Osiris symbology that I cut my Synchromystic teeth on. It's also going to be reintroduced to the movie-going public this spring when the next Transformers movie comes out, featuring Indiana Jones, Jr.

It's all too much sometimes. These strands of meaning weave in and out of seemingly-unconnected phenomena and create their own meta-narratives, which in turn reveal deeper levels of meaning to those who bother to pay attention. And the strongest connections always seem to coalesce around the same memes- gods, aliens, and shamanic experience.

Tuesday, March 24, 2009

Written in Stone: Hancock on Megalithic Structures

Graham Hancock and Robert Bauval don't espouse intervention theory, but to my mind cough up some pretty compelling evidence for it. A lot of the material in this video ties in with the recent Ancient Aliens doc but from a different angle. Either way, it's pretty astonishing once the facts are laid out.

My opinion may not count for much, but I think whoever built these sites did so that future generations would come to realize that only a people with very advanced mechanical tools and knowledge of the cosmos could pull this stuff off. And the increasingly shrill and desperate tone we are hearing from academics on these topics is proof enough that they are feeling the ground of certainty give way beneath their feet.

I truly believe we are on the verge of a complete revision of our ancient past. And these massive stone structures may hold the key to that. If so, it could go a long way in explaining why the iconography of architecture and stonemasonry have always been so compelling to the people within the power structure.

Monday, March 23, 2009

Indiana Jones and The Lost Tracing Boards of Gnosis

At this point, I think I could do an entire blog on Indiana Jones and the Kingdom of the Crystal Skull. I've written about the film before (here and here) but there are so many layers of symbol and double-meaning, I don't feel like I've even scratched the surface. This post has been several weeks in the making - months really, it was supposed to be part of the WFC series.

It all started a while back when doing the Stairway to Sirius posts, and really got socked in the jaw by the whole angels descending a staircase imagery. I also found a variation on the Third Degree board that just struck me in a funny way. The standard board depicts a closed coffin...

...but this version depicted the coffin as open, and shows us the blazing five-pointed star of Sirius above it. But for some strange reason the image reminded me of this notorious scene from Kingdom of the Crystal Skull...

...where Indiana Jones escapes nuclear annihilation by hiding in a refrigerator that then is shot like a cannonball across the desert. Look at the rays emanating from Sirius from the tracing board- very similar to the blast of light from the mushroom cloud. And those evergreen branches you see on both sides of the fridge resemble the branches you see in Third Degree tracing boards (and at Masonic funerals). Looking at this image, it's hard not to see a man rising from his coffin, with some bizarre transmutation of base matter-type theme thrown in.

But what about the other tracing boards? We're starting at the Third Degree, is this yet another example of "reversal of time?" I looked at the Second Degree board. There are different variations on the board but you usually see a waterfall and a staircase.

Which instantly reminded me of the three waterfalls in Crystal Skull, which we see sometime after the atomic refrigerator scene. This too was one of the sequences in the film that put some people off for being too far-fetched.

So there's the waterfall, but what about the staircase? Or the pillars?

Here's another version of the staircase and waterfall. Note also that some Second Degree boards frame the staircase between Boaz and Jachin, the famous pillars of Solomon's Temple.

After Indy and his crew escape the waterfalls, they ascend a staircase towards an obelisk, which unlocks the door to the tomb of the gods (right after entering a chamber where the film's theology is explicitly spelled out, of course). Note the top of the stairway is framed by two columns, similar to the first Second Degree board we looked at. Interesting.

When the adventurers finally enter the tomb of the gods, we see yet more Masonic parallels. Cate Blanchett's character refers to the 13-piece variation on the Trinity, in that they are 13 figures who combine into one when revived. Very strange motif there (and we all know the importance of 13 in the Templar/Masonic tradition). Note also that the alien gods sit atop ziggurats. Stairs seem to be a very important motif in this film.

Cate also refers to them as a "hive mind," which recalls the Masonic beehive icon. These quotes from the 1724 tract, The Craft and Its Symbols, explain that particular symbol:

What Modern Masons call a Lodge was for the above Reasons by Antiquity call'd a HIVE of Free-Masons, and for the same Reasons when a Dissention happens in a Lodge the going off and forming another Lodge is to this Day call'd SWARMING.

The bee definitely is industrious. He works hard and tirelessly, not for himself, but for the swarm. He has a strength and knowledge of materials that cannot be duplicated. He works in complete cooperation, and without dissention, with his fellow bees.

Hmm, so there were two pretty interesting parallels to the tracing boards, some 13 action and the hive. Well, there are a lot of things going on in this movie- could this just be a coincidence? The way "Ox" (read: Serapis) carried around the skull caught my attention, as did the way the guardians of the tomb of the gods venerated it. Right there I'm thinking Templars and Baphomet. But then it got even better...

John the Baptist is a central figure in Freemasonry
(the first Grand Lodge was established on the Feast of St John the Baptist in 1717), as well as other esoteric traditions. No less a luminary than Pope Pius IX called John "the Father of the Gnostics" and identified John as the messiah of the Templar and Masonic "heresies." Note that Masonic iconography clever conflates the two Johns- the Baptist and the Evangelist- as one.

In the Bible, the villainess Salome had the Baptist killed against the wishes of King Herod. And since we are looking for reversal-of-time imagery here, it's fascinating to note that the villainess in Crystal Skull returns the decapitated head of the 13th alien, symbolically reversing an historical trauma.

And even still, this reverse-Salome dies a horrible death for her trouble. Pretty potent stuff here, almost like the payback of a long-held grudge. Interesting how the whole Cold War motif and the crazy action sequences distract people's attention from this blatant symbolism.

So we all know what happens after that, the aliens reconstitute and their ship takes off for the dimensional rift. Now, I suppose Freemasons will see Hope and Faith and Virtue descending to this mortal realm from the spiritual planes, offering enlightenment and awakening and fine feelings and all of that jolly rot, but I still see aliens descending from the solar system of Sirius. I always like to use this version of the board, since it looks like an old 50s sci-fi pulp cover of aliens deplaning off a glowing spaceship.

Once the aliens get ready to split, Indy and his family then ascend a staircase away from them, which really drives home that reversal motif. Note also that water is closely identified with Sirius in the UFO lore.

Veneration of the Alien Osiris, crucified on the Solar Cross

The reversal motif seems to show up a lot in symbolic narratives, but in reversing the Masonic icon-cycle, the message seems to be that the esoteric systems themselves are just a faint echo of the original revelation, which Crystal Skull makes crystal clear was alien contact.

Pretty potent stuff for the multiplex, brought to you by the two most powerful creators in Hollywood. And presented in such an outlandish way as to not be taken seriously by the masses.

Hmm, kind of like the old stories about the Men-in-Black in that regard...

NOTE- I decided to finish this post (I have dozens of posts in one stage of completion at any given point in time) after watching the History Channel's Von Daniken smoochfest, Ancient Aliens. It struck me that as we learn more of all of the megalithic sites - the enormous size of the stones, the incredible construction methods, the celestial knowledge encoded in them- that perhaps these structures were created precisely that future generations would realize that they were indeed built with the aid of an extremely advanced technical culture. How interesting when we then make that connection between these structures and the basic iconography of Masonry, free or otherwise, in this film and so many others.

Sunday, March 22, 2009

Witch Mountain: The Dog is a Major Issue

We went to see Race to Witch Mountain on Saturday and were all pleasantly surprised; it's actually a nice little sci-fi romp. I had considered checking out Knowing after reading that it too is alien-themed (isn't everything this year?), but realized the missus wouldn't enjoy the violence and I wouldn't enjoy the cosmology.

I've done quite a few Witch Mountain posts already and don't have all that much more to add, but I was quite struck that Junkyard the dog is a "major" character in the film. After looking at Obama and Sirius during and after the election, it was quite striking to see Dwayne "The Rock Obama" Johnson driving to a UFO convention with Junkyard in the front and Seth and Sara in the back. I couldn't help but think there's some greater meaning there, but won't really be able to tell until I watch it a few more times. Aside from Junkyard, I didn't see much Sirius symbolism in the film at all.

The UFO convention subplot reminded me a lot of my beloved Galaxy Quest, but also reminded me of Dragon*Con and my musings on conventions as the new pilgrimages. I did find it interesting that Hollywood loves to demean and ridicule people who take UFOs seriously (like Whitley Strieber in the film) at the same time they depict aliens as a self-evident reality.

Aside from Johnson, Watchmen and Threshold star Carla Gugino plays Dr. Alex Friedman, who is probably an androgynization of UFO stalwart Stanton Friedman. Note that both Carla and Alex are he/she names, and that Carla literally means "man-woman."

Given that the Roswell crash and the mass sightings over Washington happened in the month of July, it was a kick to see Ciaran Hinds - who was the best Julius Caesar in motion picture history, hands down - playing an MIB. However, I thought there was a bit of a missed opportunity with the character- I thought he should have also been an alien spy looking to sabotage the kids' mission. It's interesting that they changed "the bounty hunter" to "the assassin" since the first trailer. Maybe Chris Carter cried foul.

As to the kids, Alexander Ludwig looks exactly like my cousin Andrew, so my wife and I found that extremely distracting. Things like that can take me out of the story, strange as it may sound. But I must say Annasophia Robb is quite a convincing alien. I kept thinking of the Lily Cole discussion as I looked at her manga-huge eyes.

Robb already has an interesting filmography, having appeared in Witch Mountain, Jumper, Bridge to Terabithia and an odious-looking propaganda-piece called The Reaping, which features Hollywood's most destructive and pernicious cliche, the demonic or demon-possessed child.

The image from the DVD cover caught my eye, since it tied into the classic image of Lilith, whom we've been discussing quite a bit lately. But it also reminded me very much of ancient portrayals of Mithras, whose possible connection to aliens and UFOs is on the verge of becoming a fixation of mine. And of course you gotta love "Anna-Sophia" for hitting both the Inanna and Gnostic memes. Keep an eye on this actress...

Looking at the trailer for The Reaping I wondered how many gifted children the world has lost to religious paranoia. This is why our stories are so important. Going from psychopathic, perverted, misogynistic filth like The Exorcist to pro-child, pro-individuation, pro-evolutionary memes in Witch Mountain, Harry Potter and The X-Men is a very encouraging trend in our pop culture. Hopefully the emerging new myths will inspire us to nurture gifted or otherwise unusual children, rather than the abuse we still see in backward, superstitious parts of the world today.

Saturday, March 21, 2009


On Tuesday, that Day of All Days, cast and crew from Battlestar Galactica turned the United Nations in a high-rent version of Dragon*Con. True to form, Guinan herself moderated while wearing an extremely odd scarf decorated with what looks like alien skulls.

All well and good, but not exactly Secret Sun, you might say? Oh, I'm not done yet. It turns out that Garret Resiman, one of the ISiS astronauts, appears as an extra in the BSG finale.
Reisman watched the original "Battlestar Galactica" series as a child and followed its recent rebirth, which retells the story of an immense space battleship as it protects a fleet of civilian spacecraft while fending off attacks from the robot Cylon enemy.
While he was in space, Reisman turned the lights down aboard the space station and tuned in to the new series via computer with the station's then-skipper, fellow NASA astronaut Peggy Whitson, as Galactica's commander Bill Adama tried to keep his fleet together on the road to find Earth. The astronauts briefly spoke, while in space, with the show's producers Ron Moore and David Eick.
Interesting. But where was Reisman living when he was a child?
Science fiction, Reisman said, has a very real ability to inspire the public in real-life space exploration, though his passion was sparked by NASA's Apollo moon missions. Growing up in Parsippany, N.J, he watched Super 8 films of those missions until they wore out, then he spliced them back together and watched them again.
Oh, Parsippany- ground zero for the recent UFO/earthquake flaps. Fascinating. Even more fascinating that the mystery lights returned to Parsippany (or "Persephone," as reader Tommy rechristened it) on 2/17.

Speaking of wars in space, here's a very interesting article on the Space Arms Race and its implications for geopolitics. Funny how all of this seems to converge.

Friday, March 20, 2009

ISiS Spreads Her Wings on the Equinox

OK, let's hit the bases- Discovery is supposed to launch on Lincoln's birthday, is delayed until the Ides of March, when Caesar became Osiris. It then reaches ISiS on 3/17, accompanied by a strange, glowing orb. And what does ISiS do on the Equinox?

She spreads her solar wings.

CAPE CANAVERAL, Fla. – Astronauts successfully unfurled the newly installed solar wings at the international space station Friday, a nerve-racking procedure that went exceedingly well and brought the orbiting outpost to full power.

The work was a highlight of shuttle Discovery's mission. Completed 220 miles above Earth, the new panels are the final pair of electricity-generating wings and should boost the amount of science research at the orbiting outpost.

Remember, we just had the Death of Osiris. Today is the Equinox, when the Sun begins to gain strength. Here is why Isis' wings are so important:
Isis is one of the only winged deities in Egyptian myth. She is sometimes representative of the wind, as in the legend of Osiris. One version of the legend tells of Isis using her wings to fill Osiris' mouth and nose with air. - touregypt.net

Ah yes, the newly born sun of Horus, conceived artificially by the Winged Isis. I swear, there are times when I wonder if NAZCA NASA isn't just a billion-dollar cargo cult...

AstroGnostic: Jacob Wrestles the Angels

As uncomfortable as it is for some of his fans and friends to admit, Jack Kirby was a true believer in AAT and intervention theory. The scope of his comics work from the early 70s to his retirement is unequivocal in this regard - the man was obsessed with gods from space.

So why is this important?
Why do the beliefs of some old cartoonist who's been dead for 15 years matter now? Well, Kirby is one of the primary architects of popular culture today. Kirby's influence on comics is inarguable- as it is on superhero culture in general.

But so is his influence on Hollywood.
James Cameron, Steven Spielberg, George Lucas (particularly), Frank Miller, Quentin Tarantino and any other sci-fi mogul you can name today fed at Kirby's rich trough as kids. In fact, the quick cut/high intensity of action movies today comes directly from Kirby's Marvel work like The Fantastic Four. I see Kirby's influence all over video game design as well. You simply have to go back and look at pop culture before the Marvel Age and after, and the centrality of Kirby's imagination in the recreation of visual storytelling becomes clear as crystal.

And if Kirby is part of the essential DNA of pop culture, so then are his beliefs. You need look no further than Indiana Jones and the Kingdom of the Crystal Skull to see it- the entire tableau was simply a big budget replay of the first issue of The Eternals.

Remember- Spielberg and Lucas are the two of the most powerful men in Hollywood today, certainly from a creative standpoint. Even beyond the films they make themselves they have their fingers in countless pies through their production and technical interests.

More importantly, we have very strange indications of Jack Kirby's precognitive/psychic abilities, specifically in regards to events central to the Synchromystic worldview.

For instance:

Depicting a Face on Mars 17 years before the Viking photos.

• Depicting a 2001 "Stargate" scenario 10 years before the film.

• Depicting a Saddam Hussein/Gulf Wars scenario in 1975

• Depicting 9/11 scenarios 17 years before the fact.

Given these synchronicities, I believe it's important to take his AAT obsession very seriously. We've looked at The Eternals, Devil Dinosaur, and 2001: A Space Odyssey in so far as explicit depictions of AAT, but nearly all of Kirby's work from 1975 on dealt with aliens, UFOs, interdimensional travel, time travel, genetic engineering and space colonization and on and on. But it's Kirby's 1980 Bible portfolio that we'll be looking at today, which is 1000% Astro-Gnostic at its core.

Sorry for the lo-res- doubleclick to enlarge

The first plate depicts God in the standard Sistine Chapel mode, an old, bearded white guy emerging from primordial chaos, accompanied by a heavenly host. So far, so good right? But this celestial being is remote, celestial- more like the Monad of Gnostic mythology than the engaged creator of Judeo-Christian dogma.

What we see emanating from the chaos with him resemble the Aeons. They come from the same source, but are in fact on their own trajectory, away from the Monad.

Here the Monad sees Earth and humanity as a ball of sin. Lust, greed, hate and other expressions of the Ego, which are separate from the cosmic reality of the Monad. It is a fallen state, the cosmic abortion...

Which the Monad then turns his back on humanity to contemplate non-Euclidean geometry- the other-dimensional interests of cosmic divinity. Mankind then begs and curse the Monad. But who takes his place in the stewardship of our tiny, insignificant planet?

Well, that's a no-brainer. Here Kirby reimagines Joshua's genocidal attack on Jericho as the vanguard of an alien assault employing sonic weaponry.

Are these Biblical androids the result of Kirby's vast and fertile imagination, or is there some basis for these concepts in the ancient literature?

AAT scholar Jason Martell notes that the Anunaki had a servant class called the Igigi, whom he believes could actually be the Greys of UFO lore. These creatures have been described as a kind of wetware, biologically-engineered androids:
Today's modern UFO's and Alien Contacts being reported have a strong similarity to the Ancient descriptions of the "anunnaki" Android Beings. When we look at the descriptions of our modern "grey alien", we can clearly see that they do not look like us, or the anunnaki. Rather, they look like the ancient humanoid depictions of Figurines. The majority of Abduction cases usually have a similar story to them in that the Aliens abducting them will perform medical examination and sometimes experiments having to do with human reproduction.

Is it possible that the Greys were created by the anunnaki as "Watchers" to oversee their experiments here on earth?- xfacts.research
This makes a lot of sense. Maybe the Greys are not from somewhere else- they were left here to keep an eye on the Project when the Anunaki were called back home. This would explain why these types of beings are in the world's folklore and mythology.

Maybe we're not projecting a technological viewpoint on elves and fairies and leprechauns after all. Maybe the folklore is the filter on a reality we had no framework for before we had technology (or maybe the Greys like to play dress-up and mess with people's heads)

Again, I realize that's not a very fashionable notion these days, but it's one that makes sense to me. And of course, all of this remains in the realm of speculation, but what a boring world this would be without that.

Thursday, March 19, 2009

Astronaut Theology: Anunaki 101

Phenomenon: The Lost Archives was one of those interesting shows we saw a lot of in the 90s on channels like TLC and Discovery. Hosted by Dean Stockwell, the series took on topics like HAARP, Jonestown, cold fusion and the Federal Reserve in a way we wouldn't see on commercial TV in the Bush years.

This episode is called "Genesis Revisited" and acts as a nice primer to Zechariah Sitchin's theories about Sumer, Nibiru and the Anunaki. Let me just clarify that I'm not a Sitchinite per se; while I find his work fascinating, I am not really sold on all of his conclusions. But I'm certain there are a lot of powerful individuals out there that are, which is why this entertaining distillation of Sitchin's AAT is worth a look.

Wednesday, March 18, 2009

Introducing the Solar Seminar

Things are moving so quickly that I'm finding it difficult to fit it all on The Secret Sun. I started the Solar Satellite and gave it time to define itself, which it has done as a headline news site. But I also wanted another outlet for more in-depth articles and posts. A while back I had an email exchange with Tracy Twyman, continuing our previous discussion on the nature of the beings that our ancestors saw as gods or angels. I wanted to pick her brains on Gnostic creation myths, and Tracy really went to town laying out her supernaturalist perspective on the nature of these stories and these beings.

But Tracy gave me so much I didn't want to stick it on a daily post and let it disappear beneath the fold. So after some deliberation I created The Solar Seminar, a blog for more in-depth analysis of the issues we've been looking at here. So the Secret Sun will continue with symbolic and semiotic discussions, The Solar Satellite will keep an eye on the news and The Solar Seminar will carry heavier works and will be updated less often.

Please check out "Tracy Twyman Speaks on Creation Myths, Gnostic and Otherwise." It's a lot to digest, so the article will be up top for at least a couple of weeks. Feel free to add your own thoughts to the discussion as well.