Lady Gaga Channels Hitler in Chilling Speech At Hillary Clinton Rally


Source: TheAntimedia.org
via: ZeroHedge.com
November 10, 2016

Lady Gaga made waves on social media Monday night when she took the stage at Hillary Clinton’s final rally, sporting an outfit eerily resembling a Nazi uniform. The pop starpounded the podium and pointed at the crowd, ironically mimicking the powerful speaking style made famous by Adolf Hitler himself. At one point, Gaga declared “Hillary Clinton is made of steel. Hillary Clinton is unstoppable.” Despite a social media backlash, numerous mainstream media sites rushed to her defense.

Lady Gaga made waves on social media Monday night when she took the stage at Hillary Clinton’s final rally, sporting an outfit eerily resembling a Nazi uniform. In a black military jacket complete with red armband, the pop star gestured emphatically while delivering the despotic speech, often pounding the podium and pointing at the crowd, ironically mimicking the powerful speaking style made famous by Adolf Hitler himself. At one point, Gaga declared “Hillary Clinton is made of steel. Hillary Clinton is unstoppable.”

In response to the social media backlash, sites like Huffington Post, Cosmopolitan, and ET were among many to rush to her defense, pointing out that the very-Nazi-looking ensemble once belonged to Michael Jackson, who wore the jacket when he visited the White House in 1990.  It’s unclear why the fact that it was previously owned by someone else makes it less…Nazi, especially given the fact that Jackson has been rumored to have been obsessed with the Nazi dictator.

But that’s not the only thing Lady Gaga’s media white knights conveniently overlooked.

Despite the many Hitler references, what many people — among both the media and the general public — failed to associate with Gaga’s outfit during the final Clinton rally was hiding in plain sight.

The black jacket fitted with a red armband and silver medallion is part of the same outfit worn by Jackson at the White House in 1990. At the time, the King of Pop was meeting with then-president George H.W. Bush — just three years before he was first accused of sexually abusing children.

By mid-1993, dentist Evan Chandler had accused Jackson of having an inappropriate relationship with his 13-year-old son Jordan. After the attention he got from the media due to his son’s proximity to Jackson, Chandler later talked to his attorney, bringing the accusation directly to Jackson. By August, the allegations were being investigated by the Los Angeles Police Department’s Sexually Exploited Child Unit. In the winter of 1993, Jackson’s sister, La Toya Jackson, claimed she had proof her brother was a pedophile. He later forgave her after she claimed those accusations stemmed from her financial troubles.

After the investigation was carried out in full, the LAPD cleared Jackson of unfounded molestation charges from the Chandlers. A civil lawsuit was later filed in September, and on January 25, 1994, the lawsuit was settled out of court. Jackson was ordered to pay $15,331,250, which was mostly held in a trust fund for Jordan.

In 2003, Jackson was charged with several counts of child sexual abuse and several counts of administering an intoxicating agent in order to commit a child sexual abuse felony. The trial, which began in January 2005, ended in June of the same year. The jury found Jackson not guilty.

By wearing his jacket to Clinton’s rally, it’s possible Lady Gaga may have wanted to make a statement. After all, Clinton’s husband, the former President Bill Clinton, is often accused of sexual misconduct.

Three women publicly accused the 42nd President of the United States of sexual misconduct, including rape and sexual harassment. Clinton later admitted extramarital relationships with Monica Lewinsky and Gennifer Flowers. But in 2015, a young woman alleged in a sworn affidavit that American financier Jeffrey Epstein had used her as a sex slave. At the time, she claimed she had been at parties on Epstein’s private island, along with former president Clinton.

Read More At: ZeroHedge.com

The Matrix [1999] – Esoteric Analysis

Film Poster.
Source: JaysAnalysis.com
Jay Dyer
January 20, 2014

The Matrix, as I’ve joked many times, is one of those perennial topics in philosophy 101 classes that tends to evoke the most inane and mindless “philosophizing” by the mind-warped morass of modern morlocks.  Yet still, it is a film that is packed with esoteric symbolism, philosophy, “predictive programming,” and all other manner of poppy culture engineering.  In this analysis, we are going to go elucidate themes, motifs and symbols missed by other sites, as we consider one of the system’s principal works of self-flattery.  Interestingly, of all films to analyze in the way sites like mine do, this the most obvious seems forgotten in the haze of the now umpteen hundred Eyes Wide Shut analyses.

The Matrix begins with a computerized image of the Warner Bros. logo, a phone ring, and a conversation between Trinity (Carrie-Anne Moss) and Cypher (Joe Pantoliano) about watching “him” (Neo, Keanu Reeves), and whether the line is secure.  The implication is that the communications are all surveilled (think of how few knew of the mass NSA surveillance that existed at the time the film was released). The viewer sees the screen morph into 1s and 0s and the now-famous green screen code.  From the outset, this is to signify that the audience, as with Eyes Wide Shut, is in the dark.  It is the movie going public that is about to enter into the videodrome “matrix,” as they step into the theater to see what will be a largely CGI Hollywood production.  The audience is not only stepping into the matrix of the videodrome, but as the overall message of the film will convey, lives out lives occupied almost entirely in an engineered world of simulated reality.  In this regard, The Matrix will operate on multiple levels, from the conspiratorial/geo-political, to the psychological, to the metaphysical.

In the first scene, the viewer is shown a motel called “Heart O’ The City,” where bumbling police enter room “303.” Numerology does play into the film, especially since binary code is the very heart of computers.  “303” is the equivalent of 33, and Trinity is caught trying to dial into the “real world” to escape her inner-matrix watching of Neo.  Alchemy and numerology place a high value on the number 33, being the highest degree of Scottish Rite Masonry.  Manly P. Hall speaks of 33 as highly significant for alchemy because 3×3=9, the number of the emanations from the One, and conversely as the number of initiation.  We can therefore speculate that, given the many examples of masonic and occult symbols and referents in the film, this is very likely the paradigm from which the film was crafted.  The heart is also crucial to alchemy, inasmuch as the heart and intellect must combine to produce balance.  “Trinity” is also a triadic symbol and name, so the usage is not accidental.  Trinity will function as the feminine principle to Neo’s masculine principle, as they join to complete the alchemical mystical union in the trilogy of Matrix films.  Trinity here is not used here in the common Christian sense, it is meant in the sense of a gnostic feminine principle, sophia.

Morpheus mentioned as a terrorist sought by British Intelligence.

Agent Smith and his cronies quickly arrive and exemplify jurisdictional control over the local police: In terms of actual politics they represent the shadow intelligence establishment.  The Matrix will operate on one level as an allegory for this intelligence world.  The Agents are controlled by cold, calculating numeric logic, with no empathy or emotion.  Through an “informant” (Cypher), they had intercepted the transmission and are on the case of tracking down this “Neo.”  In the next scene, we see Neo and some interesting images appear on his computer screen in his apartment.  An image of “Morpheus,” said by “British Intelligence to be an international terrorist” on the run from authorities.  Given the hints at 9/11 that are in the film which premiered in 1999, we can surmise this was intentional as another key to unlocking the multiple layers of meaning and “programming.”  Morpheus is shown as wanted by Arab news sites like An-Nahar, giving the impression Morpheus is a bin Laden-esque “terrorist.”  On a deeper, esoteric level, the establishment was weaving into the narrative hints and clues to 9/11, especially with the infamous date on Neo’s file.

Morpheus listed by the An-Nahar News Agency, a Lebanese paper.

Neo is asleep listening to Massive Attack on his headphones, and the lyrics are “Feels like something I’ve done before….”  This will be meaningful later in the film, as the narrative the trilogy presents is one of cyclical history.  Neo is not the first “Neo,” but one among a series of avatars and Neos that had previously come before.  On his screen appears a sudden message telling him to wake up because the matrix has him.  This is “waking up” in the Buddhist sense of “enlightenment,” as the film will also be filled with ideas from far eastern philosophy.  Neo’s apartment is shown as “101,” the very image of binary code, and he is instructed to follow the “white rabbit,” a reference to Alice in Wonderland.  Alice in Wonderland is also a classic allegory for both the intelligence world, the conspiracy world, mind control and the psyche and its journey, as well as having…

Continue Reading At: JaysAnalysis.com
________________________________________________________________
Jay Dyer a writer and researcher from the Southern US with a B.A. in philosophy, his graduate work focused on the interplay of literary theory, espionage and philosophy. He is dedicated to investigating the deeper themes and messages found in our globalist pseudo-culture, illustrating the connections between philosophy, metaphysics, secret societies, Hollywood, psychological warfare and comparative religion. Jay is a regular contributor to the popular Intelligence Hub 21st Century Wire and the scholarly Soul of the East, as well as conducting numerous interviews with experts in fields ranging from espionage to history to economics. Jay’s work has appeared on the web’s top alternative media outlets: Activist Post, Red Ice, Waking Times, Rense, Icke and Infowars, as well as appearing on the Alex Jones Show. Jay has broken national and international news, numerous viral alt news stories, as well as surpassing 1 million views in its first 4 years.

 

Being There – Film, Literature and the New World Order

Source: Corbett Report Extras
James Corbett
October 31, 2016

Show Notes and mp3: https://www.corbettreport.com/?p=20009

Julian Charles of TheMindRenewed.com joins us this month to discuss Being There, the 1979 film by director Hal Ashby that follows the story of Chance the Gardener, a simple man with no experience of the outside world who is suddenly thrust onto the national political stage. Despite his complete lack of knowledge and experience (or precisely because of it) the powers behind the scenes float him as a potential candidate for next president of the United States. So is this a reflection of political reality, or broad satire? What does the movie tell us about the way modern media shapes the political landscape? Find out in this edition of Film, Literature and the New World Order.

How Advertisers are Influencing Your Subconscious Mind to Get You to Buy From Them…


Source: TheMindUnleashed.org
Chris Walton
May 29, 2015

Advertisers spend millions of dollars each year using psychological techniques that play at the subconscious level to entice you to take actions or buy products that you might not otherwise. They understand that it is the consumer’s subconscious mind that makes most decisions, and they are experts at forming associations between your subconscious programming and their clients’ products and services.

Most of us are exposed to more than 5000 marketing messages every day.

Advertisers design their campaigns to emotionally influence the subconscious in a fleeting instant, with colour, words, images and music. Subliminal (meaning below your conscious threshold) advertising is a hugely popular method of reaching the subconscious, and we are exposed to hundreds of thousands of subliminal messages each year.

Studies exploring subliminal perception show clearly how they influence subconscious processing and action. In one study, two groups of students were shown two different but similar pictures of trees;

One group saw a picture only of the trees. The others saw the second image, which was doctored to also contain an artfully concealed duck.

After studying their image, each group was asked to draw a nature scene and to label it.

The group who had studied the trees that contained the subliminal duck image drew more ducks and related imagery, such as feathers, birds and water, as compared to the other group, who had studied the undoctored image!

In another study, published in the Journal of Advertising, researchers gathered two groups of participants, one shown advertisements with no subliminal images and the other shown advertisements containing sexually subliminal messages.

The first doctored ad was for Marlboro Lights cigarettes, and it showed cowboys on horseback riding through rocky terrain. Subtly blended into the rocks was an image of a penis (yes, a penis). The second ad was for Chivas Regal whisky, and in the bottle a designer had skilfully and subtly blended the image of the back of a nude woman.

Everyone in the study was hooked up to monitoring equipment; instruments that recorded galvanic skin response, which measures stress levels and arousal through the electrical conductivity levels of the skin. Your skin conductivity will react even to subconscious arousal, which is part of the principle on which lie detector tests are based.

Each group looked at the ads (one group the undoctored ads, the other group the ads containing the subliminal images) for only 30 seconds. The result was that the arousal response of the group who saw the advertisements containing the subliminal sexual images was 20% higher than for the group who saw the advertisements without the subliminal messages.

Why do advertisers go to such lengths in their advertising?

Because a stronger emotional subconscious association between an image and a brand/product causes millions of us to make purchasing choices for those products, choices we might not otherwise have made if we had been considering only price, quality and other more independent and impartial factors.

So next time you feel drawn to a product / brand / advert, maybe ask yourself whats really going on…

Read More At: TheMindUnleashed.org
__________________________________________________________________

Sources:

“The Secret Sales Pitch: An Overview of Subliminal Advertising by August Bullock. (2004).”

Subliminal sexual references study: “The Journal of Advertising in 1984.”

______________________________________________________________________

About the Author

Chris Walton is an internationally recognised performance psychologist and consciousness researcher. He is the author of two best-selling books and the creator of the Gamma Mindset System: www.GammaMindset.com.

 

Atlantic Article on Hollywood Misses Powerful Points About CIA Control

counting-on-yourself
Source: TheDailyBell.com
July 15, 2016

How the CIA Hoodwinked Hollywood Since its inception, the agency has wooed filmmakers, producers, and actors in order to present a rosy portrait of its operations to the American public. –Atlantic

This is a good article by the Atlantic, a neo-con publication that aspires to be a “thought publication.”

This article rehearses the history of the CIA in Hollywood and, in fact, is fairly comprehensive and touches on a number of compelling points.

More;

The CIA has a long history of “spooking the news,” dating back to its earliest days when the legendary spymaster Allen Dulles and his top staff drank and dined regularly with the press elite of New York and Washington, and the agency boasted hundreds of U.S. and foreign journalists as paid and unpaid assets.

In 1977, after this systematic media manipulation was publicly exposed by congressional investigations, the CIA created an Office of Public Affairs that was tasked with guiding press coverage of intelligence matters in a more transparent fashion.

The agency insists that it no longer maintains a stable of friendly American journalists, and that its efforts to influence the press are much more above board. But, in truth, the intelligence empire’s efforts to manufacture the truth and mold public opinion are more vast and varied than ever before. One of its foremost assets? Hollywood.

This is an honest appraisal so far as it goes. As is the article’s conclusion:

With few exceptions, Hollywood has long functioned as a propaganda factory, churning out jingoistic revenge-fantasy films in which American audiences are allowed to exorcise their post-9/11 demons by watching the satisfying slaughter of countless onscreen jihadis.

This never-ending parade of square-jawed secret agents and bearded, pumped-up commandos pitted against swarthy Muslim madmen straight out of central casting has been aided and abetted by a newly emboldened CIA all too happy to offer its “services” to Hollywood.

The article, thousands of words long, still managed to miss some important points, however.

It doesn’t provide us with much in the way of a frame of reference. The control that the CIA exercises over Hollywood is multiplied many times by the control the CIA exercises over the communications industry generally.

At the top of the CIA, executives are responsive to the City of London. Intelligences agencies were manufactured by banking families initially.

Only later on, were their functions laid off onto governments. Now the cash flow comes from tax dollars, but the agencies themselves are still controlled out of the City.

This goes for other countries as well, including Israel, which was created by the City, which still runs it.

It is probably not too much of an exaggeration to say that its spooks run both Facebook and Google – especially given that the CIA invested in both companies when they were just beginning.

Basically, the Atlantic article makes it sound as if the CIA’s control over Hollywood is evolutionary and even voluntary. This is to misstate the way the CIA works.

Surreptitious intel operations have doubtless been in charge of Hollywood since its inception. If anyone doubts that, simply take a look at the movies Hollywood produced in the 1930s and especially in the 1940s.

These days, Hollywood movies have staked their main franchise on superhero movies.

These superheroes fly high in the sky fighting “bad guys” and determining whether or not the world will be safe and function properly.

They are above the law and gratitude is always due to them for their exploits.

The resemblance to the coming implementation of technocracy is undeniable.

In the world, as it is to be, technocrats running vast corporations will make decisions affecting millions. In fact, they already do.

Conclusion: This sort of organization and its privileges will not seem unusual to those regarding them. The parallels to today’s movies will already have desensitized people to what is occurring. This is the fundamental paradigm of modern Hollywood, the basic assertion of control.

Read More At: TheDailybell.com

CIA Ties To Hollywood On Verge Of Being Exposed

hollywood
Source: ActivistPost.com
Clarice Palmer
June 27, 2016

An amendment added to Congress’ annual intelligence spending bill may help the public gain a better idea of the U.S. government’s relationship with Hollywood.

According to VICE News, the ranking Democrat on the Senate Intelligence Committee, Senator Dianne Feinstein (D-CA), and committee Chairman Richard Burr (R-NC), included an amendment to S. 3017 that would require the Director of National Intelligence to submit reports detailing the relationship between the Central Intelligence Agency (CIA) agencies and Hollywood. It would also require 15 other agencies to disclose the nature of their relationships with the film industry. These reports would have to be presented annually to congressional oversight committees.

Between 2006 and 2011, VICE reported, the CIA’s Office of Public Affairs (OPA) had a role in at least 22 of the U.S. entertainment industry’s projects. Some of the productions listed by VICE included the films Argo and Zero Dark Thirty, television shows like Top Chef and Covert Affairs, and documentaries such as the History channel’s Air America and the BBC’s The Secret War on Terror. The book, The Devil’s Light, also had the help of the CIA.

Some of the most controversial findings regarding the relationship between OPA officials and Hollywood insiders were tied to the blockbuster, Zero Dark Thirty.

According to the redacted and previously classified December 2012 CIA report released by Judicial Watch, the CIA granted “‘secret level’ access to the makers of the movie Zero Dark Thirty.” According to VICE, “filmmakers Kathryn Bigelow and Mark Boal showered CIA officers involved in the operation with gifts and received unprecedented access, which included the disclosure of classified information to Bigelow and Boal by CIA director Leon Panetta.”

While these revealing facts shocked the world at the time of their release, the relationship between the CIA and the entertainment industry actually dates back to the 1950s.

According to an interview with Public Radio International, Tricia Jenkins, author of The CIA in Hollywood, says that the CIA “developed a think tank to fight communist ideology, which negotiated the rights to George Orwell’s ‘Animal Farm’ – getting a talking pig on the screen 20 years before ‘Charlotte’s Web.’” The agency pressed for “line changes in 1950s scripts to make black characters more dignified, and white characters more tolerant” in order to promote “an attractive image of America to a world picking sides in the Cold War.”

Continue Reading At: ActivistPost.com

Beyonce, Justin Timberlake & Other Celeb Paid Millions To Endorse Cancer Causing Junk Foods

Celebrities
Source: NaturalNews.com
J.D. Heyes
June 15, 2016

Once you become a celebrity, especially in the entertainment and sports industries, it’s difficult not to make money. That’s because companies fall all over themselves to ink deals endorsement deals with you; the younger and hotter and more popular you are – a great demographic for many products – the more these companies will want to sign you up and use your celebrity to help them sell products.

Imagine, for instance, signing a $50 million to promote Pepsi products? Or $6 million just to utter three words on behalf of McDonald’s, “I’m lovin’ it”? Beyonce managed the first deal; Justin Timberlake the second.

In fact, a recent study published in the journal Pediatrics described lucrative endorsement deals of 65 music celebrities, most of them hawking some of junkiest of junk foods and unhealthiest of sugary drinks.

Stars like Maroon 5, Britney Spears, Timberlake and others promoted 57 different food and beverage brands that ranged from Pop-Tarts to Pepsi, energy drinks to pizza.

“We found the vast majority of food and beverage products were unhealthy,” said researcher Marie Bragg of New York University, as reported by NPR.

‘Television advertising influences children’

The study did not examine what impact celebrity endorsements had on product consumption rates. However, she pointed to one anecdote that may help define the potential influence of well-known stars, involving rapper Pittbull’s endorsement of Dr. Pepper.

“When Dr. Pepper asked Pitbull to endorse, they got 4.6 million advertising impressions, and sales went up 1.7 percent [among Latinos] — despite declining sales in the overall soft drink category,” Bragg told NPR.

The public broadcaster states further:

As we’ve reported, musicians can influence the thinking — and perhaps the habits — of their young fans. A study published last year found that teens and young adults who reported enjoying hit songs that referenced brands of alcohol (think Kesha and her bottle of Jack) were more likely to drink compared with those who didn’t like these songs.

Also, NPR noted, in reference to food and non-alcoholic drink choices, TV is very influential and that has been well-documented. The Institute of Medicine concluded nearly a decade ago that “television advertising influences children to prefer and request high-calorie and low-nutrient foods and beverages.”

That said, many in the food industry have promised to scale back marketing aimed at kids aged 12 and younger. More than a dozen of the biggest food companies including Coca-Cola. Kellogg’s and McDonald’s have joined the Children’s Food and Beverage Advertising Initiative, which seeks to limit kids’ exposure to unhealthy products.

Now, however, pressure has mounted for companies to curb marketing of many products to teenagers who are in very critical stages of health development. Experts say that the rising incidence of obesity is clear reason to push for these changes since rates among teens are rising exponentially. Bad eating habits early on only leads to bad habits – and premature health issues – later in life, experts say.

“Given that we have a childhood and teen obesity problem in the country, [these endorsements of unhealthy foods] are sending the wrong message to young people, and likely contributing to poor dietary habits,” Bragg told NPR.

Of course using famous people works to sell products – or ideas

TV, film and music stars are part of that equation, given their endorsements.

While Bragg’s study did not assess any link to dietary habits, she nevertheless said that “we do know that exposure to food ads leads young people to overeat products they see.”

Naturally the food industry is pushing back, saying there is a dearth of evidence to suggest that what they’re doing – hiring celebrities to hawk their products – is swaying teens one way or the other. But claiming that negates any logical reason to pay millions to celebrities for their endorsement; if the celebrity isn’t going to help them sell their product, why pay them?

The Partnership for a Healthier America knows that celebrities sell, which is why they are using them to help push a fruit-and-vegetables campaign. The group has endorsements from NFL quarterback Cam Newton, Jessica Alba, Kristen Bell and others.

“We are absolutely taking a play from a playbook that works,” Drew Nannis, chief marketing officer of the partnership, told NPR. He added that it is well-known that celebrities help sell – ideas or products.

Sources:

NPR.org

BBB.org

Pediatrics.org

Read More At: NaturalNews.com

Tron Legacy: Esoteric Analysis

[Editor’s Note]

This is a fascinating piece regarding Tron, by Jay Dyer.  In it he details many abstruse inner workings that aren’t known to most of the populace within the Tron movie.  Its really an intriguing read for those of you who are fans of the arts/pop culture.  It’s also quite in-depth too.

Notice the pyramidal structure of the black on bottom and top, from which light emanates.  This symbolizes the gnostic version of as above, so below – dualism.  It’s “Just a Game” because its an illusory world.

Source: JaysAnalysis.com
Jay Dyer
January 9, 2011

I hate to always harp on gnosticism, but it’s undeniably the recurrent theme of most sci fi and fantasy/cult films. Gnosticism is the ancient perennial tradition that descends from Egypt and (possibly) older civilizations. In its modern form, it comes to us from the Nag Hammadi documents recently discovered, whose tradition was passed down in the secret societies and occult orders, of which Freemasonry is a good example. I am not saying that Freemasonry is actually a lineage from Egypt, but that there is a similarity of doctrine that has come down through the ages.

By the first century, the gnostic traditions flourished, rivaling and challenging other sects, becoming a force of its own. To put it simply, gnosticism posits that the present creation is a subordinate, evil one, wherein evil is given a substantial existence as the created order itself. Religions such as Manichaeanism are perfect examples of this trend, where a dualism is sometimes posited between a “good” God who is far away and unknown, identified with thought or light, and an evil deity or demiurge, identified as the Creator of this world. In the time of the rise of Christianity in the first three centuries of the Church, the gnostics were the chief opponents of the God presented in the Law and prophets of the Israelites, and charged God with Himself being evil.  Texts such as the Hypostasis of the Archons and The Gospel of Thomas are prime examples.

The gnostics instead proffered that “Jesus” was thus a revolutionary reformer who tossed away all traditional concepts of Jewish theology, and brought in the new gnosis, or knowledge – the Gospel of salvation through enlightenment. It is to such patristic commentators like Irenaeus of Lyon and Tertullian of Carthage that we get an indepth glimpse into 2nd century gnosticism, from figures like Marcion.  But gnosticism is not just a reaction against the God of the Bible, it also shares many commonalities with ancient eastern religions like Hinduism and Buddhism, and thus exemplifies syncretism.  Themes such as pantheism and/or dualism, many gradations of archons, or gods or avatars that rule this kosmos, etc., all recur in gnosticism. In this regard, gnosticism is in many ways the inheritor of the ancient pagan religions, and particularly Egypt.  So with that said, we can now analyze the kind of symbolic scheme that is put forth as an image of our world as presented in Tron Legacy.

Daft Punk, who did the soundtrack and appears in the film, performs here atop the pyramid.

Central to gnosticism is the theme of redemption or salvation from this world through special knowledge, which constitutes the “gnosis.” Generally, this is knowledge that has been lost, and must be recovered, often symbolized in literature or film by some magical object or memory, etc. In Tron, Flynn’s (Jeff Bridges) son, Sam, must “save” his father from the “grid,” or matrix, where he has become enslaved, having more or less forgotten his family in the real world. Sam, of course brings to mind “Sammael,” another name for Satan in the biblical tradition, and this makes sense, given that Tron presents Sam Flynn as the savior of the feminine archetype, “Quorra.”  This also mirrors gnostic themes, where the feminine principle, the Pistis Sophia is one of the archons of gnostic salvation.  Wikimedia notes of Quorra:

Continue Reading At: JaysAnalysis.com

__________________________________________________________________

Jay Dyer is a writer and researcher from the Southern US with a B.A. in philosophy, his graduate work focused on the interplay of literary theory, espionage and philosophy. He is dedicated to investigating the deeper themes and messages found in our globalist pseudo-culture, illustrating the connections between philosophy, metaphysics, secret societies, Hollywood, psychological warfare and comparative religion. Jay is a regular contributor to the popular Intelligence Hub 21st Century Wire and the scholarly Soul of the East, as well as conducting numerous interviews with experts in fields ranging from espionage to history to economics. Jay’s work has appeared on the web’s top alternative media outlets: Activist Post, Red Ice, Waking Times, Rense, Icke and Infowars, as well as appearing on the Alex Jones Show. Jay has broken national and international news, numerous viral alt news stories, as well as surpassing 1 million views in its first 4 years.